Abraham Drassinower presents a new way to balance the needs of creators and users of authored works. Disentangling copyright theory from its focus on the economic value of a work as a commodity, he views a work instead as a communicative act. Infringement, according to this perspective, is an unauthorized appropriation of another’s speech.

Copyright law, as conventionally understood, serves the public interest by regulating the production and dissemination of works of authorship, though it recognizes that the requirements of the public interest are in tension. Incentives for creation must be provided, but protections granted authors must not prevent the fruits of creativity and knowledge from spreading. Copyright law, therefore, should balance the needs of creators and users—or so the theory goes. Challenging this widely accepted view, What’s Wrong with Copying? disentangles copyright theory from its focus on the economic value of an authored work as a commodity or piece of property. In his analysis of copyright doctrine, Abraham Drassinower frames an author’s work as a communicative act and asserts that copyright infringement is best understood as an unauthorized appropriation of another person’s speech. According to this interpretation, copyright doctrine does not guarantee an author’s absolute rights over a work but only such rights as are consistent with both the nature of the work as speech and with the structure of the dialogue in which it participates. The rights protecting works of authorship are confined to communicative uses of the work and to uses consistent with the communicative rights of others—for example, unauthorized reproduction of a work is lawful when responding to the work requires its reproduction. What’s Wrong with Copying? offers a new way to interpret and criticize existing copyright law and to think about the relation between copyright and digital technology as well as broader juridical, social, and cultural concerns.

This book is devoted to a deceptively simple but original argument: that copying is an essential part of being human, that the ability to copy is worthy of celebration, and that, without recognizing how integral copying is to being human, we cannot understand ourselves or the world we live in. In spite of the laws, stigmas, and anxieties attached to it, the word “copying” permeates contemporary culture, shaping discourse on issues from hip hop to digitization to gender reassignment, and is particularly crucial in legal debates concerning intellectual property and copyright. Yet as a philosophical concept, copying remains poorly understood. Working comparatively across cultures and times, Marcus Boon undertakes an examination of what this word means—historically, culturally, philosophically—and why it fills us with fear and fascination. He argues that the dominant legal-political structures that define copying today obscure much broader processes of imitation that have constituted human communities for ages and continue to shape various subcultures today. Drawing on contemporary art, music and film, the history of aesthetics, critical theory, and Buddhist philosophy and practice, In Praise of Copying seeks to show how and why copying works, what the sources of its power are, and the political stakes of renegotiating the way we value copying in the age of globalization.

In Copy This Book!, Paul J. Heald draws on a vast knowledge of copyright scholarship and a deep sense of irony to explain what's gone wrong with copyright in the twenty-first century. Heald gathers extensive empirical data and clearly distills the implications of copyright laws and doctrine for public welfare. Along the way, he illustrates his findings with lighthearted references to familiar (and obscure) works and their creators (and sometimes their creators' oddball relations). Among the questions he tackles: Why are more books in print from the 1880s than the 1980s? How does copyright deter composers from writing new songs? Why are so many famous photographs unprotected orphans, and how does Getty Images get away with licensing them? What can the use of music in movies tell us about the proper length of the copyright term? How does copyright deter the production of audio books? How do publishers get away with claiming rights in public domain works and extracting unmerited royalties from the public? Heald translates piles of data, complex laws, and mysterious economics, equipping readers with the tools for judging the wisdom of past and future copyright law.

Eighteen-year-old Marisa MacCallum always believed that the man of her dreams was out there somewhere. The problem is--hes in another dimension. After the death of her father, Marisa only wants to find comfort on her daily ride through the woods of Gold Hill. But when a mysterious lightning storm suddenly strikes, she is hurled into the alternate dimension of Carnelia where she is discovered by an arrogant yet attractive nobleman, Darian Fiore. Stranded in an ancient world teeming with monsters, maniacs and medieval knights, she is forced to join Darian on a dangerous mission to negotiate peace with his cousin and archenemy, Savino da Rocha. Along the way, she starts to see Darian's softer side and unwillingly falls in love. But once she discovers that he is locked into an arranged marriage, her heart shatters. When Savino falls for her charms and demands her hand in exchange for peace, Marisa is faced with an impossible choice: marry the enemy of the man she loves or betray them both and become the catalyst for a bloody war.

The bestselling Emotion Thesaurus, often hailed as “the gold standard for writers” and credited with transforming how writers craft emotion, has now been expanded to include 56 new entries! One of the biggest struggles for writers is how to convey emotion to readers in a unique and compelling way. When showing our characters’ feelings, we often use the first idea that comes to mind, and they end up smiling, nodding, and frowning too much. If you need inspiration for creating characters’ emotional responses that are personalized and evocative, this ultimate show-don’t-tell guide for emotion can help. It includes: • Body language cues, thoughts, and visceral responses for over 130 emotions that cover a range of intensity from mild to severe, providing innumerable options for individualizing a character’s reactions • A breakdown of the biggest emotion-related writing problems and how to overcome them • Advice on what should be done before drafting to make sure your characters’ emotions will be realistic and consistent • Instruction for how to show hidden feelings and emotional subtext through dialogue and nonverbal cues • And much more! The Emotion Thesaurus, in its easy-to-navigate list format, will inspire you to create stronger, fresher character expressions and engage readers from your first page to your last.

A novel attempt to make sense of our preoccupation with copies of all kinds—from counterfeits to instant replay, from parrots to photocopies. The Culture of the Copy is a novel attempt to make sense of the Western fascination with replicas, duplicates, and twins. In a work that is breathtaking in its synthetic and critical achievements, Hillel Schwartz charts the repercussions of our entanglement with copies of all kinds, whose presence alternately sustains and overwhelms us. This updated edition takes notice of recent shifts in thought with regard to such issues as biological cloning, conjoined twins, copyright, digital reproduction, and multiple personality disorder. At once abbreviated and refined, it will be of interest to anyone concerned with problems of authenticity, identity, and originality. Through intriguing, and at times humorous, historical analysis and case studies in contemporary culture, Schwartz investigates a stunning array of simulacra: counterfeits, decoys, mannequins, and portraits; ditto marks, genetic cloning, war games, and camouflage; instant replays, digital imaging, parrots, and photocopies; wax museums, apes, and art forgeries—not to mention the very notion of the Real McCoy. Working through a range of theories on biological, mechanical, and electronic reproduction, Schwartz questions the modern esteem for authenticity and uniqueness. The Culture of the Copy shows how the ethical dilemmas central to so many fields of endeavor have become inseparable from our pursuit of copies—of the natural world, of our own creations, indeed of our very selves. The book is an innovative blend of microsociology, cultural history, and philosophical reflection, of interest to anyone concerned with problems of authenticity, identity, and originality. Praise for the first edition “[T]he author... brings his considerable synthetic powers to bear on our uneasy preoccupation with doubles, likenesses, facsimiles, replicas and re-enactments. I doubt that these cultural phenomena have ever been more comprehensively or more creatively chronicled.... [A] book that gets you to see the world anew, again.” —The New York Times “A sprightly and disconcerting piece of cultural history” —Terence Hawkes, London Review of Books “In The Culture of the Copy, [Schwartz] has written the perfect book: original and repetitive at once.” —Todd Gitlin, Los Angeles Times Book Review