This work examines the experiences of African Americans under the law and how African American culture has fostered a rich tradition of legal criticism. Moving between novels, music, and visual culture, the essays present race as a significant factor within legal discourse. Essays examine rights and sovereignty, violence and the law, and cultural ownership through the lens of African American culture. The volume argues that law must understand the effects of particular decisions and doctrines on African American life and culture and explores the ways in which African American cultural production has been largely centered on a critique of law.

African American language is central to the teaching of linguistics and language in the United States, and this book, in the series Studies in the Social and Cultural Foundations of Language, is aimed specifically at upper level undergraduates and graduates. It covers the entire field - grammar, speech, and verbal genres, and it also discusses the various historical strands that need to be identified in order to understand the development of African American English. The first section deals with the social and cultural history of the American South, the second with urban and northern black popular culture, and the third with policy issues. Morgan examines the language within the context of the changing and complex African American and general American speech communities, and their culture, politics, art and institutions. She also covers the current heated political and educational debates about the status of the African American dialect.

"This is a rich and innovative synthesis of a broad range of theoretical perspectives. It elevates academic discussions of Chicano literature and cultural production to new levels of sophistication."—George Lipsitz, author of Time Passages "One of the most important works in Chicano cultural criticism to have been written in the last twenty years. Its critique of American legal discourse is rigorous, piquant, and dazzling in its elegance."—Ramón Gutiérrez, author of When Jesus Came the Corn Mothers Went Away "Offers a new perspective on Chicano cultural practices by bringing together for the first time critical legal studies, film and media studies, and cultural studies. His work is sure to draw a whole new readership to the field of Chicano and Chicana studies. Scholars will find this a wonderfully profitable book."—Ramon Saldivar, Stanford University

This collection of comparative critical and theoretical essays examines James Baldwin and Toni Morrison's reciprocal literary relationship. By reading these authors side-by-side, this collection forges new avenues of discovery and interpretation related to their representations of African American and American literature and cultural experience.

"Richard Schur offers a provocative view of contemporary African American cultural politics and the relationship between African American cultural production and intellectual property law." ---Mark Anthony Neal, Duke University "Whites used to own blacks. Now, they accomplish much the same thing by insisting that they 'own' ownership. Blacks shouldn't let them. A culture that makes all artists play by its rules will end up controlling new ideas and stifling change. Richard Schur's fine book explains why." ---Richard Delgado, Seattle University 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. Parodies of Ownership offers a broad analysis of post--Civil Rights era culture and provides the necessary context for understanding contemporary debates within American studies, African American studies, intellectual property law, African American literature, art history, and hip-hop studies. Weaving together law, literature, art, and music, Schur deftly clarifies the conceptual issues that unify contemporary African American culture, empowering this generation of artists, writers, and musicians to criticize how racism continues to affect our country. Richard L. Schur is Director, Interdisciplinary Studies Center, and Associate Professor of Interdisciplinary Studies at Drury University. Visit the author's website: http://www2.drury.edu/rschur/index.htm. Cover illustration: Atlas, by Fred Wilson. © Fred Wilson, courtesy Pace Wildenstein, New York.

A Companion to African-American Studies is an exciting andcomprehensive re-appraisal of the history and future of AfricanAmerican studies. Contains original essays by expert contributors in the field ofAfrican-American Studies Creates a groundbreaking re-appraisal of the history and futureof the field Includes a series of reflections from those who establishedAfrican American Studies as a bona fide academic discipline Captures the dynamic interaction of African American Studieswith other fields of inquiry.

"Richard Schur offers a provocative view of contemporary African American cultural politics and the relationship between African American cultural production and intellectual property law." ---Mark Anthony Neal, Duke University "Whites used to own blacks. Now, they accomplish much the same thing by insisting that they 'own' ownership. Blacks shouldn't let them. A culture that makes all artists play by its rules will end up controlling new ideas and stifling change. Richard Schur's fine book explains why." ---Richard Delgado, Seattle University 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. Parodies of Ownership offers a broad analysis of post--Civil Rights era culture and provides the necessary context for understanding contemporary debates within American studies, African American studies, intellectual property law, African American literature, art history, and hip-hop studies. Weaving together law, literature, art, and music, Schur deftly clarifies the conceptual issues that unify contemporary African American culture, empowering this generation of artists, writers, and musicians to criticize how racism continues to affect our country. Richard L. Schur is Director, Interdisciplinary Studies Center, and Associate Professor of Interdisciplinary Studies at Drury University. Visit the author's website: http://www2.drury.edu/rschur/index.htm. Cover illustration: Atlas, by Fred Wilson. © Fred Wilson, courtesy Pace Wildenstein, New York.