DSpace Repository

Piratical Designations: Power and Possibility in Representations of Piracy

Show simple item record

dc.contributor.advisor Reich, Jacqueline en_US
dc.contributor.advisor Gabbard, Krin en_US
dc.contributor.author High, Michael D. en_US
dc.contributor.other Department of Comparative Literary and Cultural Studies. en_US
dc.date.accessioned 2017-09-20T16:52:12Z
dc.date.available 2017-09-20T16:52:12Z
dc.date.issued 2014-12-01
dc.identifier.uri http://hdl.handle.net/11401/77209 en_US
dc.description 293 pg. en_US
dc.description.abstract This dissertation analyzes how designations and representations of piracy define, police, and challenge legitimate production and circulation. From antiquity through the present, the labeling of others as pirates has excluded the less powerful from the authorized distribution of tangible and intangible property. Such discursive exclusion not only defines piracy but also creates it, distinguishing it from other, sanctioned forms of appropriation. This exclusion generates political, legal, and cultural subjectivity, thereby allowing so-called pirates to affect the very discourses and processes from which they are excluded. The first chapter traces the term piracy from its linguistic origin in Ancient Greece to its extension to literary property in 17th century and its current use as a rhetorical weapon in the global information society. Isolating five necessary conditions, this chapter reads piracy across its maritime, intellectual, and digital manifestations, elucidating the success and failure of designations of piracy. The second chapter focuses on the destabilization of these conditions in Hollywood's representations of Caribbean piracy. Due to gaps in the historical record, historians have conflictingly interpreted Golden Age (1650-1720) pirates as criminals, rebels, and anarcho-libertarians. Following these interpretations, but adapting them to its own institutional and hegemonic needs, Hollywood has developed three types of pirates: an actively piratical villain, a reluctantly piratical hero, and a gender shifting temporary pirate. The third chapter develops a genealogy of the anti-piracy media and educational campaigns of the film and recording industries, locating in the 1980's " Home Taping is Killing Music" campaign the appeals that have dominated later campaigns. Recreating the reception of the campaigns of the early 2000's, this chapter combines humanities scholarship on copyright industry rhetoric with social science research on the efficacy of the campaigns to understand why these campaigns have failed to affect the copying norms and practices of millennials. The final chapter analyzes the history and interventions of the groups leading the Swedish Pirate Movement, examining how the Piratbyrån, The Pirate Bay, the Missionerande Kopimistsamfundet, and the Piratpartiet humorously appropriate the labels and rhetoric of copyright industry representatives to define themselves and challenge anti-piracy campaigns and legislation. en_US
dc.description.sponsorship This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree. en_US
dc.format Monograph en_US
dc.format.medium Electronic Resource en_US
dc.language.iso en_US en_US
dc.publisher The Graduate School, Stony Brook University: Stony Brook, NY. en_US
dc.subject.lcsh Communication en_US
dc.subject.other Hollywood, MPAA, Piracy, Piratebyran, Pirates, RIAA en_US
dc.title Piratical Designations: Power and Possibility in Representations of Piracy en_US
dc.type Dissertation en_US
dc.mimetype Application/PDF en_US
dc.contributor.committeemember Nganang, Patrice en_US
dc.contributor.committeemember Guins, Raiford en_US
dc.contributor.committeemember Decherney, Peter. en_US


Files in this item

This item appears in the following Collection(s)

Show simple item record

Search DSpace


Advanced Search

Browse

My Account