Drawing upon law, politics, sociology, and gender studies, this volume explores the ways in which the Muslim body is stereotyped, interrogated, appropriated and demonized in Western societies and subject to counter-terror legislation and the suspension of human rights. The author examines the intense scrutiny of Muslim women’s dress and appearance, and their experience of hate crimes, as well as how Muslim men’s bodies are emasculated, effeminized and subjected to torture. Chapters explore a range of issues including Western legislation and foreign policy against the ‘Other’, orientalism, Islamophobia, masculinity, the intersection of gender with nationalism and questions about diversity, inclusion, religious freedom, citizenship and identity. This text will be of interest to scholars and students across a range of disciplines, including sociology, gender studies, law, politics, cultural studies, international relations, and human rights.

DIVAn ethnography of inellectual property, discussing the uses made of items of inellectual property by various cultural groups -- for purposes of identity, solidaritiy, resistance and so forth. /div

First Published in 1999. This study develops a new way of studying pork barrel politics based on congressional behavior in the 1980s and 1990s.

This thirteenth volume in the series addresses an increasingly salient worldwide research, design, and policy issue-women and physical environments. We live in an era of worldwide social change. Some nation-states are fracturing or disintegrating, migrations are resulting from political up heavals and economic opportunities, some ethnic and national animosi ties are resurfacing, and global and national economic systems are under stress. Furthermore, the variability of interpersonal and familial forms is increasing, and cultural subgroups-minorities, women, the physically challenged, gays, and lesbians-are vigorously demanding their rights in societies and are becoming significant economic and political forces. Although these social-system changes affect many people, their im pact on women is especially salient. Women are at the center of most forms of family life. Whether in traditional or contemporary cultures, women's roles in child rearing, home management, and community relations have and will continue to be central, regardless of emerging and changing family structures. And, because of necessity and oppor tunity, women are increasingly engaged in paid work in and outside the home (women in most cultures have historically always worked, but often not for pay). Their influence in cultures and societies is also mounting in the social, political, and economic spheres. In technological societies, women are playing higher-level roles, though still in small numbers, in economic and policy domains. This trend is likely to acceler ate in the twenty-first century.

Performance artist and scholar E. Patrick Johnson’s provocative study examines how blackness is appropriated and performed—toward widely divergent ends—both within and outside African American culture. Appropriating Blackness develops from the contention that blackness in the United States is necessarily a politicized identity—avowed and disavowed, attractive and repellent, fixed and malleable. Drawing on performance theory, queer studies, literary analysis, film criticism, and ethnographic fieldwork, Johnson describes how diverse constituencies persistently try to prescribe the boundaries of "authentic" blackness and how performance highlights the futility of such enterprises. Johnson looks at various sites of performed blackness, including Marlon Riggs’s influential documentary Black Is . . . Black Ain’t and comedic routines by Eddie Murphy, David Alan Grier, and Damon Wayans. He analyzes nationalist writings by Amiri Baraka and Eldridge Cleaver, the vernacular of black gay culture, an oral history of his grandmother’s experience as a domestic worker in the South, gospel music as performed by a white Australian choir, and pedagogy in a performance studies classroom. By exploring the divergent aims and effects of these performances—ranging from resisting racism, sexism, and homophobia to excluding sexual dissidents from the black community—Johnson deftly analyzes the multiple significations of blackness and their myriad political implications. His reflexive account considers his own complicity, as ethnographer and teacher, in authenticating narratives of blackness.

The contributors to this book focus on collage and appropriation art, exploring the legal ramifications of such practices in an age when private companies can own culture using copyright and trademark law.

Traditional economic analysis has concentrated on production and trading as the only means by which individual agents can increase their welfare. But both the history of industrialized countries and the current experience of many developing and transition economies suggest a major alternative: the appropriation of what others have produced through coercion, rent seeking, or influence peddling. Appropriation was how nobles, bandits, and kings used to make a living. The same is true nowadays for mafia bosses, army generals, lobbyists, and corrupt officials.

It is impossible to separate the content of a book from its form. In this study, Filipe Carreira da Silva and Mónica Brito Vieira expand our understanding of the history of social and political scholarship by examining how the entirety of a book mediates and constitutes meaning in ways that affect its substance, appropriation, and reception over time. Examining the evolving form of classic works of social and political thought, including W. E. B. Du Bois’s The Souls of Black Folk, G. H. Mead’s Mind, Self, and Society, and Karl Marx’s 1844 Economic and Philosophic Manuscripts, Carreira da Silva and Brito Vieira show that making these books involved many hands. They explore what publishers, editors, translators, and commentators accomplish by offering the reading public new versions of the works under consideration, examine debates about the intended meaning of the works and discussions over their present relevance, and elucidate the various ways in which content and material form are interwoven. In doing so, Carreira da Silva and Brito Vieira characterize the editorial process as a meaning-producing action involving both collaboration and an ongoing battle for the importance of the book form to a work’s disciplinary belonging, ideological positioning, and political significance. Theoretically sophisticated and thoroughly researched, The Politics of the Book radically changes our understanding of what doing social and political theory—and its history—implies. It will be welcomed by scholars of book history, the history of social and political thought, and social and political theory.

It is not uncommon for white suburban youths to perform rap music, for New York fashion designers to ransack the world's closets for inspiration, or for Euro-American authors to adopt the voice of a geisha or shaman. But who really owns these art forms? Is it the community in which they were originally generated, or the culture that has absorbed them? While claims of authenticity or quality may prompt some consumers to seek cultural products at their source, the communities of origin are generally unable to exclude copyists through legal action. Like other works of unincorporated group authorship, cultural products lack protection under our system of intellectual property law. But is this legal vacuum an injustice, the lifeblood of American culture, a historical oversight, a result of administrative incapacity, or all of the above? Who Owns Culture? offers the first comprehensive analysis of cultural authorship and appropriation within American law. From indigenous art to Linux, Susan Scafidi takes the reader on a tour of the no-man's-land between law and culture, pausing to ask: What prompts us to offer legal protection to works of literature, but not folklore? What does it mean for a creation to belong to a community, especially a diffuse or fractured one? And is our national culture the product of Yankee ingenuity or cultural kleptomania? Providing new insights to communal authorship, cultural appropriation, intellectual property law, and the formation of American culture, this innovative and accessible guide greatly enriches future legal understanding of cultural production.