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Cultures of Copyright

Contemporary Intellectual Property

Series:

Dànielle Nicole DeVoss and Martine Courant Rife

The symbols, signs, and traces of copyright and related intellectual property laws that appear on everyday texts, objects, and artifacts have multiplied exponentially over the past 15 years. Digital spaces have revolutionized access to content and transformed the ways in which content is porous and malleable. In this volume, contributors focus on copyright as it relates to culture. The editors argue that what «counts» as property must be understood as shifting terrain deeply influenced by historical, economic, cultural, religious, and digital perspectives.
Key themes addressed include issues of how:
• Culture is framed, defined, and/or identified in conversations about intellectual property;
• The humanities and other related disciplines are implicated in intellectual property issues;
• The humanities will continue to rub up against copyright (e.g., issues of authorship, authorial agency, ownership of texts);
• Different cultures and bodies of literature approach intellectual property, and how competing dynasties and marginalized voices exist beyond the dominant U.S. copyright paradigm.
Offering a transnational and interdisciplinary perspective, Cultures of Copyright offers readers – scholars, researchers, practitioners, theorists, and others – key considerations to contemplate in terms of how we understand copyright’s past and how we chart its futures.

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Introduction. Cultures and/of/in Copyright ..................................................... 1 Dànielle Nicole DeVoss and Martine Courant Rife Part One: Cultural Backdrops Chapter One. The Limits of Ownership in the United States ............................ 13 Aaron Barlow Chapter Two. Scarlet v. SABAM: An Emerging Backlash against ........................ 26 Corporate Copyright Lobbies in Europe? Angela Daly and Benjamin Farrand Chapter Three. Discovery and Ownership in an Age of .................................... 41 Networked Science Michelle Sidler and Chad Wickman Chapter Four. Hindered Hope: Shepard Fairey, the Associated Press, ............. 54 and the Missed Opportunity to Help Clarify U.S. Copyright Law Ben McCorkle Chapter Five. New Digital Production Models: The Consolidation of ........... 64 the Copyleft Joan Francesc Fondevila Gascón and Raúl López García-Navas Chapter Six. “Not a Category of Constitutional Significance”: ....................... 75 Golan v. Holder and the Future of the Public Domain Traci Zimmerman v i •CONTENTS• Part Two: Cultures of Production Chapter Seven. Permissions and Precedents: A Cautionary Tale from ........... 91 Art Publishing Steve Westbrook and James Ryan Chapter Eight. Authorship and Ownership of User Contributions ............... 108 on the Social Web Timothy R. Amidon and Jessica Reyman Chapter Nine. No Copyright Intended ................................................................... 125 Nicole Nguyen Chapter Ten. Fracturing Digital Entertainment by Kindling Rivalries .......... 140 and Blowing Steam Liza Potts, Dean Holden, and Katie Dobruse Chapter Eleven. Taking IP Digital: A Personal Tale ......................................... 154 Aaron Barlow Part Three: Cultures of Copyright Chapter Twelve. Copyright and Cultural Use: Tracing Tensions ................... 165 between Policy and Practice in Participatory Cultures Dave Jones Chapter Thirteen. Intellectual Property and Jewish Ethics: ........................... 179 Scripture as a...

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