Joseph Straus – författare

The Oxford Handbook of Music and Disability Studies represents a comprehensive state of current research for the field of Disability Studies and Music. The forty-two chapters in the book span a wide chronological and geographical range, from the biblical, the medieval, and the Elizabethan, through the canonical classics of the eighteenth and nineteenth centuries, up to modernist styles and contemporary musical theater and popular genres, with stops along the way in post-Civil War America, Ghana and the South Pacific, and many other interesting times and places. Disability is a broad, heterogeneous, and porous identity, and that diversity is reflected in the variety of bodily conditions under discussion here, including autism and intellectual disability, deafness, blindness, mobility impairment often coupled with bodily difference, and cognitive and intellectual impairments. Amid this diversity of time, place, style, medium, and topic, the chapters share two core commitments. First, they are united in their theoretical and methodological connection to Disability Studies, especially its central idea that disability is a social and cultural construction. Disability both shapes and is shaped by culture, including musical culture. Second, these essays individually and collectively make the case that disability is not something at the periphery of culture and music, but something central to our art and to our humanity.

The newly emerged interdisciplinary field of Disability Studies offers a sociopolitical analysis of disability, focusing on its social construction, and shifting attention from biology to culture. In the past fifteen years, disability-related scholarly work has been undertaken in a variety of disciplines, and disability now occupies a central place in cultural analysis, along with well-established categories like race/ethnicity, gender, sexuality, and class. The Oxford Handbook of Disability Studies represents a comprehensive "state of current research" for the field of Disability Studies and Music. The forty-two chapters in the book span a wide chronological and geographical range, from the biblical, the medieval, and the Elizabethan, through the canonical classics of the eighteenth and nineteenth centuries, up to modernist styles and contemporary musical theater and popular genres, with stops along the way in post-Civil War America, Ghana and the South Pacific, and many other interesting times and places. Disability is a broad, heterogeneous, and porous identity, and that diversity is reflected in the variety of bodily conditions under discussion here, including autism and intellectual disability, deafness, blindness, and mobility impairment often coupled with bodily deformity. Cultural Disability Studies has, from its inception, been oriented toward physical and sensory disabilities, and has generally been less effective in dealing with cognitive and intellectual impairments and with the sorts of emotions and behaviors that in our era are often medicalized as "mental illness." In that context, it is notable that so many of these essays are centrally concerned with madness, that broad and ever-shifting cultural category. There is also in impressive diversity of subject matter including YouTube videos, Ghanaian drumming, Cirque du Soleil, piano competitions, castrati, medieval smoking songs, and popular musicals.Amid this diversity of time, place, style, medium, and topic, the chapters share two core commitments. First, they are united in their theoretical and methodological connection to Disability Studies, especially its central idea that disability is a social and cultural construction. Disability both shapes and is shaped by culture, including musical culture. Second, these essays individually and collectively make the case that disability is not something at the periphery of culture and music, but something central to our art and to our humanity.

Disability, understood as culturally stigmatized bodily difference (including physical and mental impairments of all kinds), is a pervasive and permanent aspect of the human condition. While the biology of bodily difference is the proper study for science and medicine, the meaning that we attach to bodily difference is the proper study of humanists. The interdisciplinary field of Disability Studies has recently emerged to theorize social and cultural constructions of the meaning of disability. Although there has been an astonishing outpouring of humanistic work in Disability Studies in the past ten years, there has been virtually no echo in musicology or music theory. Sounding Off: Theorizing Disability in Music is the first book-length work to focus on the historical and theoretical issues of music as it relates to disability. It shows that music, like literature and the other arts, simultaneously reflects and constructs cultural attitudes toward disability.Sounding Off: Theorizing Disability in Music promises to be a landmark study for scholars and students of music, disability, and culture.

