CASSANDRA: Reader on Cultural Property: All Volumes

Title: Reader on Cultural Property: All Volumes

Editor: Kandis Williams

Publisher: Cassandra Press

https://cassandrapress.org/B1-Readers

Contents:

Section 1

Cheryl I. Harris, “Whiteness as Property,” Harvard Law Review 106 (1993).

Bela August Walker, “Privilege as Property,” Journal of Law & Policy 42, no. 1 (Washington University: 2013).

K.J. Green, “Intellectual Property at the Intersection of Race and Gender: Lady Sings the Blues,” American University Journal of Gender, Social Policy & the Law 16, no. 3 (2008): 365-385.

Brenna Bhandar, “Property, Law, and Race: Modes of Abstraction,” UC Irvine Law Review 4, no. 1 (2014).

Jeremy Krikler, “A Chain of Murder in the Slave Trade: A Wider Context of the Zong Massacre,” International Review of Social History 57, no. 3 (2012): 393–415. 

Anjali Vats, “Created Differences: Rhetorics and Resistance in Intellectual Property Law,” (dissertation, 2013). 

Angela P. Harris, “Race and Essentialism in Feminist Legal Theory,” Stanford Law Review 42, no. 3 (1990): 581–616. 

Sylvia Wynter, "Unsettling the Coloniality of Being/Power/Truth/Freedom: Towards the Human, After Man, Its Overrepresentation--An Argument," CR: The New Centennial Review 3, no. 3 (2003): 257-337.

J. Allen Douglas, “The ‘Most Valuable Sort of Property’: Constructing White Identity in American Law, 1880-1940,” San Diego Law Review 40, no. 3 (2003).

Anthi Atzamidaki, “Lieber Code and the Protection of Cultural Property in Times of War” (2012).

Section 2

Hal Foster, “The ‘Primitive’ Unconscious of Modern Art.” October 34 (1985): 45–70.

Joanna Ruth Evans, “Unsettled Matters, Falling Flight: Decolonial Protest and the Becoming-Material of an Imperial Statue,” TDR/The Drama Review 62, no. 3 (2018) 130–144.

Elizabeth Simpson, ed., The Spoils of War (New York: Abrams, 1997).

Alexander G. Weheliye, “Pornotropes,” Journal of Visual Culture 7, no. 1 (2008). 

Paul Wood, “Display, Restitution and World Art History: The Case of the ‘Benin Bronzes,’” Visual Culture in Britain 13, no. 1 (2012): 115-137.

Simon Gikandi, “Picasso, Africa, and the Schemata of Difference,” Modernism/Modernity 10, no. 3 (2003): 455-480.

M. D. W. Jeffreys, “The Origins of the Benin Bronzes,” African Studies 10, no. 2 (1951).

Ann M. Kakaliouras, “An Anthropology of Repatriation: Contemporary Physical Anthropological and Native American Ontologies of Practice,” Current Anthropology 53, no. 5 (2012).

“The Fowler Museum at UCLA to Launch Curatorial Research Initiative on Its African Art Collection Supported by a $600,000 Grant from the Andrew W. Mellon Foundation,” Fowler Museum at UCLA, January 30, 2019.

Association for Cultural Equity, “Repatriation of the Historic Alan Lomax Mississippi Recordings.”

Felwine Saar and Savoy Bénédicte, The Restitution of African Cultural Heritage: Toward a New Relational Ethics (Frankreich: Ministère de la Culture, 2018).

Section 3

Cristina Mislán, Rokeshia Renné Ashley, "Black(er)face and Post-Racialism: Employing Racial Difference and “Progressive” Primitivism Online," Communication, Culture and Critique, Volume 11, Issue 2 (June 2018).

Ashleigh Greene Wade, "'New Genres of Being Human': World Making through Viral Blackness," Journal of Black Studies and Research Volume 47, Issue 3 (2017).

Lee J. Matalon, "Modern Problems Require Modern Solutions: Internet Memes and Copyright" Texas Law Review Volume 98, Issue 2 (December 2019).

Anupam Chander & Madhavi Sunder, "Dancing on the Grave of Copyright?," Duke Law & Technology Review Volume 18, no. 1 (2019).

Elizabeth Alexander, 'Can you be Black and Look at This?”: Reading the Rodney King Video(s),' Public Culture Volume 7, Issue 1 (January 1994).

Babalola Titilola Aiyegbusi, “Decolonizing Digital Humanities: Africa in Perspective,” in Bodies of Information: Intersectional Feminism and the Digital Humanities (Minneapolis, MN: University of Minnesota Press, 2018).

Anthea Kraut, "'Stealing Steps' and Signature Moves: Embodied Theories of Dance as Intellectual Property," Theatre Journal Volume 62, no. 2 (2010).

Katherine McKittrick, “Diachronic Loops/Deadweight Tonnage/Bad Made Measure,” Cultural Geographies Volume 23, no. 1 (January 2016).

Jason Parham, “TikTok and the Evolution of Digital Blackface,” Wired (Conde Nast, August 4, 2020).

Lola Christina Alao, “How Tiktok Colonises Trends Started by Black Creators,” i-D, (August 28, 2020).