| spelling |
oapen-20.500.12657-373082023-06-05T13:07:40Z Faking, Forging, Counterfeiting Becker, Daniel Fischer, Annalisa Schmitz, Yola Forgery Culture Cultural Transfer Translation Imitation Original Copy Aesthetic Practice Creativity Faked Tradition Pseudotranslation Imposter Identity Theft Hoax Cultural History Art Literature Theory of Art General Literature Studies Media Aesthetics Cultural Studies bic Book Industry Communication::H Humanities::HB History::HBT History: specific events & topics::HBTB Social & cultural history Forgeries are an omnipresent part of our culture and closely related to traditional ideas of authenticity, legality, authorship, creativity, and innovation. Based on the concept of mimesis, this volume illustrates how forgeries must be understood as autonomous aesthetic practices – creative acts in themselves – rather than as mere rip-offs of an original work of art. The proceedings bring together research from different scholarly fields. They focus on various mimetic practices such as pseudo-translations, imposters, identity theft, and hoaxes in different artistic and historic contexts. By opening up the scope of the aesthetic implications of fakes, this anthology aims to consolidate forging as an autonomous method of creation. 2018-11-06 23:55 2019-12-03 14:17:29 2020-04-01T12:17:41Z 2020-04-01T12:17:41Z 2018 book 1001792 645359 9783837637625 https://library.oapen.org/handle/20.500.12657/37308 eng Edition Kulturwissenschaft application/pdf n/a 9783839437629.pdf transcript Verlag 10.14361/9783839437629 101227 10.14361/9783839437629 b30a6210-768f-42e6-bb84-0e6306590b5c b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9783837637625 Knowledge Unlatched (KU) 128 248 Bielefeld 101227 KU Select 2017: Front list Collection 645359 Knowledge Unlatched open access
|
| description |
Forgeries are an omnipresent part of our culture and closely related to traditional ideas of authenticity, legality, authorship, creativity, and innovation. Based on the concept of mimesis, this volume illustrates how forgeries must be understood as autonomous aesthetic practices – creative acts in themselves – rather than as mere rip-offs of an original work of art. The proceedings bring together research from different scholarly fields. They focus on various mimetic practices such as pseudo-translations, imposters, identity theft, and hoaxes in different artistic and historic contexts. By opening up the scope of the aesthetic implications of fakes, this anthology aims to consolidate forging as an autonomous method of creation.
|
