• Summary
  • Contents
  • Subject index

By examining the centrality of Romantic authorship to both copyright and the music industry, the author highlights the mutual dependence of capitalism and Romanticism, which situates the individual as the key creative force while challenging the commodification of art and self. Marshall reveals how the desire for bootlegs is driven by the same ideals of authenticity employed by the legitimate industry in its copyright rhetoric and practice and demonstrates how bootlegs exist as an antagonistic but necessary component of an industry that does much to prevent them. This book will be of great interest to researchers and students in the sociology of culture, social theory, cultural studies and law.

Romanticism, Copyright and Piracy
Romanticism, copyright and piracy

The ideas of art, artists, commerce and individualism more readily associated with the cultural production of the early nineteenth century play a significant part in contemporary discourse within popular music. This is hardly surprising for, as explained earlier, Romanticism is more than just an esoteric cultural movement but is instead an intrinsic part of how we understand cultural production in capitalist modernity and still ‘central to modern culture’ (Taylor, 1989: 419). However, this would not be the case if these ideas did not ‘fit’ with other aspects of our social relations and one of the main reasons that these beliefs have become so deeply rooted in our consciousness is that they assist capitalist enterprises in their profit maximising ...

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