The kinds of ideas, technologies, identification of genes, even manipulations of life forms that can be owned and exploited for profit by giant corporations is a vital issue for our times. The author argues that this Western-inspired, unprecedented widening of intellectual property concepts does not in fact stimulate human creativity and the generation of kowledge. Instead, it is being exploited by transnational corporations to increase their profits at the expense of the health of ordinary people and of the age-old knowledge and independence of the world's farmers. Intellectual protection is being transformed into corporate plunder. Little wonder popular feeling runs so high against the WTO that polices this new intellectual order, and the pharmaceutical, biotech and other corporations that benefit from it.

In the scramble for Africa, Britain took a lion’s share of the continent. It occupied and controlled vast territories, including the Uganda Protectorate – which it ruled for 68 years. Early administrators in the region encountered the progressive kingdom of Buganda, which they incorporated into the British Empire. Under the guise of protection, indirect rule and patronage, Britain overran, plundered and disempowered the kingdom’s traditional institutions. On liquidation of the Empire, Buganda was coaxed into a problematic political order largely dictated from London. Today, 56 years after independence, the kingdom struggles to rediscover itself within Uganda’s fragile politics. Based on newly de-classified records, this book reconstructs a history of the machinations underpinning British imperial interests in (B)Uganda and the personalities who embodied colonial rule. It addresses Anglo-Uganda relations, demonstrating how Uganda’s politics reflects its colonial past, and the forces shaping its future. It is a far-reaching examination of British rule in (B)uganda, questioning whether it was designed for protection, for patronage or for plunder.

'One of the most important books I've read in years' Brian Eno We are losing the commons. Austerity and neoliberal policies have depleted our shared wealth; our national utilities have been sold off to foreign conglomerates, social housing is almost non-existent, our parks are cordoned off for private events and our national art galleries are sponsored by banks and oil companies. This plunder deprives us all of our common rights, recognized as far back as the Magna Carta and the Charter of the Forest of 1217, to share fairly and equitably in our public wealth. Guy Standing leads us through a new appraisal of the commons, stemming from the medieval concept of common land reserved in ancient law from marauding barons, to his modern reappraisal of the resources we all hold in common - a brilliant new synthesis that crystallises quite how much public wealth has been redirected to the 1% in recent decades through the state-approved exploitation of everything from our land to our state housing, health and benefit systems, to our justice system, schools, newspapers and even the air we breathe. Plunder of the Commons proposes a charter for a new form of commoning, of remembering, guarding and sharing that which belongs to us all, to slash inequality and soothe our current political instability.

This book situates protection at the centre of the global history of empires, thus advancing a new perspective on world history.

For the second time this decade, the U.S. economy id sinking into a recession due to the collapse of a financial bubble. The most recent calamity will lead to a downturn deeper and longer than the stock market crash of 2001. Dean Baker's Plunder and Blunder chronicles the growth and collapse of the stock and housing bubbles and explains how policy blunders and greed led to the catastrophic --but completely predictable --market meltdowns. An expert guide to recent economic history, Baker offers policy prescriptions to help prevent similar financial disasters.

One of The Christian Science Monitor's Ten Best Books of May "A highly original work of history . . . [Saltzman] has written a distinctive study that transcends both art and history and forces us to explore the connections between the two.” —Roger Lowenstein, The Wall Street Journal A captivatingstudy of Napoleon’s plundering of Europe’s art for the Louvre, told through the story of a Renaissance masterpiece seized from Venice Cynthia Saltzman’s Plunder recounts the fate of Paolo Veronese’s Wedding Feast at Cana, a vast, sublime canvas that the French, under the command of the young Napoleon Bonaparte, tore from a wall of the monastery of San Giorgio Maggiore, on an island in Venice, in 1797. Painted in 1563 during the Renaissance, the picture was immediately hailed as a masterpiece. Veronese had filled the scene with some 130 figures, lavishing color on the canvas to build the illusion that the viewers’ space opened onto a biblical banquet taking place on a terrace in sixteenth-century Venice. Once pulled from the wall, the Venetian canvas crossed the Mediterranean rolled on a cylinder; soon after, artworks commandeered from Venice and Rome were triumphantly brought into Paris. In 1801, the Veronese went on exhibition at the Louvre, the new public art museum founded during the Revolution in the former palace of the French kings. As Saltzman tells the larger story of Napoleon’s looting of Italian art and its role in the creation of the Louvre, she reveals the contradictions of his character: his thirst for greatness—to carry forward the finest aspects of civilization—and his ruthlessness in getting whatever he sought. After Napoleon’s 1815 defeat at Waterloo, the Duke of Wellington and the Allies forced the French to return many of the Louvre’s plundered paintings and sculptures. Nevertheless, The Wedding Feast at Cana remains in Paris to this day, hanging directly across from the Mona Lisa. Expertly researched and deftly told, Plunder chronicles one of the most spectacular art appropriation campaigns in history, one that sheds light on a seminal historical figure and the complex origins of one of the great museums of the world.