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dc.contributor.authorTang, Xiyin
dc.date2021-11-25T13:36:37.000
dc.date.accessioned2021-11-26T12:32:45Z
dc.date.available2021-11-26T12:32:45Z
dc.date.issued2010-01-01T00:00:00-08:00
dc.identifierylsspps_papers/59
dc.identifier.contextkey1632201
dc.identifier.urihttp://hdl.handle.net/20.500.13051/17799
dc.description.abstractAbout eight years ago, a friend and I had been sitting around discussing this silly old thing called “art.” We were both aspiring creative writers; we were both wondering what it meant to innovate in a field of art, the idea of creating something that was different from what came before it. We were fascinated with what progress was and what it wasn’t, because all artists are interested in being the first man on the metaphorical moon, so to speak. “It’s a funny thing,” she had said. “The fact that the fine arts have progressed so much faster than music, or film, or writing.” We both agreed on that—knew with all certainty that literature, with the exception of a few writers like Gertrude Stein, was still doing the same thing it had been doing since the beginning of time: which is to tell a good story.
dc.titleThat Old Thing, Copyright…Rethinking “Progress” and “Originality” in (and for) the Remix Age
dc.source.journaltitleStudent Prize Papers
refterms.dateFOA2021-11-26T12:32:45Z
dc.identifier.legacycoverpagehttps://digitalcommons.law.yale.edu/ylsspps_papers/59
dc.identifier.legacyfulltexthttps://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=1059&context=ylsspps_papers&unstamped=1


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