The 1994 agreement on Trade Related Aspects of Intellectual Property Rights (TRIPS) led to a radical shift in the functioning of the world economy. It was the result of intense lobbying by Northern intellectual property intensive firms, set the international standards and objectives for the protection of IP. This book uncovers the collusions between state and capital that rendered possible the emergence of the harshest global intellectual property regulations to date. The current global IP regime is akin to a mercantilist system in which states, far from losing power against the growing internationalization of economic regulations, put their capacities in service of “their” intellectual property-intensive corporations.

İnsan toplumlarının dönüştürücü etkilerini kültürün formlarında gözlemlemek gerekmektedir. Toplumsal yapı kültürel yaratımla tertiplenir. Toplum ve kültür ilişkisi pratiğin kurumsal eklentileri şeklinde görgül kılınabilir. Din, sanat, ekonomi, sosyoloji ya da müzik gibi disiplinler “Toplum ve Kültür” ilişki ve pratiğinde sistem kurucudurlar. Buradan hareketle “Kültür” konulu çalışmaların pratik alanlarda incelenmeleri önemli görülmektedir. Kültür salt soyut tartışmalarda daralıp kalamayacak bir yaratıcı etkinliğe sahiptir.

The main target audience of this book is scholars, researchers, critics, students who study in the field of contemporary British feminist theatre and anyone who is interested in women’s studies and drama. This book depicts marginalized women’s voices through the medium of feminist theatre by analysing subversive women characters in the plays of Timberlake Wertenbaker and Pam Gems. This book depicts how historic/mythic characters subvert traditional gender roles to set a feminine identity of their own that does not accord with the patriarchal order. In the discussion of the marginalized characters, Ülker Erkan analysed Wertenbaker’s plays namely New Anatomies, Our Country’s Good, and The Love of the Nightingale and Pam Gems’s plays Dusa, Fish, Stas and Vi, Piaf, and Queen Christina through several feminist criticisms. Feminist theatre as discussed in the subject-matter plays may prevent oppression and develop perspectives, which are egalitarian, fair, optimistic, hopeful, liberated from any oppressive systems, and full of future expectations.