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首页> 外文学位 >Created Differences: Rhetorics of Race and Resistance in Intellectual Property Law.
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Created Differences: Rhetorics of Race and Resistance in Intellectual Property Law.

机译：造成的差异：知识产权法中种族与抵抗的修辞。

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摘要

Intellectual property law, specifically that governing trademarks, copyrights, and patents, is increasingly dominated by a narrative of "theft" in which racialized thieves steal knowledge produced by white creators, disrupting global flows of information. Because of intellectual property's increasingly important relationship to race and production and ownership of knowledge, trademarks, copyrights, and patents are important cultural texts through which racial formation unfolds and racial projects are carried out. In other words, racial categories are created and formed through intellectual property discourses and policies which reflect the racialized rhetorics of the legal regime used to shape policy. Yet, erased and silenced from racialized narratives of intellectual property infringement are the global inequalities which facilitate the private ownership of knowledge in the first place. As this project demonstrates, marginalized groups have recognized the problematic articulations of intellectual property rights with racial difference, finding rhetorical and performative ways to contest the racialized narratives of infringement that continue to justify Western intellectual property regimes.;This project develops rhetorical disidentification, a concept built on the work of performance and gender studies scholar Jose Esteban Muñoz, as a means of theorizing how marginalized subjects act resistively within the boundaries of intellectual property law to unmake the links between racial difference and intellectual property rights infringement. Rhetorical disidentification with intellectual property law involves simultaneously complying with and contesting legal discourses in a manner which forces the acknowledgement of otherwise invisible histories of race in defining the public domain and articulating processes of knowledge production. Through their disidentificatory acts, marginalized subjects confront racialized representations of infringement, casting white creators as thieves of indigenous knowledge and illegal occupiers of information that should be held collectively in the public domain. Rhetorically and performatively intervening to counter the racialized narratives that dominate intellectual property law is a resistive act which reconfigures understandings of trademarks, copyrights, and patents to account for histories of difference, asserts the agency of racial Others, and creates space for marginalized rhetors to speak back to legal regimes. While this project focuses on rhetorical disidentification within legal regimes related to knowledge production, the concept more broadly offers a theoretical and methodological tool for rhetoricians to study resistance by marginalized subjects that may not at first glance appear as resistance.;The concept of rhetorical disidentification is developed through three case studies, Andy Warhol's Mammy, Alice Randall's The Wind Done Gone, and India's Traditional Knowledge Digital Library (TKDL). In each case, marginalized subjects seize agency in areas of law in which their experiences are often unrecognized, using rhetorical and performative tactics to critique intellectual property law's core assumptions through the retelling of histories of race and