Disability, understood as culturally stigmatized bodily difference (including physical and mental impairments of all kinds), is a pervasive and permanent aspect of the human condition. While the biology of bodily difference is the proper study for science and medicine, the meaning that we attach to bodily difference is the proper study of humanists. The interdisciplinary field of Disability Studies has recently emerged to theorize social and cultural constructions of the meaning of disability. Although there has been an astonishing outpouring of humanistic work in Disability Studies in the past ten years, there has been virtually no echo in musicology or music theory. Sounding Off: Theorizing Disability in Music is the first book-length work to focus on the historical and theoretical issues of music as it relates to disability. It shows that music, like literature and the other arts, simultaneously reflects and constructs cultural attitudes toward disability.Sounding Off: Theorizing Disability in Music promises to be a landmark study for scholars and students of music, disability, and culture.

Operating largely within the world of European-American classical music, this book discusses the creative work of old musicians—composers, performers, listeners, and scholars—and how those forms of music- making are received and understood. Like everything else about old age, music-making is usually understood as a decline from a former height, a deficiency with respect to a youthful standard. Against this ageist mythology, this book argues that composing oldly, performing oldly, and listening oldly are distinctive and valuable ways of making music—a difference, not a deficit; to be celebrated, not ignored or condemned.Instead of the usual biomedical or gerontological understanding of old age, with its focus on bodily, cognitive, and sensory decline, this book follows Age Studies in seeing old age through a cultural lens, as something created and understood in culture. This book seeks to identify the ways that old musicians (composers, performers, listeners, and scholars) accept, resist, adapt, and transform the cultural scripts for the performance of old age. Musicking oldly (making music in old age) often represents an attempt to rewrite ageist cultural scripts and to find ways of flourishing musically in a largely hostile landscape.

Operating largely within the world of European-American classical music, this book discusses the creative work of old musicians—composers, performers, listeners, and scholars—and how those forms of music- making are received and understood. Like everything else about old age, music-making is usually understood as a decline from a former height, a deficiency with respect to a youthful standard. Against this ageist mythology, this book argues that composing oldly, performing oldly, and listening oldly are distinctive and valuable ways of making music—a difference, not a deficit; to be celebrated, not ignored or condemned.Instead of the usual biomedical or gerontological understanding of old age, with its focus on bodily, cognitive, and sensory decline, this book follows Age Studies in seeing old age through a cultural lens, as something created and understood in culture. This book seeks to identify the ways that old musicians (composers, performers, listeners, and scholars) accept, resist, adapt, and transform the cultural scripts for the performance of old age. Musicking oldly (making music in old age) often represents an attempt to rewrite ageist cultural scripts and to find ways of flourishing musically in a largely hostile landscape.

Introduction Intellectual property rights foster innovation. But if, as it surely does, “intellectual property” means not just intellectual property rules—the law of patents, copyrights, trademarks, designs, trade secrets, and unfair competition—but also intellectual property institutions—the courts, police, regulatory agencies, and collecting soc- ties that administer these rules—what are the respective roles of intellectual property rules and institutions in fostering creativity? And, to what extent do forces outside intellectual property rules and institutions—economics, culture, politics, history—also contribute to innovation? Is it possible that these other factors so overwhelm the impact of intellectual property regimes that it is futile to expect adjustments in intellectual property rules and institutions to alter patterns of inno- tion and, ultimately, economic development? It was to address these questions in the most dynamic region of the world today, Asia, that we invited leading country experts to contribute studies that not only summarize the current condition of intellectual property regimes in countries ranging in economic size from Cambodia to Japan, and in population from Laos to China, but that also describe the historical sources of these laws and institutions; the realities of intellectual property enforcement in the marketplace; and the political, economic, educational, and scientific infrastructures that sustain and direct inve- ment in innovative activity. A.

