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By Graeme Gibson

Completely on hand from Anansi electronic, Communion is without doubt one of the misplaced, nice works by way of a Canadian literary titan.

Originally released in 1971, Communion keeps the tale of Felix Oswald that begun in 5 Legs. We meet Felix Oswald back, a self-mocking and obsessed hero, a voyeur, and all-time loser, after he graduates from university and accepts a role as a part-time veterinarian’s assistant.

A groundbreaking paintings of experimental fiction, Communion is a must-read for fanatics of Canadian literature.

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But to avoid a brutal presentism in our reforms, they add, we need to think simultaneously about today’s cultural practices and the “traditional contours of copyright protection,” an emerging doctrine that measures legislative change against copyright’s basic emplotment of a work’s progress from creation to protection to the public domain. Part IV, “Regimes of Attribution and Publicity,” presupposes that the story of copyright remains incomplete until we study its neighboring regimes, several of which were introduced or consolidated during the modernist decades.

Foster, “James Joyce Scholar, in Deal with Author’s Estate, Wins Right to Use Copyrighted Works,” Chronicle of Higher Education (Mar. 26, 2007). 37. On Beckett’s prohibitions and legal actions regarding his plays, see James Knowlson, Damned to Fame: The Life of Samuel Beckett (London: Bloomsbury, 1996), 501–503, 607–611. On the Beckett estate’s prescriptive handling of the dramatic work, see Mel Gussow, “A Reading Upsets Beckett’s Estate,” New York Times (Sept. html (accessed Aug. 3, 2009). 38.

Decherney’s piece gives us a new way to link Chaplin’s modernism to that of radically intertextual writers of his generation: both aimed to propertize works whose components—or, in Chaplin’s case, characters whose traits—had been appropriated from the cultural commons. For W. ” The 1909 Copyright Act in the United States was, as their title puts it, “marked by modernism” because it was founded on a materialist conception of the protected work as a tangible, saleable good. Because the 1976 act largely clung to this conception of the work, they argue, our current system is ill adapted to the era of user-generated digital content.

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