T excellent contribution to Bloomsbury’s New Modernisms series, by Joyce critic and legal scholar Robert Spoo, builds on and broadens his 2013 monograph, Without Copyrights: Piracy, Publishing, and the Public Domain.1 While the book is clearly rooted in Joyce studies as a point of departure, Spoo also goes beyond his usual slate of modernist authors to consider productively writers including Arthur Conan Doyle, H.D., and Theodore Dreiser at different times across the volume. Spoo writes revealingly in the volume’s first lines that “[m]odernism’s laws often came in clusters, one legal problem implicating another until authors, publishers, or readers felt stifled by the cumulative force of regulation” (1). The particular case studies that he uses to demonstrate this insight are Oscar Wilde (dubbed the “Man of Law” by Spoo—15) and Ezra Pound (Spoo’s “Man of War”—127), whose entangled legal, professional, and personal troubles bookend Modernism and the Law. As Spoo concludes, “Wilde and Pound, exiles in their different ways, stand in the dock of history, flanking modernism as carceral counterparts” (150). Thus, in Modernism and the Law, Spoo also moves beyond copyright to focus on a range of legal topics related to intellectual property including chapters on obscenity and censorship and copyright and patronage, as well as privacy and celebrity. As we can see from this summary, Spoo’s lack of interest in crime per se (except blackmail) is noteworthy, given a recent surge of interest in this topic within Joyce studies and modernist studies in the past few years as represented by Adrian Hardiman’s Joyce in Court: James Joyce and the Law, by portions of Jonathan Goldman’s recent Joyce and the Law, and by Matthew Levay’s new Violent Minds: Modernism and the Criminal.2 Spoo’s key focus is on civil rather than criminal law. His legal and literary interests thus take us more towards a “creative industries” approach to modernism, giving insights comparable to Sarah Brouillette’s Literature and the Creative Economy which investigated how contemporary fictions and theories of authorship are shaped by neoliberal government policies.3 Spoo is attentive to modernist authors’ struggles “to control the costs and benefits of authorship” by guarding their creative and personal property (4). Modernism and the Law offers accessible explanations of differences between American, British, and European law on matters such as copyright, both in the past and today, and considers how modernist literature was shaped by these differences. Indeed, while Spoo is

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罗伯特·斯波的现代主义与法律

乔伊斯评论家和法律学者罗伯特·斯波对布鲁姆斯伯里的新现代主义系列做出了杰出贡献，在他 2013 年的专着《无版权：盗版、出版和公共领域》的基础上进行了扩展。1 虽然这本书显然植根于乔伊斯的研究中作为出发点，Spoo 也超越了他通常的现代主义作家名单，在整卷的不同时期考虑了包括亚瑟·柯南·道尔、HD 和西奥多·德莱塞在内的富有成效的作家。斯波在该卷的第一行写到，“现代主义的法律常常成群结队地出现，一个法律问题牵涉到另一个法律问题，直到作者、出版商或读者感到被监管的累积力量所扼杀”（1）。他用来证明这种洞察力的具体案例研究是奥斯卡王尔德（被斯波称为“法律人”-15）和埃兹拉庞德（斯波的“战争之人”-127），他们纠缠在一起的法律、职业和个人问题书挡现代主义与法律。正如斯波总结的那样，“王尔德和庞德，以不同的方式流亡，站在历史的码头上，作为监狱的对手站在现代主义的两侧”（150）。因此，在《现代主义与法律》中，Spoo 也超越了版权，专注于与知识产权相关的一系列法律主题，包括关于淫秽和审查、版权和赞助以及隐私和名人的章节。从这个总结中我们可以看出，Spoo 对犯罪本身（勒索除外）缺乏兴趣是值得注意的，鉴于最近几年乔伊斯研究和现代主义研究对这一主题的兴趣激增，以 Adrian Hardiman 的《法庭上的乔伊斯：詹姆斯·乔伊斯与法律》、乔纳森·戈德曼 (Jonathan Goldman) 最近的《乔伊斯与法律》(Joyce and the Law) 和马修·莱维 (Matthew Levay) 的部分为代表新暴力思想：现代主义与罪犯。2 Spoo 的重点是民法而非刑法。因此，他的法律和文学兴趣使我们更倾向于现代主义的“创意产业”方法，提供与莎拉·布鲁耶特 (Sarah Brouillette) 的文学和创意经济相当的见解，后者调查了新自由主义政府政策如何塑造当代小说和作者理论。 3 Spoo 很细心现代主义作家通过保护他们的创作和个人财产来“控制作者身份的成本和收益”的斗争 (4)。现代主义与法律对美国、英国和欧洲法律在过去和今天在版权等问题上的差异提供了易于理解的解释，并考虑了这些差异如何塑造现代主义文学。事实上，虽然 Spoo 是