The Culture Of Property

This history of the idea of “neighborhood” in a major American city examines the transition of Atlanta, Georgia, from a place little concerned with residential segregation, tasteful surroundings, and property control to one marked by extreme concentrations of poverty and racial and class exclusion. Using Atlanta as a lens to view the wider nation, LeeAnn Lands shows how assumptions about race and class have coalesced with attitudes toward residential landscape aesthetics and home ownership to shape public policies that promote and protect white privilege. Lands studies the diffusion of property ideologies on two separate but related levels: within academic, professional, and bureaucratic circles and within circles comprising civic elites and rank-and-file residents. By the 1920s, following the establishment of park neighborhoods such as Druid Hills and Ansley Park, white home owners approached housing and neighborhoods with a particular collection of desires and sensibilities: architectural and landscape continuity, a narrow range of housing values, orderliness, and separation from undesirable land uses—and undesirable people. By the 1950s, these desires and sensibilities had been codified in federal, state, and local standards, practices, and laws. Today, Lands argues, far more is at stake than issues of access to particular neighborhoods, because housing location is tied to the allocation of a broad range of resources, including school funding, infrastructure, and law enforcement. Long after racial segregation has been outlawed, white privilege remains embedded in our culture of home ownership.

This history of the idea of “neighborhood” in a major American city examines the transition of Atlanta, Georgia, from a place little concerned with residential segregation, tasteful surroundings, and property control to one marked by extreme concentrations of poverty and racial and class exclusion. Using Atlanta as a lens to view the wider nation, LeeAnn Lands shows how assumptions about race and class have coalesced with attitudes toward residential landscape aesthetics and home ownership to shape public policies that promote and protect white privilege. Lands studies the diffusion of property ideologies on two separate but related levels: within academic, professional, and bureaucratic circles and within circles comprising civic elites and rank-and-file residents. By the 1920s, following the establishment of park neighborhoods such as Druid Hills and Ansley Park, white home owners approached housing and neighborhoods with a particular collection of desires and sensibilities: architectural and landscape continuity, a narrow range of housing values, orderliness, and separation from undesirable land uses—and undesirable people. By the 1950s, these desires and sensibilities had been codified in federal, state, and local standards, practices, and laws. Today, Lands argues, far more is at stake than issues of access to particular neighborhoods, because housing location is tied to the allocation of a broad range of resources, including school funding, infrastructure, and law enforcement. Long after racial segregation has been outlawed, white privilege remains embedded in our culture of home ownership.

What kind of property is art? Is it property at all? Jordanna Bailkin's The Culture of Property offers a new historical response to these questions, examining ownership disputes over art objects and artifacts during the crisis of liberalism in the United Kingdom. From the 1870s to the 1920s, Britons fought over prized objects from ancient gold ornaments dug up in an Irish field to a portrait of the Duchess of Milan at the National Gallery in London. They fought to keep these objects in Britain, to repatriate them to their points of origin, and even to destroy them altogether. Bailkin explores these disputes in order to investigate the vexed status of property within modern British politics as well as the often surprising origins of ongoing institutional practices. Bailkin's detailed account of these struggles illuminates the relationship between property and citizenship, which has constituted the heart of liberal politics as well as its greatest weakness. Drawing on court transcripts, gallery archives, exhibition reviews, private correspondence—and a striking series of cartoons and photographs—The Culture of Property traverses the history of gender, material culture, urban life, colonialism, Irish and Scottish nationalism, and British citizenship. This fascinating book challenges recent scholarship in museum studies in light of ongoing culture wars. It should be required reading for cultural policy makers, museum professionals, and anyone interested in the history of art and Britain.

Kevin Hart traces the vast literary legacy and reputation of Samuel Johnson. Through detailed analyses of the biographers, critics and epigones who carefully crafted and preserved Johnson's life for posterity, Hart explores the emergence of what came to be called 'The Age of Johnson'. Hart shows how late seventeenth- and early eighteenth-century Britain experienced the emergence and consolidation of a rich and diverse culture of property. In dedicating himself to Johnson's death, Hart argues, James Boswell turned his friend into a monument, a piece of public property. Through subtle analyses of copyright, forgery and heritage in eighteenth-century life, this study traces the emergence of competing forms of cultural property: a Hanoverian politics of property engages a Jacobite politics of land. Kevin Hart places Samuel Johnson within this rich cultural context, demonstrating how Johnson came to occupy a place at the heart of the English literary canon.

