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100 1 _aSchur, Richard L,
_eauthor
_926635
245 1 0 _aParodies of ownership :
_bhip-hop aesthetics and intellectual property law /
_cRichard L. Schur.
264 1 _aAnn Arbor :
_bUniversity of Michigan Press :
_bUniversity of Michigan Library,
_c[2009]
300 _a1 online resource
336 _atext
_btxt
_2rdacontent
337 _acomputer
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338 _aonline resource
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340 _gpolychrome.
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_0http://rdaregistry.info/termList/RDAColourContent/1003
347 _adata file
504 _aIncludes bibliographical references and index.
505 0 _aFrom 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.
588 0 _aPrint version record.
506 _3Use copy
_fRestrictions unspecified
_2star
_5MiAaHDL
520 _a"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
533 _aElectronic reproduction.
_b[Place of publication not identified] :
_cHathiTrust Digital Library,
_d2010.
_5MiAaHDL
538 _aMaster and use copy. Digital master created according to Benchmark for Faithful Digital Reproductions of Monographs and Serials, Version 1. Digital Library Federation, December 2002.
_uhttp://purl.oclc.org/DLF/benchrepro0212
_5MiAaHDL
542 _fThis work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 Unported License
546 _aEnglish.
583 1 _adigitized
_c2010
_hHathiTrust Digital Library
_lcommitted to preserve
_2pda
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506 0 _aOpen Access
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650 0 _aAfrican Americans in popular culture.
_926636
650 0 _aAfrican Americans
_xLegal status, laws, etc.
_926637
650 0 _aHip-hop
_xInfluence.
_926638
650 0 _aIntellectual property
_zUnited States.
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650 7 _aLAW
_xAdministrative Law & Regulatory Practice.
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650 7 _aLAW
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653 0 _aAfrican Americans
653 0 _aLegal status, laws, etc.
653 0 _aIntellectual property
653 5 _aUnited States
653 0 _aHip-hop
653 0 _aInfluence
653 0 _aAfrican Americans in popular culture
655 4 _aElectronic books.
655 7 _aElectronic books.
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758 _iIs found in:
_aUniversity of Michigan Press
_1https://openresearchlibrary.org/module/304bb252-e626-4146-8e3a-88f21019023f
776 0 8 _iPrint version:
_tParodies of ownership.
_dAnn Arbor : University of Michigan Press : c2009
_z9780472070602
_w(DLC) 2009004565
856 4 0 _3EBSCOhost
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