coloniality. Through Mammy, jazz singer Sylvia Williams disidentifies with trademark law's history of protecting histories which valorize whiteness by enacting her objections to Quaker Oats' ownership and zealous enforcement of the Aunt Jemima logo. For Williams' the trademark unjustly asserts ownership over experience of black domestic servitude in the South through the metonymic symbol of a pancake maker. Simultaneously, Warhol disidentifies with consumer culture's often monolithic and unthinking representation of the past by collecting and displaying racist Americana. In The Wind Done Gone, Randall creates a disidentificatory parody of Gone with the Wind which, when ultimately deemed not to infringe the Margaret Mitchell estate's copyright in the legal case Suntrust Bank v. Houghton Mifflin, serves as a testament to the power of novels and public trials in reconstituting infringement and identities in the American South. Finally, through India's TKDL, a digital database of indigenous knowledge, Indian government officials, Indians, and Indian Americans disidentify with colonial systems of knowledge collection, asserting their authority as marginalized subjects to classify and organize information. The TKDL's resistive rewriting of colonial power structures contests grants of intellectual property rights in yoga and asserts the role of South Asians in the production of knowledge. Taken together, these case studies not only demonstrate how marginalized subjects confront intellectual property law's understandings of race but also open space for other rhetors to intervene in legal narratives about race and knowledge, creating productive spaces and alternatives for thinking about future understandings of trademarks, copyrights, and patents.
机译：知识产权法，特别是管辖商标，版权和专利的法律，越来越多地被“盗窃”的叙述所支配，在这种叙述中，种族盗贼窃取白人创造者生产的知识，从而破坏了全球信息流。由于知识产权与种族，生产和知识所有权之间越来越重要的关系，因此商标，版权和专利是重要的文化文本，通过这种文本，种族形成得以展开，种族计划得以开展。换句话说，种族类别是通过知识产权的话语和政策来创建和形成的，这些话语和政策反映了用来制定政策的法律制度的种族化修辞。然而，种族歧视对知识产权侵权的叙述已被抹杀和沉默，这是全球性的不平等现象，它首先促进了知识的私有化。正如该项目所表明的那样，边缘化群体已经认识到存在种族差异的知识产权问题，提出了反抗种族主义的侵权叙事的论据和表演方式，这些论断继续证明西方知识产权制度是合理的。建立在表演和性别研究学者何塞·埃斯特万·穆尼兹（Jose EstebanMuñoz）的基础上，以此作为理论化边缘化主体如何在知识产权法范围内进行反抗行动以消除种族差异与知识产权侵权之间联系的一种手段。修辞上与知识产权法的区别涉及以某种方式同时遵守和争辩法律话语，这种方式迫使人们在定义公共领域和阐明知识生产过程时认识到其他不可见的种族历史。边缘化主体通过其身份歧视行为面对种族主义的侵权表示，将白人创造者当成是本地知识的窃贼和应在公共领域集体持有的非法信息占用者。进行修辞性和表演性干预，以对抗支配知识产权法的种族化叙述，这是一种抵制性行为，它重新配置了对商标，版权和专利的理解，以解释差异的历史，主张种族他人的代理权，并为边缘化的言论家创造了说话的空间回到法律制度。尽管该项目侧重于与知识生产相关的法律制度中的修辞歧视，但该概念更广泛地为修辞学家提供了一种理论和方法上的工具，以供修辞学家研究那些乍看之下似乎不会表现为抵抗力的边缘化主体的抵抗力;通过三个案例研究开发出来的，其中包括安迪·沃霍尔（Andy Warhol）的《妈咪》（Ammy），爱丽丝·兰德尔（Alice Randall）的《风已逝》和印度的传统知识数字图书馆（TKDL）。在每种情况下，被边缘化的主体都在其经验通常未被认可的法律领域中占有代理权，通过重新叙述种族和殖民历史来使用修辞和表演策略来批判知识产权法的核心假设。爵士乐歌手西尔维亚·威廉姆斯（Sylvia Williams）通过玛米（Mammy），与商标法保护历史的历史形成了鲜明的对比，该历史通过反对异教徒桂格（Quaker Oats）的所有权和对杰米玛（Juntima）姨妈徽标的热心执行而使白度增值。对于威廉姆斯来说，该商标通过煎饼制造商的代名词象征着不公正地主张拥有南方黑人家庭奴役经历的所有权。同时，沃霍尔通过收集和展示种族主义的美国人来区分消费文化对过去通常是单片的，没有思想的表示。兰德尔（Randall）在《乱世佳人》中创造了与《乱世佳人》的区别性模仿，最终被认为不侵犯玛格丽特·米切尔（Margaret Mitchell）房地产在Suntrust Bank v。Houghton Mifflin诉讼案中的版权，证明了小说和在美国南部重建侵权和身份的公开审判。最后，通过印度的TKDL（一个土著知识的数字数据库），印度政府官员，印第安人和印第安人与殖民地的知识收集系统脱节，将其权力定为分类和组织信息的边缘化主体。 TKDL对殖民权力结构的抵制性改写，使瑜伽获得了知识产权保护，并宣称南亚人在知识生产中的作用。总而言之，这些案例研究不仅展示了边缘化的主体如何面对知识产权法对种族的理解，而且还为其他修辞者介入有关种族和知识的法律叙述提供了空间，为思考商标的未来理解创造了生产空间和替代方案，版权和专利。

著录项

  • 作者

    Vats, Anjali.;

  • 作者单位

    University of Washington.;

  • 授予单位 University of Washington.;
  • 学科 Law.;Language Rhetoric and Composition.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 206 p.
  • 总页数 206
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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