Logos, trademarks, national insignia, brand names, celebrity images, design patents, and advertising texts are vibrant signs in a consumer culture governed by a regime of intellectual property laws. In The Cultural Life of Intellectual Properties, professor of law and cultural anthropologist Rosemary J. Coombe brings an illuminating ethnographic approach to an analysis of authorship and the role law plays in shaping the various meanings that animate these protected properties in the public sphere. Although such artifacts are ubiquitous in contemporary culture, little attention has been paid to the impact of intellectual property law in everyday life or to how ownership of specific intellectual properties is determined and exercised. Drawing on a wide range of cases, disputes, and local struggles, Coombe examines these issues and dismantles the legal assumption that the meaning and value of a text or image is produced exclusively by an individual author or that authorship has a single point of origin. In the process, she examines controversies that include the service of turbanned Sikhs in the Royal Canadian Mounted Police and the use of the term Olympic in reference to the proposed gay Olympic Games. Other chapters discuss the appropriation of such celebrity images as the Marx brothers, Judy Garland, Dolly Parton, James Dean, and Luke Skywalker; the conflict over team names such as the Washington Redskins; and the opposition of indigenous peoples to stereotypical Native American insignia proffered by the entertainment industry. Ultimately, she makes a case for redefining the political in commodified cultural environments. Significant for its insights into the political significance of current intellectual property law, this book also provides new perspectives on debates in cultural anthropology, cultural studies, and political theory. It will therefore interest both a wide scholarly and a general audience.

What happens when ritual practitioners from a small Pacific nation make an intellectual property claim to bungee jumping? When a German company successfully sues to defend its trademark of a Māori name? Or when UNESCO deems ephemeral sand drawings to be "intangible cultural heritage"? In Treasured Possessions, Haidy Geismar examines how global forms of cultural and intellectual property are being redefined by everyday people and policymakers in two markedly different Pacific nations. The New Hebrides, a small archipelago in Melanesia managed jointly by Britain and France until 1980, is now the independent nation-state of Vanuatu, with a population that is more than 95 percent indigenous. New Zealand, by contrast, is a settler state and former British colony that engages with its entangled Polynesian and British heritage through an ethos of "biculturalism" that is meant to involve an indigenous population of just 15 percent. Alternative notions of property, resources, and heritage—informed by distinct national histories—are emerging in both countries. These property claims are advanced in national and international settings, but they emanate from specific communities and cultural landscapes, and they are grounded in an awareness of ancestral power and inheritance. They reveal intellectual and cultural property to be not only legal constructs but also powerful ways of asserting indigenous identities and sovereignties.

The nineteenth century witnessed a series of revolutions in the production and circulation of images. From lithographs and engraved reproductions of paintings to daguerreotypes, stereoscopic views, and mass-produced sculptures, works of visual art became available in a wider range of media than ever before. But the circulation and reproduction of artworks also raised new questions about the legal rights of painters, sculptors, engravers, photographers, architects, collectors, publishers, and subjects of representation (such as sitters in paintings or photographs). Copyright and patent laws tussled with informal cultural norms and business strategies as individuals and groups attempted to exert some degree of control over these visual creations. With contributions by art historians, legal scholars, historians of publishing, and specialists of painting, photography, sculpture, and graphic arts, this rich collection of essays explores the relationship between intellectual property laws and the cultural, economic, and technological factors that transformed the pictorial landscape during the nineteenth century. This book will be valuable reading for historians of art and visual culture; legal scholars who work on the history of copyright and patent law; and literary scholars and historians who work in the field of book history. It will also resonate with anyone interested in current debates about the circulation and control of images in our digital age.

Gifts, symbolic values and strategies -- Women' s access to immobile property -- Women, law and property in colonial contexts -- Women and property in transitory zones -- Synthesis.