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\"Great novels often leave behind great questions--sequels seek to answer them. This critical analysis offers fresh insights into the sequels to seven literary classics, including Jane Austen's Sense and Sensibility, the Brontë sisters' Jane Eyre, Louisa May Alcott's Little Women, and Daphne du Maurier's Rebecca\"-- Provided by publisher.

La secuela, al igual que ocurre con otras obras derivadas, no cuenta con una regulación específica en la legislación de propiedad intelectual. No obstante, independientemente de la falta de delimitación de esta figura por parte del legislador, existen determinados criterios que servirán para distinguirla de la obra originaria de la que ha surgido, así como de otras obras derivadas, en función de su grado de originalidad. La secuela no es una figura de creación reciente, habiéndose manifestado en diferentes medios, dependiendo del momento histórico. En un principio, su aparición se produjo en la literatura y más tarde en el medio audiovisual y cinematográfico. En la actualidad, predominantemente por motivos económicos, la aparición de secuelas es algo muy frecuente, sin embargo, no siempre surgen respetando los derechos de propiedad intelectual de su titular. Las nuevas tecnologías se utilizan para transformar obras y crear, entre otros tipos de obras, secuelas, difundiéndose descontroladamente por todo el mun do. Ante los desafíos tecnológicos y la consecuente obsolescencia de varios estándares a nivel nacional e internacional, se debe explorar los potenciales beneficios de las licencias Creative Commons, la tecnología blockchain y los modelos de autorregulación. Las obras del intelecto, como activos que son, deben aspirar a utilizar los mecanismos de salvaguarda y de gestión más adecuados a sus intereses. Como resultado del planteamiento previo, esta obra se presenta con el objetivo no sólo de valorar si la secuela encuentra o no encaje en los planteamientos principales de la normativa nacional, europea o internacional que haya sido dictada en esta materia, si no que busca explicar de una manera sistemática y concreta los vacíos que se han encontrado en la actual formulación legal de esta obra derivada, con la finalidad de contribuir con soluciones y nuevos puntos de vista que den una respuesta integral a las abundantes cuestiones y retos que surgen.Fernando J. Ravelo Guillén es actualmente investigador en el Dep artamento de Derecho Privado de la Universidad Carlos III de Madrid. Es Doctor en Derecho por la UNED con mención internacional, al haber completado una etapa de investigación en la Universidad de Neuchâtel (Suiza). Además posee un título de Máster en Derecho de Empresa por la Universidad de Navarra y un Máster en Propiedad Intelectual por la Universidad de Maastricht (Países Bajos). [Texto de la editorial].

The Afterlife of Character, 1726-1825 reconstructs how eighteenth-century British readers invented further adventures for beloved characters, including Gulliver, Falstaff, Pamela, and Tristram Shandy. Far from being close-ended and self-contained, the novels and plays in which these characters first appeared were treated by many as merely a starting point, a collective reference perpetually inviting augmentation through an astonishing wealth of unauthorized sequels. Characters became an inexhaustible form of common property, despite their patent authorship. Readers endowed them with value, knowing all the while that others were doing the same and so were collectively forging a new mode of virtual community.By tracing these practices, David A. Brewer shows how the literary canon emerged as much \"from below\" as out of any of the institutions that have been credited with their invention. Indeed, he reveals the astonishing degree to which authors had to cajole readers into granting them authority over their own creations, authority that seems self-evident to a modern audience.In its innovative methodology and its unprecedented attention to the productive interplay between the audience, the book as a material artifact, and the text as an immaterial entity, The Afterlife of Character, 1726-1825 offers a compelling new approach to eighteenth-century studies, the history of the book, and the very idea of character itself.

In the seventeenth and eighteenth centuries, popular works of literature attracted—as they attract today—sequels, prequels, franchises, continuations, and parodies. Sequels of all kinds demonstrate the economic realities of the literary marketplace. This represents something fundamental about the way human beings process narrative information. We crave narrative closure, but we also resist its finality, making such closure both inevitable and inadequate in human narratives. Many cultures incorporate this fundamental ambiguity towards closure in the mythic frameworks that fuel their narrative imaginations. New Testaments: Cognition, Closure and the Figural Logic of the Sequel, 1660-1740 examines both the inevitability and the inadequacy of closure in the sequels to four major works of literature written in England between 1660 and 1740: Paradise Lost, The Pilgrim’s Progress, Robinson Crusoe, and Pamela. Each of these works spawned sequels, which—while often different from the original works—connected themselves through rhetorical strategies that can be loosely defined as figural. Such strategies came directly from the culture’s two dominant religious narratives: the Old and New Testaments of the Christian Bible—two vastly dissimilar works seen universally as complementary parts of a unified and coherent narrative.

He traces the development and transmission of the Cyclic poems in ancient Greek culture, comparing them to later Homeric poems and finding that they were far more influential than has previously been thought.