Titlebook: Reappearing Characters in Nineteenth-Century French Literature; Authorship, Original Sotirios Paraschas Book 2018 The Editor(s) (if applica

FAR

The Poetics of Forgery in Charles Rabou’s Continuation of Balzac’s ,ontinuation which was presented as a novel written by Balzac and only completed by Rabou according to Balzac’s notes. I read Rabou’s sequel, which was for a long time attributed to Balzac, as a self-conscious forgery which does not only attempt to pass itself off as a work by Balzac by resurrecting

Pamphlet

‘Tous pour un, un pour tous’: Alexandre Dumas, Auguste Maquet, and the Musketeers Trilogy demanding to be recognised as co-author of the novels they had written together. I identify a series of metaphors used in the nineteenth century to describe literary collaboration (friendship, association, employer–employee relation) and I examine the ways in which these metaphors are echoed, on th

Crepitus

‘Le collaborateur fantomatique’: Zola, William Busnach, and the Stage Adaptations of amatic conventions, he collaborated with a commercial playwright, William Busnach, to stage a series of melodramatic adaptations from . and repeatedly denied his involvement in their creation, stating that adaptations were by definition inferior and unoriginal works. The chapter focuses on the adapt

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Concluding Reflectionse issues of originality and authorial property in the nineteenth century and beyond from a hitherto unexplored perspective. It suggests that shedding light on the history of the relation between aesthetic and legal discourses can help us contextualise and critique notions such as intertextuality and

Scleroderma

,Introduction: ‘La littérature ruminante’,he object of property and are freely appropriated in stage adaptations and sequels written by other writers. This ambiguous status of fictional characters makes the various forms the reappearance of characters takes an ideal locus for the exploration of issues of authorship, originality, and property.

CUR

‘Le revenant littéraire’: Balzac and the Reappearance of Characters as a Strategy of Re-appropriatio ‘theft’. In this context, I examine the reappearance of characters as Balzac’s attempt to establish ownership of his characters and plots through repetition, to mark them as his property on the grounds of continuous use over a substantial period of time.

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