Intellectual Property

William T. Gallagher is Professor at the Golden Gate University, USA and Santa Clara University, USA.

Part 1 Social and Cultural Histories of Intellectual Property; Chapter 1 The Genius and the Copyright: Economic and Legal Conditions of the Emergence of the ‘Author’, Martha Woodmansee; Chapter 2 Alexander Hamilton’s Alternative: Technology Piracy and the Report on Manufactures, Doron Ben-Atar; Chapter 3 Working Knowledge: Trade Secrets, Restrictive Covenants in Employment, and the Rise of Corporate Intellectual Property, 1800–1920, L. Fisk Catherine; Chapter 4 Reconstructing the Soul of Elvis: The Social Development and Legal Maintenance of Elvis Presley as Intellectual Property, David Wall; Chapter 5 Intellectual Property Piracy: The Narrative Construction of Deviance, Debora Halbert; Part 2 Globalization and the Politics of Intellectual Property; Chapter 6 Industry Strategies for Intellectual Property and Trade: The Quest for Trips, and Post-Trips Strategies, K. Sell Susan; Chapter 7 Intellectual Property, Corporate Strategy, Globalisation: Trips in Context, Peter Drahos, John Braithwaite; Chapter 8 Benefit Sharing for All?: Bioprospecting NGOs, Intellectual Property Rights, New Governmentalities, Kristin Peterson; Chapter 9 Neocolonialism, Anticommons Property, and Biopiracy in the (Not-So-Brave) New World Order of International Intellectual Property Protection, Aoki Keith; Chapter 10 Coding Free Software, Coding Free States: Free Software Legislation and the Politics of Code in Peru, Chan Anita; Part 3 Intellectual Property and the Public Domain; Chapter 11 The Second Enclosure Movement and the Construction of the Public Domain, Boyle James; Chapter 12 Nine-Tenths of the Law: The English Copyright Debates and the Rhetoric of the Public Domain, Rose Mark; Chapter 13 Theorizing the Public Domain: Copyright and the Development of A Cultural Commons, Debora Halbert; Part 4 Appropriating Indigenous Culture and Knowledge; Chapter 14 Can Culture Be Copyrighted? 1 My research on copyright and cultural appropriation was made possible by the financial support of Harry C.