This book is the outcome of a series of lectures and workshops held at St. Cross College and All Souls College, Oxford in late 2004 on the ethics and politics of collecting and owning cultural artefacts.

The 2nd Edition of Who Owns You, David Koepsell’swidely acclaimed exploration of the philosophical and legalproblems of patenting human genes, is updated to reflect the mostrecent changes to the cultural and legal climate relating to thepractice of gene patenting. Lays bare the theoretical assumptions that underpin theinjustice of patents on unmodified genes Makes a unique argument for a commons-by-necessity, explaininghow parts of the universe are simply not susceptible to monopolyclaims Represents the only work that attempts to first define thenature of the genetic objects involved before any ethicalconclusions are reached Provides the most comprehensive accounting of the variouslawsuits, legislative changes, and the public debate surroundingAMP v. Myriad, the most significant case regarding genepatents

The biggest question in the world of art and culture concerns the return of property taken without consent. Throughout history, conquerors or colonial masters have taken artefacts from subjugated peoples, who now want them returned from museums and private collections in Europe and the USA. The controversy rages on over the Elgin Marbles, and has been given immediacy by figures such as France's President Macron, who says he will order French museums to return hundreds of artworks acquired by force or fraud in Africa, and by British opposition leader Jeremy Corbyn, who has pledged that a Labour government would return the Elgin Marbles to Greece. Elsewhere, there is a debate in Belgium about whether the Africa Museum, newly opened with 120,000 items acquired mainly by armed forces in the Congo, should close. Although there is an international convention dated 1970 that deals with the restoration of artefacts stolen since that time, there is no agreement on the rules of law or ethics which should govern the fate of objects forcefully or lawlessly acquired in previous centuries. Who Owns History? delves into the crucial debate over the Elgin Marbles, but also offers a system for the return of cultural property based on human rights law principles that are being developed by the courts. It is not a legal text, but rather an examination of how the past can be experienced by everyone, as well as by the people of the country of origin.

This volume investigates emerging theories in the psychological basis of ownership. Although it has been a neglected area of developmental psychology research, ownership is of broad significance in childrens' lives. Sharing, borrowing, buying, trading and stealing - the abstract concepts of ownership are reasoned early in childhood. Editors Ori Friedman, associate professor of psychology, University of Waterloo, and Hildy Ross, professor emeritus, University of Waterloo, argue that the study of ownership and its development provide important new directions for psychological study. Contributing authors outline the new research from perspectives drawn from the various subfields of developmental psychology. Topics include: Property in Nonhuman Primates Possessional and Morality in Early Development Early Representations of Ownership Property Rights and the Resolution of Social Conflict Ownership as a Social Status Ownership and Object History Exploring Ownership in a Developmental Context This is the 132nd volume of the Jossey-Bass quarterly report series New Directions for Child and Adolescent Development. The mission of this series is to provide scientific and scholarly presentations on cutting edge issues and concepts in the field of child and adolescent development. Each volume focuses on a specific new direction or research topic, and is edited by an expert or experts on that topic.

Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.

A collection of essays, this work investigates the ways that commodifying artifacts fuels the destruction of archaeological heritage and considers what can be done to protect it. It argues that the antiquities market impacts cultural heritage around the world and is a burgeoning global crisis.

Public and private institutions in the United States have long been home to a variety of art works, antiquities, and ethnological materials. For years, these collections have been seen as important archives that allow present and future generations to enjoy, appreciate, and value the art of all cultures. The past decade, however, has seen major changes in law and public policy and an active, ongoing debate over legal and ethical issues affecting the ownership of art and other cultural property. Contributors to Who Owns the Past? include legal scholars, museum professionals, anthropologists, archaeologists, and collectors. In clear, nontechnical language, they provide a comprehensive overview of the development of cultural property law and practices, as well as recent case law affecting the ability of museums and private collectors to own art from other countries. Topics covered include rights to property, ethical ownership, the public responsibilities of museums, threats to art from war, pillage, and development, and international cooperation to preserve collections in the developing world. Engaging all perspectives on this debate, Who Owns the Past? challenges all who care about the arts to work together toward policies that consider traditional American interests in securing cultural resources and respect international concerns over loss of heritage.