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International Journal of Žižek Studies 11 (3) (2017)
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Žižek is not a legal theorist, nonetheless, he has written about the law throughout his work. This essay builds on Jodie Dean’s work in ‘Žižek and Law’ which sets out a theory of law, preferable to most critical legal theories because it retains the belief that law can serve emancipatory aims. My aim in is to apply this Žižekian theory of law to copyright, in the hopes of presenting an alternative framework that retains the initial promise of copyright: that cultural material may be dis-alienated public property. This is necessary in a music-focused issue, because copyright law dictates the forms in which music, and cultural products, are created and consumed. The argument is presented in three parts: the founding of copyright, its obscene supplement, and its paradoxical future from within. I argue that future copyright legislative proposals should not focus on extending or limiting any overall term, or what marginal increase in revenues a creator should be entitled to; rather, creators should be given a renewal right. In this way, an author has the ability to constantly renegotiate the terms on which their work is commoditized.



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What is property?Pierre-Joseph Proudhon - 1994 [1840] - Cambridge University Press.
The Four Fundamental Concepts of Slavoj Žižek’s Psychoanalytic Marxism.Kirk Boyle - 2008 - International Journal of Žižek Studies 2 (1).
Book review: Telesthesia. [REVIEW]Nick Perry - 2014 - Thesis Eleven 123 (1):135-138.

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