Fakes Forgeries And Fictions

Fakes, Forgeries, and Fictions examines the possible motivations behind the production of apocryphal Christian texts. Did the authors of Christian apocrypha intend to deceive others about the true origins of their writings? Did they do so in a way that is distinctly different from New Testament scriptural writings? What would phrases like "intended to deceive" or "true origins" even mean in various historical and cultural contexts? The papers in this volume, presented in September 2015 at York University in Toronto, discuss texts from as early as second-century papyrus fragments to modern apocrypha such as tales of Jesus in India in the nineteenth-century Life of Saint Issa. The highlights of the collection include a keynote address by Bart Ehrman ("Apocryphal Forgeries: The Logic of Literary Deceit") and a panel discussion on the Gospel of Jesus' Wife, reflecting on what reactions to this particular text--primarily on biblioblogs--can tell us about the creation, transmission, and reception of apocryphal Christian literature. The eye-opening papers presented at the panel caution and enlighten readers about the ethics of studying unprovenanced texts, the challenges facing female scholars both in the academy and online, and the shifting dynamics between online and traditional print scholarship.

Fakes, Forgeries, and Fictions examines the possible motivations behind the production of apocryphal Christian texts. Did the authors of Christian apocrypha intend to deceive others about the true origins of their writings? Did they do so in a way that is distinctly different from New Testament scriptural writings? What would phrases like "intended to deceive" or "true origins" even mean in various historical and cultural contexts? The papers in this volume, presented in September 2015 at York University in Toronto, discuss texts from as early as second-century papyrus fragments to modern apocrypha such as tales of Jesus in India in the nineteenth-century Life of Saint Issa. The highlights of the collection include a keynote address by Bart Ehrman ("Apocryphal Forgeries: The Logic of Literary Deceit") and a panel discussion on the Gospel of Jesus' Wife, reflecting on what reactions to this particular text--primarily on biblioblogs--can tell us about the creation, transmission, and reception of apocryphal Christian literature. The eye-opening papers presented at the panel caution and enlighten readers about the ethics of studying unprovenanced texts, the challenges facing female scholars both in the academy and online, and the shifting dynamics between online and traditional print scholarship.

In doing so he illuminates the process of artistic creation, which emerges as collaborative and imitative rather than individual and inspired, revealing that authorship is, to some degree, always forged.

British Romantic literature descends from a line of impostors, forgers and frauds. Through a series of case-studies - beginning with the golden age of forgery in the late eighteenth century and continuing through canonical Romanticism and its aftermath - Margaret Russett demonstrates how Romantic writers distinguished their fictions from the fakes surrounding them. The book examines canonical and lesser-known Romantic works alongside fakes such as Thomas Chatterton's medieval poems and 'Caraboo', the impostor-princess. Through original readings of works by Wordsworth, Coleridge, Byron, Walter Scott, John Clare, and James Hogg, as well as chapters on impostors in popular culture, Russett's interdisciplinary and wide-ranging study offers a major reinterpretation of Romanticism and its continuing influence today.

Many new and fruitful avenues of investigation open up when scholars consider forgery as a creative act rather than a crime. We invited authors to contribute work without imposing any restrictions beyond a willingness to consider new approaches to the subject of ancient fakes, forgeries and questions of authenticity. The result is this volume, in which our aim is to display some of the many possibilities available to scholarship. Following Splendide Mendax, this is the latest installment of an ongoing inquiry, conducted by scholars in numerous countries, into how the ancient world-its literature and culture, its history and art-appears when viewed through the lens of fakes and forgeries, sincerities and authenticities, genuine signatures and pseudepigrapha.

