Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays. In Owning William Shakespeare James Marino explores the actors' system of intellectual property as something fundamentally different from the property regimes exercised by the London printers or the royal monopolists. Focusing on Hamlet , The Taming of the Shrew , King Lear , and other works, he demonstrates how Shakespeare's acting company asserted ownership of its plays through intense rewriting combined with progressively insistent attribution to Shakespeare. The familiar versions of these plays were created through ongoing revision in the theater, a process that did not necessarily begin with Shakespeare's original manuscript or end when he died. An ascription by the company of any play to ”Shakespeare” did not imply that it was following a fixed, authorial text; rather, Marino writes, it indicates an attempt to maintain exclusive control over a set of open-ended, theatrically revised scripts. Maisel) Ayo Edebiri (The Bear) Janelle James (Abbott Elementary) Jessica Williams (Shrinking) Sheryl Lee Ralph (Abbott Elementary) Juno Temple (Ted Lasso) Hannah Waddingham (Ted Lasso) Anthony Carrigan (Barry) Brett Goldstein (Ted Lasso) Phil Dunster (Ted Lasso) James Marsden (Jury Duty) Ebon Moss-Bachrach (The Bear) Tyler James Williams (Abbott Elementary) Henry Winkler (Barry) Annaleigh Ashford (Welcome To Chippendales) Maria Bello (Beef) Claire Danes (Fleishman Is In Trouble) Juliette Lewis (Welcome To Chippendales) Camila Morrone (Daisy Jones & The Six) Niecy Nash-Betts (Dahmer – Monster: The Jeffrey Dahmer Story) Merritt Wever (Tiny Beautiful Things) Murray Bartlett (Welcome To Chippendales) Paul Walter Hauser (Black Bird) Richard Jenkins (Dahmer – Monster: The Jeffrey Dahmer Story) Ray Liotta (Black Bird) Joseph Lee (Beef) Young Mazino (Beef) Jesse marino Plemons (Love & Death) Cherry Jones (Succession) Storm Reid (The Last of Us) Melanie Lynskey (The Last of Us) Hiam Abbass (Succession) Harriet Walter (Succession) Anna Torv (The Last of Us) Murray Bartlett (The Last Of Us) James Cromwell (Succession) Lamar Johnson (The Last Of Us) Arian Moayed (Succession) Nick Offerman (The Last Of Us) Keivonn Montreal Woodard (The Last Of Us) Becky Ann Baker (Ted Lasso) Quinta Brunson (Saturday Night Live) Taraji P.
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Satın alma seçenekleri william ashford marino casino ve eklentiler. Copyright is by no means the only device for asserting ownership of a work. Some writers, including playwrights in the early modern period, did not even view print copyright as the most important of their authorial rights. A rich vein of recent scholarship has examined the interaction between royal monopolies, which have been identified with later notions of intrinsic authorial ownership, and the internal copy registration practices of the English book trades. Yet this dialogue was but one part of a still more complicated conversation in early modern England, James J. Marino argues; other customs and other sets of professional demands were at least as important, most strikingly in the exercise of the performance rights of plays. Skycity casino accommodation.
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