Postmodern Plagiarisms: Cultural Agenda and Aesthetic Strategies of Appropriation in US-American Literature (1970-2010)

Contents
1 Introducing Plagiarism Beyond Illegitimate Plunder
2 Framing Plagiarism as a Postmodern Negotiation of Authorship and Text Sovereignty
	2.1 Authorship and Its Nemeses: Plagiarism as Unoriginal Practice
		2.1.1 The Commodification of Literature and the Economic Value of Authorial Attribution
		2.1.2 The ExtraAesthetic Notion of Plagiarism: The Case of Literary Theft
		2.1.3 Under Siege: Challenging Textual Integrity and Individual Authorship
	2.2 Writing Beyond Petty Theft: Critifiction, ConText, and NeoConceptual Writing
		2.2.1 \"Everything can be said and must be said in any possible way\": Stealing Away With Critifiction and Playgiarism
		2.2.2 Disowning Meaning and Male Authority: Feminist Plagiarist ConText
		2.2.3 NeoConceptual Uncreative Writing of the TwentyFirst Century
3 Plagiarism as Writing Practice in US Postmodern Literature
	3.1 Practicing Theory With Critifiction: Raymond Federman\'s Double or Nothing (1971/1991)
	3.2 ConText as Dissident Feminist Writing: Kathy Acker\'s Empire] of the Senseless (1988)
	3.3 NeoConceptual Appropriate Writing
		3.3.1 Uncreative Writing as Constrained Transcription: Kenneth Goldsmith\'s £>oy(2003)
		3.3.2 Appropriating Legal Texts: Vanessa Place\'s Tragodia I: Statement of Facts (2010)
		3.3.3 Appropriate and Erase: Yedda Morrison\'s Darkness (chapter 1) (2009)
4 Conclusion: The Present and Future of Strategic Appropriation in the Arts
Bibliography
Index