A fascinating read about fakes, forgeries, and frauds. What’s real? What’s fake? Why do we care? In this time of false news and fake science, these questions are more important than ever. Fakes, Forgeries, and Frauds goes beyond the headlines, tweets, and blogs to explore the true nature of authenticity and why it means so much today. This book delivers nine fascinating true stories that introduce the fakers, forgers, art authenticators, and others that populate this dark world. Examples include: Shakespeare—How an enterprising teenager in the 1790s faked Shakespeare and duped Literary London. Rembrandt—How art history, connoisseurship, and science are re-shaping our view of what Rembrandt painted and how the canvas changed over time. Relics—Was Saint Cecilia, the patron saint of music, a real Roman teenager who was martyred 1,800 years ago in the same place where her church stands today? Jackson Pollock—How do experts pick out the real Pollocks from the thousands of fakes? Nuremberg—How repeated reconstructions of medieval Nuremburg—including one by Adolf Hitler—show how historic preservation became a tool for propaganda. Fakes, Forgeries, and Frauds also raises provocative questions about the meaning of reality. What happens when spiritual truth conflicts with historic fact? Can an object retain its essence when most of it was replaced? Why did some art patrons value an excellent copy more than the original? Why do we find fakes so eternally fascinating, and forgers such appealing con artists? Fakes, Forgeries, and Frauds is a full-color book with 30 color photos. It shows that reality, exemplified by discrete physical objects, is actually mutable, unsettling, and plainly weird. Readers discover things that are less than meets the eye—and might even reconsider what’s real, what’s fake, and why they should care.

Presents information on the forensic science used to detect fakes, counterfeits, and forgeries.

Our nation's founding document, the Declaration of Independence, confidently declares, "These truths we hold to be self-evident" And yet, America today seems mired in a truth crisis. Postmodern relativism has cast doubt on the Enlightenment notion of shared, self-evident truths held by all; technologies have made the swift proliferation of untruths commonplace; political sensibilities have become so partisan as to tolerate public personalities who brazenly lie. Many Americans, Jews among them, are understandably concerned for the future of truth as we once knew it. With this book, These Truths We Hold: Judaism in an Age of Truthiness, the editors and HUC-JIR have demonstrated a commitment to full engagement in the contemporary moment as well as to our Jewish heritage as a repository of complex and deep truths. We have assembled an impressive list of contributors who address the subject of truth in Jewish tradition and in contemporary Jewish life from several important perspectives: biblical, talmudic, liturgical, scientific, philosophical, satirical, pluralistic, and poetic. The articles are meant to shore up faith and to serve as a bank of resources to orient readers to Judaism's rich, multi-faceted and morally edifying teachings about truth.

Does an authentic Andy Warhol painting need to be painted by Andy Warhol? Why do audiences feel outraged when they find out that scenes from their beloved blockbuster documentaries are staged? Can people move past assuming that a diamond grown in a lab is a fake? What happens when a forged painting or manuscript becomes more valuable than its original?This is a book about genuine fakes - the curious and complex objects that provoke these very sorts of questions. Genuine fakes fall into the space between things that are real and things that are not; whether or not we think that those things are authentic is a matter of perspective. Unsurprisingly, the world is full of genuine fakes - full of things that defy simple categorisation.From stories of audacious forgeries to feats of technological innovation, historian Lydia Pyne explores how the authenticity of eight genuine fakes depends on their unique combinations of history, science and culture. The stories of art forgeries, fake fossils, nature documentaries, synthetic flavours, museum exhibits, Maya codices and Palaeolithic replicas show that genuine fakes are both complicated and change over time.Drawing from historical archives, interviews, museum exhibits and science fiction as well as her own research, Pyne brings each genuine fake to life through unexpected and often outrageous stories. Genuine Fakes will make readers think about all the unreal things they encounter in their daily lives, and why they invoke the reactions - surprise, wonder, understanding or annoyance - that they do.

