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008 240426t20182006nyu fo d z eng d
020 _a9781501726873
_qPDF
024 7 _a10.7591/9781501726873
_2doi
035 _a(DE-B1597)9781501726873
035 _a(DE-B1597)515262
035 _a(OCoLC)1091697103
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPN3352.F67
_bB75 2006
072 7 _aLIT024040
_2bisacsh
082 0 4 _a702/.874
_222
084 _aonline - DeGruyter
100 1 _aBriefel, Aviva
_eautore
245 1 4 _aThe Deceivers :
_bArt Forgery and Identity in the Nineteenth Century /
_cAviva Briefel.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2018]
264 4 _c©2006
300 _a1 online resource (248 p.) :
_b10 halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tAcknowledgments --
_tIntroduction. The Golden Age of Forgery --
_t1. Imperfect Doubles: The Forger and the Copyist --
_t2. Intimate Detections: Connoisseurs, Forgers, and the Thing between Them --
_t3. Restorations: Cultural Authority and the Life of Objects --
_t4. Real Sons of Abraham: Jewish Art Dealers and the Traffic in Fakes --
_t5. Paste and Pearls: Drawing the Boundaries of Female Identity --
_tConclusion: Magic Tricks --
_tNotes --
_tWorks Cited --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe nineteenth century witnessed an unprecedented increase in art forgery, caused both by the advent of national museums and by a rapidly growing bourgeois interest in collecting objects from the past. This rise had profound repercussions on notions of selfhood and national identity within and outside the realm of art. Although art critics denounced forgery for its affront to artistic traditions, they were fascinated by its power to shape the human and object worlds and adopted a language of art forgery to articulate a link between the making of fakes and the making of selves. The Deceivers explores the intersections among artistic crime, literary narrative, and the definition of identity.Literary texts joined more specialized artistic discourses in describing the various identities associated with art forgery: the forger, the copyist, the art expert, the dealer, the restorer. Built into new characters were assumptions about gender, sexuality, race, and nationality that themselves would come to be presented in a language of artistic authenticity. Aviva Briefel places special emphasis on the gendered distinction between male forgers and female copyists. "Copying," a benign occupation when undertaken by a woman, became "forgery," laden with criminal intent, when performed by men. Those who could successfully produce, handle, or detect spurious things and selves were distinguished from others who were incapable of distinguishing the authentic from the artistic and human forgeries. Through close reading of literary narratives such as Trilby and The Marble Faun as well as newspaper accounts of forgery scandals, The Deceivers reveals the identities—both authentic and fake—that emerged from the Victorian culture of forgery.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2024)
650 0 _aAuthenticity (Philosophy) in literature.
650 0 _aFiction
_y19th century
_xHistory and criticism.
650 0 _aForgery in literature.
650 0 _aIdentity (Philosophical concept) in literature.
650 4 _aArt History.
650 4 _aHistory.
650 4 _aLiterary Studies.
650 7 _aLITERARY CRITICISM / Modern / 19th Century .
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7591/9781501726873
856 4 0 _uhttps://www.degruyter.com/isbn/9781501726873
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781501726873/original
942 _cEB
999 _c222353
_d222353