The nineteenth century witnessed a series of revolutions in the production and circulation of images. From lithographs and engraved reproductions of paintings to daguerreotypes, stereoscopic views, and mass-produced sculptures, works of visual art became available in a wider range of media than ever before. But the circulation and reproduction of artworks also raised new questions about the legal rights of painters, sculptors, engravers, photographers, architects, collectors, publishers, and subjects of representation (such as sitters in paintings or photographs). Copyright and patent laws tussled with informal cultural norms and business strategies as individuals and groups attempted to exert some degree of control over these visual creations.
This timely volume presents, for the first time, edited fragments of six texts by adherents of the Muʿtazila, a school of rational theology that emerged in the eighth century CE, including Karaite copies and recensions of works by Muslim authors, notably ʿAbd al-Jabbār al-Hamadhānī and ʿAbd Allāh b. Saʿīd al-Labbād, as well as original Jewish Muʿtazilī treatises. The collection is concluded by an anonymous Rabbanite refutation of the highly influential polemical tract against Judaism, entitled Ifḥām al-yāhūd.
Written by an array of international experts, these collected essays gather perspectives from a diverse range of cultural sensibilities. From sensitive discussions of Tintoretto’s unique approach to the play of light and darkness as exhibited in the Scuola Grande di San Rocco in Venice, to the development of museum lighting as part of Japanese artistic self-fashioning, via the story of an epic American painting on tour, museum illumination in the work of Henry James, and lighting alterations at Chatsworth (to name only a few topics) this book is a treasure trove of illuminating contributions.
This is a must-read how-to guide if you are planning to embark on a scholarly digitisation project. Tailored to the specifications of the British Library’s EAP (Endangered Archives Programme) projects, it is full of sound, practical advice about planning and carrying out a successful digitisation project in potentially challenging conditions.
In a world where new technologies are being developed at a dizzying pace, how can we best approach oral genres that represent heritage? Taking an innovative and interdisciplinary approach, this volume explores the idea of sharing as a model to construct and disseminate the knowledge of literary heritage with the people who are represented by and in it.
Much of world’s documentary heritage rests in vulnerable, little-known and often inaccessible archives. Many of these archives preserve information that may cast new light on historical phenomena and lead to their reinterpretation. But such rich collections are often at risk of being lost before the history they capture is recorded. This volume celebrates the tenth anniversary of the Endangered Archives Programme at the British Library, established to document and publish online formerly inaccessible and neglected archives from across the globe.
What can and can’t be copied is a matter of law, but also of aesthetics, culture and economics. The act of copying, and the creation and transaction of rights relating to it, evokes fundamental notions of communication and censorship, of authorship and ownership – of privilege and property. Exploring developments in the regulation of printing in Europe and North America from the fifteenth century onwards, as well as the specific evolution of rights associated with the visual and performing arts, this volume conceives a new history of copyright law that has its roots in a wide range of norms and practices.