The possibility that works of art and literature might be forged and that identity might be faked has haunted the cultural imagination for centuries. That spectre seems to have returned with a vengeance recently, with a series of celebrated hoaxes and scandals ranging from the Alan Sokal hoax article in Social Text to Binjamin Wilkomirskiâ (TM)s â oefakeâ Holocaust memoir. But as well as creating anxiety, the possibility of â oefaking itâ has now been turned into entertainment. Traditionally these activities have been dismissed as dangerous and immoral, but more recently some scholars have begun to speculate, for example, that all forms of national identity rely on forged myths of origin. Recent cultural theory has likewise called into question traditional notions of authenticity and originality in both personal identity and in works of art. Despite critical pronouncements of the death of the author and the substitution of the simulacrum for the original, however, making a distinction between the genuine and the fake continues to play a major role in our everyday understanding and evaluation of culture, law and politics. Consider, for example, the fiasco surrounding the â oeforgedâ Hitler diaries, law suits against auction houses for failing to detect forgeries in the art market, or the problem of plagiarism at universities. It still seems to matter that we can spot the difference, especially in the historical moment when we are capable of making copies that are indistinguishableâ "perhaps even better thanâ "the original. This collection of essays considers the moral, aesthetic and political questions that are raised by the long history and current prevalence of fakes and forgeries. The international team of contributors consider the issues thrown up by a wide range of examples, drawn from fields ranging from literature to art history. These case studies include little-known subjects such as Eddie Burrup, the Australian aboriginal artist who turned out to be an 81-year-old white woman, as well as new interpretations of familiar cases such as faked holocaust memoirs. The strength of the collection is that it brings together not only a wide range of cultural examples of fakes and forgeries from different historical periods, but also offers a wide variety of theoretical takes that will form a useful introduction and casebook on this growing field of inquiry.

Jesus and the Manuscripts, by popular author and Bible scholar Craig A. Evans, introduces readers to the diversity and complexity of the ancient literature that records the words and deeds of Jesus. This diverse literature includes the familiar Gospels of the New Testament, the much less familiar literature of the Rabbis and of the Qur’an, and the extracanonical narratives and brief snippets of material found in fragments and inscriptions. This book critically analyzes important texts and quotations in their original languages and engages the current scholarly discussion. Evans argues that the Gospel of Thomas is not early or independent of the New Testament Gospels but that it should be dated to the late second century. He also argues that Secret Mark, like the recently published Gospel of Jesus’ Wife, is probably a modern forgery. Of special interest is the question of how long the autographs of New Testament writings remained in circulation. Evans argues that the evidence suggests that most of these autographs remained available for copying and study for more than one hundred years and thus stabilized the text. Key points and features: Written by popular author and Bible scholar Craig A. Evans Includes 20+ pages of high-quality color photos Walks readers through the various works of ancient literature, both biblical and non-biblical, that mention Jesus Critically analyzes important texts and quotations in their original languages and engages the current scholarly discussion

It is commonly asserted that heresy is a Christian invention that emerged in late antiquity as Christianity distinguished itself from Judaism. Heresy, Forgery, Novelty probes ancient Jewish disputes regarding religious innovation and argues that Christianity's heresiological impulse is in fact indebted to Jewish precedents. In this book, Jonathan Klawans demonstrates that ancient Jewish literature displays a profound unease regarding religious innovation. The historian Josephus condemned religious innovation outright, and later rabbis valorize the antiquity of their traditions. The Dead Sea sectarians spoke occasionally-and perhaps secretly-of a "new covenant," but more frequently masked newer ideas in rhetorics of renewal or recovery. Other ancient Jews engaged in pseudepigraphy-the false attribution of recent works to prophets of old. The flourishing of such religious forgeries further underscores the dangers associated with religious innovation. As Christianity emerged, the discourse surrounding religious novelty shifted dramatically. On the one hand, Christians came to believe that Jesus had inaugurated a "new covenant," replacing what came prior. On the other hand, Christian writers followed their Jewish predecessors in condemning heretics as dangerous innovators, and concealing new works in pseudepigraphic garb. In its open, unabashed embrace of new things, Christianity parts from Judaism. Christianity's heresiological condemnation of novelty, however, displays continuity with prior Jewish traditions. Heresy, Forgery, Novelty reconsiders and offers a new interpretation of the dynamics of the split between Judaism and Christianity.

Scholars for centuries have regarded fakes and forgeries chiefly as an opportunity for exposing and denouncing deceit, rather than appreciating the creative activity necessary for such textual imposture. But should we not be more curious about what is spurious? Many of these long-neglected texts merit serious reappraisal, when considered as artifacts with a value beyond mere authenticity. We do not have to be fooled by a forgery to find it fascinating, when even the intention to deceive can remind us how easy it is to form beliefs about texts. The greater difficulty is that once beliefs have been formed by one text, it is impossible to approach the next without preconceptions potentially disastrous for scholarship. The exposure of fraud and the pursuit of truth may still be valid scholarly goals, but they implicitly demand that we confront the status of any text as a focal point for matters of belief and conviction. Many new and fruitful avenues of investigation open up when scholars consider forgery as a creative act rather than a crime. We invited authors to contribute work without imposing any restrictions beyond a willingness to consider new approaches to the subject of ancient fakes and forgeries. The result is this volume, in which our aim is to display some of the many possibilities available to scholarship when the forger is regarded as "splendide mendax" - splendidly untruthful.

