This insightful and important new book explores the role played by Non Governmental Organizations (NGOs) in articulating concerns at the TRIPS Council, the WIPO, the WHO, the CBD-COP and the FAO that intellectual property rights can have negative consequences for developing countries. Duncan Matthews describes how coalitions of international NGOs have influenced the way that the relationship between intellectual property rights and development is understood, often framing the message as a human rights issue to emphasize these concerns and ensure that access to medicines, food security and the rights of indigenous peoples over their traditional knowledge are protected. Based on extensive research undertaken in Geneva and in developing countries, the book also reveals how NGOs and broader social movements in Brazil, India and South Africa have played a crucial role in addressing the negative impacts of intellectual property rights by using human rights law as a practical tool before national courts and when seeking to influence national legislation and government policy. Intellectual Property, Human Rights and Development will appeal to academics, practitioners, activists, international negotiators and to postgraduate students in intellectual property law, human rights law, the international political economy of intellectual property rights and development studies.

A comparison of British and German industries' reaction to the opportunities and threats offered by the Single European Market (SEM) is presented here. The book outlines the effect that the SEM was expected to have on the two countries and contrasts this with actual progress, based on published data and a detailed study of four industries: retailing, pharmaceuticals, insurance and machine tools. It shows that while indeed the single European market has had an impact, many measures have had a far weaker effect than expected. The existence of other barriers not tackled by the SEM programme - weakened measures, poor implementation, global business trends and the recent recession - helped to reduce the impact of the SEM. Nevertheless it stands out as one of the most striking influences on British and German industries for many years. Germany, with its geographical advantage, longer-term approach and stronger manufacturing, seems the better placed to benefit overall. But the less regulated and, in some respects, more flexible UK economy may have competitive advantages as the pressures increase. It is no accident that it has been chosen so frequently as the best site within the EC for investment by firms from non-EC countries.

This insightful and important new book explores the role played by Non Governmental Organizations (NGOs) in articulating concerns at the TRIPS Council, the WIPO, the WHO, the CBD-COP and the FAO that intellectual property rights can have negative consequences for developing countries. Duncan Matthews describes how coalitions of international NGOs have influenced the way that the relationship between intellectual property rights and development is understood, often framing the message as a human rights issue to emphasize these concerns and ensure that access to medicines, food security and the rights of indigenous peoples over their traditional knowledge are protected. Based on extensive research undertaken in Geneva and in developing countries, the book also reveals how NGOs and broader social movements in Brazil, India and South Africa have played a crucial role in addressing the negative impacts of intellectual property rights by using human rights law as a practical tool before national courts and when seeking to influence national legislation and government policy. Intellectual Property, Human Rights and Development will appeal to academics, practitioners, activists, international negotiators and to postgraduate students in intellectual property law, human rights law, the international political economy of intellectual property rights and development studies.

The horror of the Holocaust lies not only in its brutality but in its scale and logistics; it depended upon the machinery and logic of a rational, industrialised, and empirically organised modern society. The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.

By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.

Hollywood's live-action superhero films currently dominate the worldwide box-office, with the characters enjoying more notoriety through their feature film and television depictions than they have ever before. This book argues that this immense popularity reveals deep cultural concerns about politics, gender, ethnicity, patriotism and consumerism after the events of 9/11. Superheroes have long been agents of hegemony, fighting for abstract ideals of justice while overall perpetuating the American status quo. Yet at the same time, the book explores how the genre has also been utilized to question and critique these dominant cultural assumptions.

The horror of the Holocaust lies not only in its brutality but in its scale and logistics; it depended upon the machinery and logic of a rational, industrialised, and empirically organised modern society. The central thesis of this book is that Art Spiegelman's comics all identify deeply-rooted madness in post-Enlightenment society. Spiegelman maintains, in other words, that the Holocaust was not an aberration, but an inevitable consequence of modernisation. In service of this argument, Smith offers a reading of Spiegelman's comics, with a particular focus on his three main collections: Breakdowns (1977 and 2008), Maus (1980 and 1991), and In the Shadow of No Towers (2004). He draws upon a taxonomy of terms from comic book scholarship, attempts to theorize madness (including literary portrayals of trauma), and critical works on Holocaust literature.

In Globalising Intellectual Property Rights, Matthews looks at various aspects of the TRIPS Agreement: agenda-setting, legal interpretation, implementation, enforcement and revision - from the viewpoint of global business interests and developing countries. It is argued that the Agreement was largely the result of an initiative by multinational companies who sought to protect their own intellectual property through international law, and, furthermore, that it is these multinational companies who are now its main guardians. The book concludes that the history of the TRIPS Agreement and the role of business is a clear example of governance by non-state actors on a global scale.
This book will be of interest to students and researchers in the fields of international relations, intellectual property law, international economic law and development studies.

In The Secret Origins of Comics Studies, today's leading comics scholars turn back a page to reveal the founding figures dedicated to understanding comics art. Edited by comics scholars Matthew J. Smith and Randy Duncan, this collection provides an in-depth study of the individuals and institutions that have created and shaped the field of Comics Studies over the past 75 years. From Coulton Waugh to Wolfgang Fuchs, these influential historians, educators, and theorists produced the foundational work and built the institutions that inspired the recent surge in scholarly work in this dynamic, interdisciplinary field. Sometimes scorned, often underappreciated, these visionaries established a path followed by subsequent generations of scholars in literary studies, communication, art history, the social sciences, and more. Giving not only credit where credit is due, this volume both offers an authoritative account of the history of Comics Studies and also helps move the field forward by being a valuable resource for creating graduate student reading lists and the first stop for anyone writing a comics-related literature review.

