Издательство Oxford University Press, 2004, -356 pp.
It is impossible to think about intellectual property for as long as this book has taken to write, and not to become acutely aware of one’s own roster of intellectual debts, while also realizing the impossibility of enumerating each one. But there are some people whose help has been so extraordinarily generous that I would like to record my special thanks to them. Kate Flint was the inspirational superviser of my Oxford D.Phil. thesis who uncomplainingly read numerous subsequent drafts as it transmuted into this book, and whose continued friendship, now beamed from the other side of the Atlantic, has been a constant source of support. Joe Childers, David Inwald, and Vivien Jones were all early and excellent readers of the first chapters. Martin Daunton brought his historical expertise to bear on Chs. 2 and 3, and Helen Small and Francis O’Gorman both read the whole book in manuscript and made numerous invaluable and well-judged comments that reflected both their generosity as scholars and their own compendious knowledge of the period. Other friends and colleagues provided ideas and encouragement—notable among them were (in alphabetical order): Isobel Armstrong, Mary Beard, Gillian Beer, Lucy Bending, Becky Conekin, Kirsten Denker, Charles Feinstein, Stephen Gill, Heather Glen, Susan Manning, Adrian Poole, Louise Purbrick, Leigh Shaw-Taylor, Sally Shuttleworth, Jacqueline Tasioulas, and Barry Windeatt. The readers appointed by Oxford University Press also offered immensely valuable comments, and I hope that I have taken most of them on board. I am also grateful to everyone who participated in the Dickens Universe and Conference on ‘Exhibitions’ at the University of Califoia at Santa Cruz in the summer of 2001: their enthusiasm provided just the fillip I needed to finish the book.
I would like wholeheartedly to thank the staff of the libraries I have used in researching this project. Latterly, the University Library, Cambridge has been my most frequent haunt and I want to record my particular gratitude to the staff of the Rare Books Room there for their friendliness and efficiency. Similarly at Newnham College Library and the English Faculty Library, Cambridge University, I have encountered only helpfulness. I was greeted with courtesy when I consulted George Eliot’s books at Dr Williams’ Library in Bloomsbury, and also when I used the Brotherton Library, Leeds, the Bodleian Library, Oxford, the British Library, and the Witt Picture Library, London. Money has come from the AHRB, which awarded me the luxury of a term’s paid research leave in the autumn of 2001, and the British Academy, which made me a grant from its Overseas Conference Fund to help me give a paper at the Santa Cruz conference. This book started its gestation at Linacre College, Oxford, and after that continued its slow development at Pembroke College, Oxford, and Leeds University. My current academic home, Newnham College, Cambridge, has been extremely generous in providing research grants to cover conference expenses and two terms of leave from teaching. I would like also to thank the fellowship and students of Newnham, and the individuals that make up the Faculty of English in Cambridge, for many helpful and galvanizing conversations that made the writing of the book a less lonely and painful process than it would otherwise have been.
Introductory. Heroes and Hero-Worship: Inventors and Writers from 1818 to 1900
Property in Labour: Inventors and Writers in the 1830s and 1840s
The Art of Inventing and the Inventor as Artist: Intellectual Property at the Great Exhibition
‘The spirit of craft and money-making’: The Indignities of Literature in the 1850s
Women, Risk, and Intellectual Property: Elizabeth Gaskell and George Eliot in the 1860s
‘The singing of the wire’: Hardy, Inteational Copyright, and the Ether
It is impossible to think about intellectual property for as long as this book has taken to write, and not to become acutely aware of one’s own roster of intellectual debts, while also realizing the impossibility of enumerating each one. But there are some people whose help has been so extraordinarily generous that I would like to record my special thanks to them. Kate Flint was the inspirational superviser of my Oxford D.Phil. thesis who uncomplainingly read numerous subsequent drafts as it transmuted into this book, and whose continued friendship, now beamed from the other side of the Atlantic, has been a constant source of support. Joe Childers, David Inwald, and Vivien Jones were all early and excellent readers of the first chapters. Martin Daunton brought his historical expertise to bear on Chs. 2 and 3, and Helen Small and Francis O’Gorman both read the whole book in manuscript and made numerous invaluable and well-judged comments that reflected both their generosity as scholars and their own compendious knowledge of the period. Other friends and colleagues provided ideas and encouragement—notable among them were (in alphabetical order): Isobel Armstrong, Mary Beard, Gillian Beer, Lucy Bending, Becky Conekin, Kirsten Denker, Charles Feinstein, Stephen Gill, Heather Glen, Susan Manning, Adrian Poole, Louise Purbrick, Leigh Shaw-Taylor, Sally Shuttleworth, Jacqueline Tasioulas, and Barry Windeatt. The readers appointed by Oxford University Press also offered immensely valuable comments, and I hope that I have taken most of them on board. I am also grateful to everyone who participated in the Dickens Universe and Conference on ‘Exhibitions’ at the University of Califoia at Santa Cruz in the summer of 2001: their enthusiasm provided just the fillip I needed to finish the book.
I would like wholeheartedly to thank the staff of the libraries I have used in researching this project. Latterly, the University Library, Cambridge has been my most frequent haunt and I want to record my particular gratitude to the staff of the Rare Books Room there for their friendliness and efficiency. Similarly at Newnham College Library and the English Faculty Library, Cambridge University, I have encountered only helpfulness. I was greeted with courtesy when I consulted George Eliot’s books at Dr Williams’ Library in Bloomsbury, and also when I used the Brotherton Library, Leeds, the Bodleian Library, Oxford, the British Library, and the Witt Picture Library, London. Money has come from the AHRB, which awarded me the luxury of a term’s paid research leave in the autumn of 2001, and the British Academy, which made me a grant from its Overseas Conference Fund to help me give a paper at the Santa Cruz conference. This book started its gestation at Linacre College, Oxford, and after that continued its slow development at Pembroke College, Oxford, and Leeds University. My current academic home, Newnham College, Cambridge, has been extremely generous in providing research grants to cover conference expenses and two terms of leave from teaching. I would like also to thank the fellowship and students of Newnham, and the individuals that make up the Faculty of English in Cambridge, for many helpful and galvanizing conversations that made the writing of the book a less lonely and painful process than it would otherwise have been.
Introductory. Heroes and Hero-Worship: Inventors and Writers from 1818 to 1900
Property in Labour: Inventors and Writers in the 1830s and 1840s
The Art of Inventing and the Inventor as Artist: Intellectual Property at the Great Exhibition
‘The spirit of craft and money-making’: The Indignities of Literature in the 1850s
Women, Risk, and Intellectual Property: Elizabeth Gaskell and George Eliot in the 1860s
‘The singing of the wire’: Hardy, Inteational Copyright, and the Ether