\(
\def\WIPO{World Intellectual Property Organisation}
\)
American women authors and literary property, 1822-1869 / Melissa J. Homestead.
2005
N 632 HOM.A
Available at WIPO Library
Items
Details
Title
American women authors and literary property, 1822-1869 / Melissa J. Homestead.
Description
xi, 272 pages ; 24 cm
ISBN
0521853826
9780521853828
9780511345333 electronic book
051134533X electronic book
9780511497919 ebook
0511497911 ebook
1281108642
9781281108647
9780521154758 paperback
0521154758 paperback
9780521853826 hardback
9780521853828
9780511345333 electronic book
051134533X electronic book
9780511497919 ebook
0511497911 ebook
1281108642
9781281108647
9780521154758 paperback
0521154758 paperback
9780521853826 hardback
Alternate Call Number
N 632 HOM.A
Summary
"Through an exploration of women authors' engagements with copyright and married women's property laws, American Women Authors and Literary Property, 1822-1869, revises nineteenth-century American literary history, making women's authorship and copyright law central. Using case studies of five popular fiction writers - Catharine Sedgwick, Harriet Beecher Stowe, Fanny Fern, Augusta Evans, and Mary Virginia Terhune - Homestead shows how the convergence of copyright and coverture both fostered and constrained white women's agency as authors.
Note
Contents : 1. Authores, Wives Slaves; Coverture, Copyright, and Authorial Dispossession, 1831-1869, 2. "Suited to the Market" : Catharine Sedgwick, female Authorship, and the Literary Property Debates, 1822-1842, 3. "When I Can Read My Title Clear" : Harriet Beecher Stowe and the Stowe v. Thomas Copyright Infringement Case (1853). 4. "Every body sees the theft" : Fanny Fern and Periodical Reprinting in the 185os., 5. A "Rank Rebel" Lady and Her Literary Property: Augusta Jane Evans and Copyright, the Civil War and After, 1861-1868.
Bibliography, etc. Note
Includes bibliographical references and index.
Formatted Contents Note
Introduction: "Lady-writers" and "Copyright, authors, and authorship" in nineteenth-century America
Authors, wives, slaves: coverture, copyright, and authorial dispossession, 1831-1869
"Suited to the market": Catharine Sedgwick, female authorship, and the literary property debates, 1822-1842
"When I can read my title clear": Harriet Beecher Stowe and the Stowe v. Thomas copyright infringement case (1853)
"Every body sees the theft": Fanny Fern and periodical reprinting in the 1850s
A "rank rebel" lady and her literary property: Augusta Jane Evans and copyright, the Civil War and after, 1861-1868
Epilogue: Belford v. Scribner (1892) and the ghost of Mary Virginia Terhune's Phemie's temptation (1869); or, The lessons of the "Lady-writers" of the 1820s through the 1860s for literary history and twenty-first-century copyright law.
Authors, wives, slaves: coverture, copyright, and authorial dispossession, 1831-1869
"Suited to the market": Catharine Sedgwick, female authorship, and the literary property debates, 1822-1842
"When I can read my title clear": Harriet Beecher Stowe and the Stowe v. Thomas copyright infringement case (1853)
"Every body sees the theft": Fanny Fern and periodical reprinting in the 1850s
A "rank rebel" lady and her literary property: Augusta Jane Evans and copyright, the Civil War and after, 1861-1868
Epilogue: Belford v. Scribner (1892) and the ghost of Mary Virginia Terhune's Phemie's temptation (1869); or, The lessons of the "Lady-writers" of the 1820s through the 1860s for literary history and twenty-first-century copyright law.
Linked Resources
Linked Resources
Published
Cambridge : Cambridge University Press, 2005.
Language
English
Record Appears in
Review
"Through an exploration of women authors' engagements with copyright and married women's property laws, American Women Authors and Literary Property, 1822-1869, revises nineteenth-century American literary history, making women's authorship and copyright law central. Using case studies of five popular fiction writers - Catharine Sedgwick, Harriet Beecher Stowe, Fanny Fern, Augusta Evans, and Mary Virginia Terhune - Homestead shows how the convergence of copyright and coverture both fostered and constrained white women's agency as authors.