Composition and Copyright: Perspectives on Teaching, Text-making, and Fair Use
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Essential copyright resource for teachers and writers, particularly those involved in electronic or new media.
Drawing on connections between legal developments, new media technologies, and educational practice, Composition and Copyright examines how copyright law is currently influencing processes of teaching and writing within the university, particularly in the dynamic contexts of increasing digital literacy, new media, and Internet writing. Contributors explore the law’s theoretical premises, applications to writing classrooms, and the larger effects of copyright law on culture and literacy. Central to the volume is the question of what may constitute “infringement” or “fair use,” and how the very definitions of these terms may permit or prohibit specific text-making activities. The essays cover a range of subjects, from students’ appropriations of Internet images to using blogs in the classroom to the efforts by universities to claim legal ownership of professors’ teaching and research materials. As new technologies and legislation are overturning traditional notions of intellectual property, this volume offers ways to navigate the issues in terms of pedagogy, research, and creating new media texts within the current legal framework.
“…the thoroughness with which background is established in each essay is meritorious … and the individual contributors deserve praise for their insights.” — Issues in Writing
“…this well-conceptualized and interesting book should be read not only by composition teachers, communication scholars, and others who aspire to teach rhetoric to increasingly digitally savvy students but also by any composer of texts in our new electronic world.” — Rhetoric Review
silenced under the DMCA” (“FatWallet Victorious”). An FA I R USE A N D CR ITICISM ON TH E I N T E R N ET 41 example of how copyright owners have used the DMCA to force an ISP to censor text on the Web is the oft-cited case of Google and its capitulation to the Church of Scientology in 2002. According to Wired Magazine, the Church of Scientology cited the DMCA as a basis for demanding that Google remove anti-Scientology websites from its search engine. Google removed the URLs and, in a letter
Susan West. “Intellectual Property and Composition Studies.” College Composition and Communication 47.3 (Oct. 1996): 383–411. Mennecke, Thomas. “Wal-Mart Uses DMCA Against Parody Site.” Slyck News 28 Apr. 2005
Computers and Composition Online. Parlor Press, a scholarly press that publishes books in rhetoric and composition studies, allows authors to use Creative Commons licenses or Founder’s Copyright policies for their books. With a Founder’s Copyright, which has also been embraced by bloggers (though not generally used for weblogs themselves), a work is copyrighted for fourteen years with an option to renew for an additional fourteen years, but after a maximum of twenty-eight years, the work enters
one sees “all rights reserved” they should assume the author doesn’t want their material being used elsewhere. With a CC license you can easily ﬁ nd out exactly what you can and can’t do with the work in question which should help to encourage the spread of ideas and the sharing of efforts. Here it is apparent that Jenkins sees himself and bloggers, in general, as contributors to the Web as a commons for ideas. These ideas can take the form of texts, images, music, software code, and more. The
(Manovich). Indeed, this is true. The work of Lessig and others has brought that point home to composition studies. It is time to move beyond this statement of fact and bring the debate surrounding a balance of control over digital works and networked environments into the composition classroom. If we do not include our students or teach only from a position mirroring that of Stallman’s “freedom,” we miss not just an opportunity to reach out to the other side but an opportunity to provide our