Preface International conferences are not organized overnight—especially not when high ranking personalities from politics, business and academia should be offered an adequate platform for addressing and discussing highly relevant contemporary issues. The conference on “The Role of Law and Ethics in the Globalized Economy,” which took place on May 22 and 23, 2008 in the Bavarian Academy of Sciences and Humanities in Munich, was no exception. When the first preparations started at the end of 2006, neither the subprime crises nor the general crises of the global financial system, whose shock waves have rocked the financial businesses in subsequent months, were known; nor were they predictable or even imaginable. Based on our monitoring of the globalization process and its apparent impact—not only on the economic and technological environment, but also on the social en- ronment—it was appropriate for the conference to begin by serving as a platform for analysing the status quo of the process of globalization, as relevant to politics, business and academia, and for exploring how the interest groups in those domains cope with the challenges of globalization. In the end, however, the purpose of the conference was to produce proposals for conditions for “upwards” global compe- tion, meaning that minimum conditions should be worked out to enable people to live and labour humanely. Such conditions would be those which should help avoid otherwise inevitable frictions in society, both nationally and internationally.

Regenerative Medizin setzt große Hoffnungen in die Forschung mit humanen embryonalen Stammzellen. Ebenso umstritten wie diese Forschung selbst ist auch die Patentierung von Erfindungen, die sich auf humane embryonale pluripotente Stammzellen beziehen. Sowohl im regulatorischen Bereich wie auch im Bereich der Patentierung gibt es international große Unterschiede. Die Beiträge legen dar und analysieren die aus rechtlicher wie ethischer Sicht komplizierte Rechtslage der Patentierung in diesem Bereich nach dem europäischen Patent-recht und den Patentrechten der VR China, Deutschlands, Frankreichs, Japans, Kanadas, Koreas, Österreichs, der Schweiz, der USA und des Vereinigten Königreiches. Jedem an dieser Materie Interessierten bieten sie eine wertvolle Orientierungshilfe.

Introduction Intellectual property rights foster innovation. But if, as it surely does, “intellectual property” means not just intellectual property rules—the law of patents, copyrights, trademarks, designs, trade secrets, and unfair competition—but also intellectual property institutions—the courts, police, regulatory agencies, and collecting soc- ties that administer these rules—what are the respective roles of intellectual property rules and institutions in fostering creativity? And, to what extent do forces outside intellectual property rules and institutions—economics, culture, politics, history—also contribute to innovation? Is it possible that these other factors so overwhelm the impact of intellectual property regimes that it is futile to expect adjustments in intellectual property rules and institutions to alter patterns of inno- tion and, ultimately, economic development? It was to address these questions in the most dynamic region of the world today, Asia, that we invited leading country experts to contribute studies that not only summarize the current condition of intellectual property regimes in countries ranging in economic size from Cambodia to Japan, and in population from Laos to China, but that also describe the historical sources of these laws and institutions; the realities of intellectual property enforcement in the marketplace; and the political, economic, educational, and scientific infrastructures that sustain and direct inve- ment in innovative activity. A.

Preface International conferences are not organized overnight—especially not when high ranking personalities from politics, business and academia should be offered an adequate platform for addressing and discussing highly relevant contemporary issues. The conference on “The Role of Law and Ethics in the Globalized Economy,” which took place on May 22 and 23, 2008 in the Bavarian Academy of Sciences and Humanities in Munich, was no exception. When the first preparations started at the end of 2006, neither the subprime crises nor the general crises of the global financial system, whose shock waves have rocked the financial businesses in subsequent months, were known; nor were they predictable or even imaginable. Based on our monitoring of the globalization process and its apparent impact—not only on the economic and technological environment, but also on the social en- ronment—it was appropriate for the conference to begin by serving as a platform for analysing the status quo of the process of globalization, as relevant to politics, business and academia, and for exploring how the interest groups in those domains cope with the challenges of globalization. In the end, however, the purpose of the conference was to produce proposals for conditions for “upwards” global compe- tion, meaning that minimum conditions should be worked out to enable people to live and labour humanely. Such conditions would be those which should help avoid otherwise inevitable frictions in society, both nationally and internationally.