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dc.contributor.authorSchur, Richard
dc.date.issued2011
dc.date.submitted2019-11-09 03:00:32
dc.date.submitted2020-04-01T09:35:53Z
dc.identifier1006123
dc.identifierOCN: 994510466
dc.identifierhttp://library.oapen.org/handle/20.500.12657/24010
dc.identifier.urihttps://directory.doabooks.org/handle/20.500.12854/38916
dc.description.abstractWhat 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. Parodies of Ownership offers a broad analysis of post--Civil Rights era culture and provides the necessary context for understanding contemporary debates within American studies, African American studies, intellectual property law, African American literature, art history, and hip-hop studies. Weaving together law, literature, art, and music, Schur deftly clarifies the conceptual issues that unify contemporary African American culture, empowering this generation of artists, writers, and musicians to criticize how racism continues to affect our country.
dc.languageEnglish
dc.rightsopen access
dc.subject.classificationbic Book Industry Communication::D Literature & literary studies::DS Literature: history & criticism
dc.subject.classificationbic Book Industry Communication::L Law::LN Laws of Specific jurisdictions::LNR Intellectual property law
dc.subject.otherLiterature
dc.titleParodies of Ownership
dc.title.alternativeHip-Hop Aesthetics and Intellectual Property Law
dc.typebook
oapen.identifier.doi10.3998/dcbooks.6814160.0001.001
oapen.relation.isPublishedByb7359529-e5f7-4510-a59f-d7dafa1d4d17
virtual.oapen_relation_isPublishedBy.publisher_nameUniversity of Michigan Press
virtual.oapen_relation_isPublishedBy.publisher_websitehttp://www.press.umich.edu/
oapen.relation.isbn9780472070602;9780472050604
oapen.pages253
oapen.place.publicationAnn Arbor
oapen.review.commentsThe proposal was selected by the acquisitions editor who invited a full manuscript. The full manuscript was reviewed by two external readers using a double-blind process. Based on the acquisitions editor recommendation, the external reviews, and their own analysis, the Executive Committee (Editorial Board) of U-M Press approved the project for publication.en_US
peerreview.review.decisionYes
peerreview.review.typeFull text
peerreview.anonymityDouble-blind
peerreview.reviewer.typeExternal peer reviewer
peerreview.review.stagePre-publication
peerreview.open.reviewNo
peerreview.publish.responsibilityScientific or Editorial Board
peerreview.idd98bf225-990a-4ac4-acf4-fd7bf0dfb00c


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Except where otherwise noted, this item's license is described as open access