ISBN:
0472024493
,
0472900447
,
0472070606
,
0472050605
,
9780472070602
,
9780472900442
,
9780472050604
,
9780472024490
Language:
English
Pages:
1 Online-Ressource ([xv], 236 pages)
Edition:
[S.l.] HathiTrust Digital Library 2010 Electronic reproduction
Parallel Title:
Erscheint auch als Schur, Richard L Parodies of ownership
DDC:
346.730482
Keywords:
African Americans Legal status, laws, etc
;
Intellectual property
;
Hip-hop Influence
;
African Americans in popular culture
;
LAW ; Administrative Law & Regulatory Practice
;
LAW ; Intellectual Property ; General
;
African Americans in popular culture
;
African Americans ; Legal status, laws, etc
;
Hip-hop ; Influence
;
Intellectual property
;
Geistiges Eigentum
;
Kultur
;
United States
;
Schwarze
;
USA
;
Electronic book
Abstract:
"What is the relationship between hip-hop and African American culture in the post-Civil Rights era? Does hip-hop share a criticism of American culture or stand as an isolated and unique phenomenon? How have African American texts responded to the increasing role intellectual property law plays in regulating images, sounds, words, and logos? Parodies of Ownership examines how contemporary African American writers, artists, and musicians have developed an artistic form that Schur terms "hip-hop aesthetics." This book offers an in-depth examination of a wide range of contemporary African American painters and writers, including Anna Deavere Smith, Toni Morrison, Adrian Piper, Colson Whitehead, Michael Ray Charles, Alice Randall, and Fred Wilson. Their absence from conversations about African American culture has caused a misunderstanding about the nature of contemporary cultural issues and resulted in neglect of their innovative responses to the post-Civil Rights era. By considering their work as a cross-disciplinary and specifically African American cultural movement, Schur shows how a new paradigm for artistic creation has developed."--Publisher's description
Abstract:
From chattel to intellectual property : legal foundations of African American cultural critique --Critical race theory, signifyin', and cultural ownership --Defining hip-hop aesthetics --Claiming ownership in the post--civil rights era --"Fair use" and the circulation of racialized texts --"Transformative uses" : parody and memory --From invisibility to erasure? : the consequences of hip-hop aesthetics.
Note:
Includes bibliographical references (pages 209-226) and index
,
Use copy Restrictions unspecified star MiAaHDL
,
Electronic reproduction
,
Master and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
URL:
http://purl.oclc.org/DLF/benchrepro0212
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