Dear Images: Art, Copyright and Culture by Edited by Daniel McClean Edited by Karsten Schubert

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By Edited by Daniel McClean Edited by Karsten Schubert

For artists, photos are certainly pricey in either senses of the note: they arecherished, and in addition worthwhile. This quintessential compendium from the superbBritish writer collects essays by way of foreign specialists on many very important issuesrelated to the possession of paintings - who does it belong to, who can use it, what valuedoes it have. The articles go borders, contemplating foreign copyrightconventions, reasonable use, the web, options of originality, public entry to artwork inmuseums and digitization, by means of foreign specialists. a desirable assortment lookingat matters from ethical rights to the artist as a -brand.

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Note, however, that Casas did not object to Africans being enslaved and brought to work in the mines and plantations (although he was later to change his mind and condemn the enslavement of blacks). Here we can see also an early version of different attitudes to the Other, one that has persuaded many subsequent students of the subject to insist on the idea that there are a variety of racisms rather than a singular, monolithic combination of discriminatory doctrine and practice. 22 More importantly, both the Casas and the Sepulveda perspective involved the potential annihilation of the culture of the Indians, for as the French historian Todorov has argued, the Indians were caught in a double-bind built into the logic of this particular either/ or.

Whereas caste had been one of many social divisions around which the traditional social life of Indians had been organized, together with temple, clan, village, linguistic, and regional identities, overlain with divisions of trade and occupation, the British insisted on a simplified four-caste differentiation and emphasized caste as the most central organizing principle of Indian culture. Only members of the Brahman caste were regarded as being of proper Aryan stock, the other castes being considered as descended from inferior races.

Metaphors of the family, paternalism, and historical progress allowed women, the working class, and inferior races in the colonies alike to be portrayed as child-like and requiring the firm but benign hand of the white middle- and upper-class male. The empire was seen as a ‘family’, and both women and inferior races thus became part of a natural order ruled over benignly by white middle- and upper-class males at home and abroad. This went hand in hand with what one might call the effeminization of the natives in the colonies.

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