From forgeries to fake fiancée, Darcy's life hasn't been exactly authentic, but her growing feelings for the man she has no intention of marrying might scuttle her plans to play let's pretend one last time.FAUX BEAUWhen Seth Moreau offered Darcy Smith a job in his upscale art gallery, he had no idea two years later she'd be his fake fiancée helping him keep his inheritance out of his nefarious brother's hands.Darcy Sherwood - her real name...Seth doesn't know he unwittingly hired an art forger - learns the estranged brother is none other than Victor, her dangerous ex-boss from her forgery days.Keeping each other secrets doesn't last long. Victor tries to blackmail her into doing one last forgery or he'll tell his brother her ugly truth.Before pretending to love Seth, she might've caved, but after learning there's way more to him than being the honorable, sexy nerd on the other side of the office wall - and the other side of the bed - she's not so sure she wants to disappear to save him. But there's that pesky, risky con hanging over her head.

Art, History, and Postwar Fiction explores the ways in which novelists responded to the visual arts from the aftermath of the Second World War to the present day. If art had long served as a foil to enable novelists to reflect on their craft, this book argues that in the postwar period, novelists turned to the visual arts to develop new ways of conceptualizing the relationship between literature and history. The sense that the novel was becalmed in the end of history was pervasive in the postwar decades. In seeming to bring modernism to a climax whilst repeating its foundational gestures, visual art also raised questions about the relationship between continuity and change in the development of art. In chapters on Samuel Beckett, William Gaddis, John Berger, and W. G. Sebald, and shorter discussions of writers like Doris Lessing, Kathy Acker, and Teju Cole, this book shows that writing about art was often a means of commenting on historical developments of the period: the Cold War, the New Left, the legacy of the Holocaust. Furthermore, it argues that forms of postwar visual art, from abstraction to the readymade, offered novelists ways of thinking about the relationship between form and history that went beyond models of reflection or determination. By doing so, this book also argues that attention to interactions between literature and art can provide critics with new ways to think about the relationship between literature and history beyond reductive oppositions between formalism and historicism, autonomy and context.

This handbook showcases studies on art theft, fraud and forgeries, cultural heritage offences and related legal and ethical challenges. It has been authored by prominent scholars, practitioners and journalists in the field and includes both overviews of particular art crime issues as well as regional and national case studies. It is one of the first scholarly books in the current art crime literature that can be utilised as an immediate authoritative reference source or teaching tool. It also includes a bibliographic guide to the current literature across interdisciplinary boundaries. Apart from legal, criminological, archeological and historical perspectives on theft, fraud and looting, this volume contains chapters on iconoclasm and graffiti, underwater cultural heritage, the trade in human remains and the trade, theft and forgery of papyri. The book thereby hopes to encourage scholars from a wider variety of disciplines to contribute their valuable knowledge to art crime research.

The Pauline Corpus in Early Christianity: Its Formation, Publication, and Circulation offers a comprehensive and wide-ranging examination of the canonical development of the collection of writings associated with the Apostle Paul. The volume considers a number of clues from the New Testament writings, ancient literary conventions related to the composition and collection of letters, and a variety of early witnesses to the early state of the corpus such as biblical manuscripts, canonical lists, and the testimony of writers. As a conclusion to these inquiries, Laird argues that at least three major archetypal editions of the Pauline corpus—those containing 10, 13, and 14 letters—appear to have been collected and edited as early as the first century. These major archetypal editions, Laird concludes, circulated simultaneously for many years until editions containing 14 letters became nearly universally recognized by the fourth century. The volume serves as a valuable resource of information for those engaged in the study of the early state of the New Testament canon and offers a fresh perspective on the process that led to the formation of the Pauline corpus.