Machine generated contents note:1.Introduction --pt. 1Copy as Imitation and Enumeration in Perec --2.Copious Beginnings --2.1.incipit of Un cabinet d'amateur (1979) --2.2.Defining the Copy --2.3.Original and Copy --2.4.Mimesis --2.5.Copy as copia...
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Universitätsbibliothek der Eberhard Karls Universität
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Machine generated contents note:1.Introduction --pt. 1Copy as Imitation and Enumeration in Perec --2.Copious Beginnings --2.1.incipit of Un cabinet d'amateur (1979) --2.2.Defining the Copy --2.3.Original and Copy --2.4.Mimesis --2.5.Copy as copia --3.Copying in Literature --3.1.Literature in the Age of the Scribe --3.2.Literature in the Age of Mechanical Reproduction --4.Perec and His Copies --4.1.Copying in Cabinet --4.2.Copies in Cabinet: A Brief Typology --pt. 2Pastiches --5.Cabinet as Pastiche --6.Kunstkammer in History and in Cabinet --7.Discourse on Authentication --pt. 3Paintings --8.Copying in Painting --8.1.Tradition of the Painter-Apprentice --8.2.Fakes, Forgeries, and Citations --9.Painting in Cabinet --10.Trompe-l'oeil and L'Œil ebloui (1981) --11.From One Canvas to Another --pt. 4Intertexts --12.Intertextuality in Cabinet --13.Immediate Intratextual Source: La Vie mode d'emploi (1978) --14.Intertextual Reference: Pierre Grassou by Balzac (1839) --15.Early Intratextual Source: Le Condottiere (1957 -- 60) --16.To Copy Is to Create: Menard's "Copy" --17.Copy in Warhol: Imitation, Enumeration, and Death --pt. 5Conclusion --18.Copy Play in Perec and Warhol --18.1.Copy as Original and Double --18.2.Hidden Origins: Fog and Fogging in Perec --18.3.Memorial and a Celebration, a Forging of Life from Death.
