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_aSchur, Richard L, _eauthor _926635 |
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_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] |
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300 | _a1 online resource | ||
336 |
_atext _btxt _2rdacontent |
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_acomputer _bc _2rdamedia |
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_aonline resource _bcr _2rdacarrier |
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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 |
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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 |
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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 |
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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 _5MiAaHDL |
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_aOpen Access _5EbpS |
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_aAfrican Americans in popular culture. _926636 |
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_aAfrican Americans _xLegal status, laws, etc. _926637 |
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_aHip-hop _xInfluence. _926638 |
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_aIntellectual property _zUnited States. _926639 |
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_aLAW _xAdministrative Law & Regulatory Practice. _2bisacsh |
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_aLAW _xIntellectual Property _xGeneral. _2bisacsh _926640 |
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653 | 0 | _aLegal status, laws, etc. | |
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653 | 0 | _aAfrican Americans in popular culture | |
655 | 4 | _aElectronic books. | |
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_iIs found in: _aUniversity of Michigan Press _1https://openresearchlibrary.org/module/304bb252-e626-4146-8e3a-88f21019023f |
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_iPrint version: _tParodies of ownership. _dAnn Arbor : University of Michigan Press : c2009 _z9780472070602 _w(DLC) 2009004565 |
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