In Globalising Intellectual Property Rights, Matthews looks at various aspects of the TRIPS Agreement: agenda-setting, legal interpretation, implementation, enforcement and revision - from the viewpoint of global business interests and developing countries. It is argued that the Agreement was largely the result of an initiative by multinational companies who sought to protect their own intellectual property through international law, and, furthermore, that it is these multinational companies who are now its main guardians. The book concludes that the history of the TRIPS Agreement and the role of business is a clear example of governance by non-state actors on a global scale.
This book will be of interest to students and researchers in the fields of international relations, intellectual property law, international economic law and development studies.

eBook available with sample pages: 0203165683

After the successful and innovative first two editions, now in a new, restructured 3rd edition, this remains the most authoritative introduction for studying comic books and graphic novels, covering their place in contemporary culture, the manifestations and techniques of the art form, the evolution of the medium and how to analyze and write about them. The new edition includes: - A completely reworked introduction explores the comics community in the US and globally, its history, and the role of different communities in advancing the medium and its study - Chapters reframed to get students thinking about themselves as consumers and makers of comics - Reorganized chapters on form help to unpack encapsulation, composition and layout - Completely new chapters on comics and how they can be used to report, document, and persuade, as well as a new Preface by Karen Green Illustrated throughout, with discussion questions and activities for every chapter and an extensive glossary of key terms, The Power of Comics and Graphic Novels also includes further updated resources available online including additional essays, weblinks and sample syllabi.

By placing comics in a lively dialogue with contemporary narrative theory, The Narratology of Comic Art builds a systematic theory of narrative comics, going beyond the typical focus on the Anglophone tradition. This involves not just the exploration of those properties in comics that can be meaningfully investigated with existing narrative theory, but an interpretive study of the potential in narratological concepts and analytical procedures that has hitherto been overlooked. This research monograph is, then, not an application of narratology in the medium and art of comics, but a revision of narratological concepts and approaches through the study of narrative comics. Thus, while narratology is brought to bear on comics, equally comics are brought to bear on narratology.

In this comprehensive textbook, editors Matthew J. Brown, Randy Duncan, and Matthew J. Smith offer students a deeper understanding of the artistic and cultural significance of comic books and graphic novels by introducing key theories and critical methods for analyzing comics. Each chapter explains and then demonstrates a critical method or approach, which students can then apply to interrogate and critique the meanings and forms of comic books, graphic novels, and other sequential art. Contributors introduce a wide range of critical perspectives on comics, including disability studies, parasocial relationships, scientific humanities, queer theory, linguistics, critical geography, philosophical aesthetics, historiography, and much more. As a companion to the acclaimed Critical Approaches to Comics: Theories and Methods, this second volume features 19 fresh perspectives and serves as a stand-alone textbook in its own right. More Critical Approaches to Comics is a compelling classroom or research text for students and scholars interested in Comics Studies, Critical Theory, the Humanities, and beyond.

Hollywood's live-action superhero films currently dominate the worldwide box-office, with the characters enjoying more notoriety through their feature film and television depictions than they have ever before. This book argues that this immense popularity reveals deep cultural concerns about politics, gender, ethnicity, patriotism and consumerism after the events of 9/11. Superheroes have long been agents of hegemony, fighting for abstract ideals of justice while overall perpetuating the American status quo. Yet at the same time, the book explores how the genre has also been utilized to question and critique these dominant cultural assumptions.

In The Secret Origins of Comics Studies, today's leading comics scholars turn back a page to reveal the founding figures dedicated to understanding comics art. Edited by comics scholars Matthew J. Smith and Randy Duncan, this collection provides an in-depth study of the individuals and institutions that have created and shaped the field of Comics Studies over the past 75 years. From Coulton Waugh to Wolfgang Fuchs, these influential historians, educators, and theorists produced the foundational work and built the institutions that inspired the recent surge in scholarly work in this dynamic, interdisciplinary field. Sometimes scorned, often underappreciated, these visionaries established a path followed by subsequent generations of scholars in literary studies, communication, art history, the social sciences, and more. Giving not only credit where credit is due, this volume both offers an authoritative account of the history of Comics Studies and also helps move the field forward by being a valuable resource for creating graduate student reading lists and the first stop for anyone writing a comics-related literature review.

In this comprehensive textbook, editors Matthew J. Brown, Randy Duncan, and Matthew J. Smith offer students a deeper understanding of the artistic and cultural significance of comic books and graphic novels by introducing key theories and critical methods for analyzing comics. Each chapter explains and then demonstrates a critical method or approach, which students can then apply to interrogate and critique the meanings and forms of comic books, graphic novels, and other sequential art. Contributors introduce a wide range of critical perspectives on comics, including disability studies, parasocial relationships, scientific humanities, queer theory, linguistics, critical geography, philosophical aesthetics, historiography, and much more. As a companion to the acclaimed Critical Approaches to Comics: Theories and Methods, this second volume features 19 fresh perspectives and serves as a stand-alone textbook in its own right. More Critical Approaches to Comics is a compelling classroom or research text for students and scholars interested in Comics Studies, Critical Theory, the Humanities, and beyond.