Copies, Concepts and Time
Keywords:Changing notions of originals and copies, Copia, Historicity regimes, Temporality
Copies are defined by their relation to an original. The understanding and evaluation of this relationship has been changing over time. A main argument of this article is that originals and copies are phenomena with no "natural" or essential meaning outside of their specific historical settings. The idea to be explored is how changing historicity regimes have transformed notions of originals and copies over time and how these differences also are reflected in the intrinsically temporal relation between the two concepts. The discussion will be framed by two theory sets. The first is Alexander Nagel and Christopher Woods investigation of two kinds of temporality that vied for dominance in works of art in the late Middle Ages and the Renaissance. The second is Walter Benjamins discussion of artwork in the "age of mechanical reproduction", i.e. the twentieth century. The second half of the article seeks to add to the historical complexity described by both theory sets by introducing a concept of tradition and discussing the early modern ideals of exemplarity, emulation and copiousness.
Auerbach, Erich (2014): Time, History, and Literature. Selected Essays of Erich Auerbach, Princeton, Princeton University Press.
Bauman, Richard. (2004): A World of Others’ Words. Cross-Cultural Perspectives on Intertextuality, London, Blackwell. DOI: 10.1002/9780470773895
Benjamin, Walter (1999): The Work of Art in the Age of Mechanical Reproduction, London, Sage
Cave, Terence (1979): The Cornucopian Text. Problems of Writing in the French Renaissance, Oxford, Clarendon Press.
Gordon, Bruce, Luca Baschera and Christian Moser (2016): “Emulating the Past and Creating the Present. Reformation and the Use of Historical and Theological Models in Zurich in the Sixteenth Century”, In Luca Baschera et al. (eds.): Following Zwingli. Applying the Past in Reformation Zürich, London, Routledge.
Eriksen, Anne (1994): “Like before, just different. Modern Popular Understandings of the Concept of Tradition”, Arv. Nordic Yearbook of Folklore, vol. 50, 9–24.
Eriksen, Anne (2014): From History to Heritage. Transformations in Cultural Memory, New York, Berghahn Books.
Handler, Richard and Jocelyn Linnekin (1984): “Tradition, Genuine or Spurious. The Journal of American Folklore, vol. 97, no. 385, 273–290. DOI: 10.2307/540610
Hartog, François (2015): Regimes of Historicity. Presentism and Experiences of Time (with a new introduction), New York, Columbia University Press.
Jensen, Bernard Eric (2003): Historie. Livsverden og fag, Copenhagen, Gyldendal. Jørgensen, Marianne W. and Louise Phillips (1999): Diskursanalyse som teori og metode. Roskilde, Roskilde Universitetsforlag.
Koselleck, Reinhart (1985): Futures Past. On the Semantics of Historical Time, trans. K. Tribe. Cambridge, Mass.: MIT Press.
Latour, Bruno and Adam Lowe (2011): “The migration of the aura or how to explore the original through its facsimiles” Thomas Bartscherer (ed.): Switching Codes, Chicago, Chicago University Press, pp. 275–288.
Lord, Albert B (1965): The Singer of Tales. New York, Atheneum.
Nagel, Alexander and Christopher Wood (2010): Anachronic Renaissance, New York, Zone books.
Ong, Walter (1982): Orality and Literacy. The Technologizing of the Word, London, Methuen, Phillips, Mark Salber (2000): Society and Sentiment. Genres of Historical Writing in Britain, 1740–1820, Princeton, N.J.: Princeton University Press. DOI: 10.4324/9780203328064
Scott, Izora (2009): Controversies over the Imitation of Cicero in the Renaissance, New York: Routledge.
Schiffman, Zachary Sayre (2011): The Birth of the Past, Baltimore: Johns Hopkins University Press.
Copyright for all manuscripts rests with the author(s). The editors reserve the right to edit manuscripts. Contributors are responsible for acquiring all permissions from the copyright owners for the use of quotations, illustrations, tables, etc. Each author must, before final publication fill, in a publishing agreement provided by LiU E-Press.
Since 2021 Culture Unbound uses a Creative Commons: Attribution license for new articles, which allows users to distribute the work and to reform or build upon it without the author's permission. Full reference to the author must be given. For older articles please see each article landing page.