by Paul Goldstein ‧ RELEASE DATE: Jan. 1, 1995
Despite the zingy subtitle, this is a rather bland, diffuse history of copyright law's response to developing technology. Goldstein (Law/Stanford Univ.) rarely strays from the pedagogue's lectern as he surveys 300 years of copyright law in Europe and the US. He introduces the law by focusing on a recent front-page case: the suit by Acuff-Rose, a music publisher, against the rap group 2 Live Crew for making use of Roy Orbison's song ``Oh, Pretty Woman'' without the publisher's permission. Goldstein explains the Supreme Court's holding that 2 Live Crew's parody of the song constituted a ``fair use'' of the original by ``transforming'' it for artistic reasons. Even digitally sampling the original version without permission did not violate copyright laws as long as the sampling contributed to the artistic effect. This case provides a useful starting point for a discussion of how technological innovations such as sampling and film colorization have challenged the integrity of works of art, raising issues of ownership and remuneration. But Goldstein soon bogs down in a protracted analysis of a lawsuit by a medical publishing house against the government for photocopying scholarly articles without payment or permission. This case—Williams & Wilkins v. The United States—is significant, but it's difficult to imagine the general reader sustaining interest in its tortuous litigation or in the cranky negotiations that led to the Berne Convention's enactment of international copyright standards. Goldstein is more successful at quick takes on big cases like Sony v. Universal, in which the Supreme Court held that home videotaping did not infringe the copyrights of film studios, and Apple v. Microsoft, in which a federal judge held that copyright law did not extend to the ``look and feel'' of the Macintosh graphical user interface. Better for its discussion of cutting-edge high-tech legal issues than for its cumbersome forays into history.
Pub Date: Jan. 1, 1995
ISBN: 0-8090-5381-0
Page Count: 288
Publisher: Hill and Wang/Farrar, Straus and Giroux
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 1994
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by William Strunk & E.B. White ‧ RELEASE DATE: May 15, 1972
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...
Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.
Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").Pub Date: May 15, 1972
ISBN: 0205632645
Page Count: 105
Publisher: Macmillan
Review Posted Online: Oct. 28, 2011
Kirkus Reviews Issue: May 1, 1972
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by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996
This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)
Pub Date: Oct. 28, 1996
ISBN: 0-15-100227-4
Page Count: 136
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 15, 1996
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by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson
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by E.T.A. Hoffmann & illustrated by Julie Paschkis
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