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"Piracy Fiction."
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“The Whore That Lost Everything”: The Tyranny of Law and the Queer Feminisation of Soft Power as Explored in Black Sails
is an historical drama written as a prequel to
. It did this by weaving the history surrounding the Pirate Republic of New Providence Island around fiction to create a compelling narrative exploring the force and evils of law and empire, and the lengths that some will go to in order to resist and be free. This paper will examine
as a social discourse text in order to critique the impact and tyranny, yet inevitability, of the law, and how soft power is feminised but requires queerness to be effective.
Journal Article
Shadow captain
\"Adrana and Fura Ness have finally been reunited, but both have changed beyond recognition. Once desperate for adventure, now Adrana is haunted by her enslavement on the feared pirate Bosa Sennen's ship. And rumors of Bosa Sennen's hidden cache of treasure have ensnared her sister, Fura, into single-minded obsession. Neither is safe; because the galaxy wants Bosa Sennen dead and they don't care if she's already been killed. They'll happily take whoever is flying her ship\"-- Provided by publisher.
Book
Untangling Fact, Fiction, Fantasy—and Outright Lies: Compilation Films as Archival Piracy
Films compiled from archival footage unsettle assumptions about film and photography’s ability to capture truth—and the archive’s ability to contain it—through a critical practice of pirating. Sandhya Suri’s Around India with a Movie Camera, Rona Sela’s Looted and Hidden: Palestinian Archives in Israel, and Kamal Aljafari’s Recollection manipulate images from archives to expose the technical and institutional manipulations within colonial propaganda, posing questions about how and when visual evidence becomes truth, with implications for mobile phone eyewitness videos today—and also deepfakes in viral disinformation.
Journal Article
Precarity's Pirate: The Fictive Afterlives of Idemitsu Sazō
When the famously nationalistic Japanese author Hyakuta Naoki published his best-selling novel A Man Called Pirate (Kaizoku to yobareta otoko) in 2012, which subsequently became both a manga and a major film, he renewed interest in the midcentury oil baron Idemitsu Sazō, using him as the model for the novel's lead character. Hyakuta claims to have aimed to inspire the country, reeling from decades of slow growth as well as the 2011 tsunami and nuclear disaster, by featuring a visionary Japanese leader motivated primarily by love for his employees and his country. This article traces the efforts across these media to render Idemitsu as a credible character, particularly in dealing with his real-life family as well as his “family” of employees. It argues that the partial disappearance of the “real” Idemitsu in these versions of Hyakuta's novel allowed the production of a more believable one—made believable in part because of the essential Japanese values that he ostensibly represents, even as the constraints on these representations hint at fissures and tensions in contemporary political use of biographical fiction and film.
Journal Article
Pink Pirates
Today, copyright is everywhere, surrounded by a thicket of no trespassing signs that mark creative work as private property. Caren Irr'sPink Piratesasks how contemporary novelists-represented by Ursula Le Guin, Andrea Barrett, Kathy Acker, and Leslie Marmon Silko-have read those signs, arguing that for feminist writers in particular copyright often conjures up the persistent exclusion of women from ownership. Bringing together voices from law schools, courtrooms, and the writer's desk, Irr shows how some of the most inventive contemporary feminist novelists have reacted to this history.
Explaining the complex, three-century lineage of Anglo-American copyright law in clear, accessible terms and wrestling with some of copyright law's most deeply rooted assumptions, Irr sets the stage for a feminist reappraisal of the figure of the literary pirate in the late twentieth century-a figure outside the restrictive bounds of U.S. copyright statutes.
Going beyond her readings of contemporary women authors, Irr's exhaustive history of how women have fared under intellectual property regimes speaks to broader political, social, and economic implications and engages digital-era excitement about the commons with the most utopian and materialist strains in feminist criticism.
eBook
Pirates, Bloodhounds, and White Heirs
At present, Sedgwick is only sparingly considered part of the subsequent \"transatlantic print culture of the Haitian revolution\" that Marlene L. Daut recounts in her 2015 field-shaping book, Tropics of Haiti: Race and the Literary History of the Haitian Revolution in the Atlantic World, 1789-1865 (3).3 Melissa Homestead has introduced the crucial idea that Sedgwick \"insistently represented cultural and economic ties between the USA and the Caribbean,\" but she stops short of further exploration and, I will show, casts those \"ties\" in overly neutral terms (\"Shape\" 192).4 The \"ties\" Sedgwick highlights include US wealth stolen from Haiti, diasporic culture imported from Haiti, antislavery sentiment powered by Haiti, and, most complicatedly, proslavery sympathies justified as a response to Haiti. From her perspective, this free Black republic was primarily a source of American wealth, a shaper of its culture, and a threat to its prevailing white hegemony. [...]she writes in the discourse of \"manifest domesticity,\" in Amy Kaplan's term, wherein America is constituted via real and imagined domination over Haiti.5 This dynamic is strongest in a trio of works published in succession: the canonical Hope Leslie; or, Early Times in the Massachusetts (1827), the children's story \"Dogs\" (1828), and the pirate novel-of-manners Clarence; or, A Tale of Our Own Times (1830). In practice, she notes, transcolonial pirates also remained vital to enslavement as a legal and illicit trade.7 Bloodhounds, Johnson argues, serve as complementary figures because they symbolized and materialized the \"proslavery dimensions of transcolonial encounters\" that colonial powers enacted to terrorize Black subjects (Fear 21). [...]the pirate or bloodhound could embody two competing post-revolutionary anxieties that also shape Sedgwick's fiction: the proliferation of transcolonial revolution as well as the expansion of transcolonial enslavement.
Journal Article
Chapter 3. DRM and Consumers
In chapter 3 of Library Technology Reports (vol. 56, no. 1), “Digital Rights Management and Books,” Roncevic provides an overview of DRM from the consumers’ perspective, sharing common frustrations with DRM systems. Roncevic examines how the publishing industry can meet the growing consumer demand for digital content while combatting issues of e-book piracy.
Journal Article
Using Social Norms to Regulate Fan Fiction and Remix Culture
Hetcher first develops a positive account, which will make clear the important role that social norms have played in the de facto regulation of fan-fiction and remix works up to this point. He uses the term \"de facto\" as a term of art to embrace regulation both by formal legal means and by informal social norms. Understanding this story is as important as it is instructive in terms of demonstrating possible alternatives to regulation. This account, of course, says nothing about the normative desirability of the current role played by social norms. Since social norms have sometimes served as regulators in the absence or ineflectiveness of formal law, only to be replaced at some later time by more formal forms of regulation, it is especially pertinent to ask whether such informal regulatory means may be better formalized.
Journal Article