The aim of the present thesis is to examine an impact of reproductive and recording technique and of the global network of the Internet on the institute of collective management of copyright and related rights which forms traditional part of the system of copyright law. Firstly, the thesis embeds an issue of the institute of collective management into the appropriate legal framework and historical context. The delimitation of collective management's purpose follows; an emphasis is placed on the position of the collective manager of copyright as an intermediary between the competing interests of the right holders and interests of users. It is explained that the change of manners of communication of the work to the public from "point-to-mass" to "point-to-point" tends to weaken such position. The real and legal monopoly of collective management is scrutinized and conclusions of academics drawn from the coexistence of copyright management companies on the market in the United States are contrasted in the following part of the thesis. The issue with licenses is addressed. The collision between the potential ubiquity of works made available on the Internet and the principle of territoriality (lex loci protectionis) is described and, simultaneously, legal issues connected with functioning of the system...

The master's thesis focuses on the influence of interest groups during the creation of the 2012 Proposal for a Directive on collective rights management. In particular, the thesis deals with the pre-legislative phase of the legislative process, which began in April 2004. The theoretical framework includes conceptualization of interest groups, lobbying and influence. The mechanisms of influence are analysed using two theories - rational choice theory and rational choice institutionalism. The thesis utilizes process tracing - theory testing as a main methodological approach. Empirical evidence is investigated by analysing primary sources. The main subjects of the analysis are the most relevant documents from the European Commission concerning the pre-legislative phase. Four semi-structured interviews with selected relevant actors were also conducted. The thesis concludes by confirming/ disproving of the main hypothesis: Specific interest groups succeeded in influencing the text of the proposal for a directive on the collective management of copyright.

[pt] Este trabalho de dissertação tem como objeto de pesquisa a construção de meios de reapropriação e gestão coletiva do espaço público através dos projetos de hortas urbanas comunitárias da cidade do Rio de Janeiro. Nesse sentido, os objetivos centrais deste estudo são identificar as tensões inerentes ao movimento de reapropriação do espaço público carioca por meio das hortas urbanas. Bem como, analisar os desafios e possibilidades da gestão coletiva deste espaço a partir das táticas, técnicas e planos de ação elaboradas pelos arranjos comunitários que participam das hortas. Referimo-nos às singulares maneiras de fazer e pensar a cidade que se desenrolam nestas inciativas e que, de modo criativo e multitudinário, semeiam o comum como um importante horizonte político na luta por uma produção do espaço mais justa, cooperativa e fraterna. Os propósitos desta investigação, por sua vez, nos remetem a uma problemática que está em curso no momento presente da vida cotidiana da metrópole e que se constrói com base nas relações desiguais de dominação e apropriação espacial que se estabelecem entre os diferentes grupos sociais. Diante da racionalidade estratégica e mercadológica do ordenamento territorial hegemônico, o processo de segregação social pautado na propriedade privada do solo se consolidou como uma tendência geral no território carioca. E o espaço público, inserido nesta lógica privatista de controle territorial, está em progressiva metamorfose, incorporando elementos que limitam suas condições de acessibilidade e alteridade. Entretanto, enquanto muitas das transformações contemporâneas da cidade se realizam em sintonia com a ordem dominante, outras nos apontam indícios de rupturas significativas do status quo. São mudanças protagonizadas por uma multidão de citadinos que questionam os imperativos do Estado neoliberal ao reivindicar o direito de usar, ocupar e governar a urbe de modo autônomo. Sob esta perspectiva, nos últimos anos multiplicaram-se os ensaios de gestão coletiva do espaço público carioca através das hortas urbanas comunitárias. Tais iniciativas revelam muitas aberturas existentes para o exercício da vida em comum, vida que se cultiva junto com o Outro. De um jeito peculiar, estes projetos comunitários de hortas urbanas resistem em solo carioca e nos sinalizam múltiplos canteiros de alternativas e possibilidades para a emancipação da sociedade. / [en] This dissertation work has as object of research the construction of means of reappropriation and collective management of public space through the projects of community urban gardening in the city of Rio de Janeiro. In this sense, the central objectives of this study are to identify the tensions in the movement of reappropriation of public space through urban gardens. As well as, to analyze the challenges and possibilities of the collective management of this space from the tactics, techniques and plans of action elaborated by the community arrangements that participate in the gardens. We refer to the singular forms of making and thinking the city that exist in these initiatives and that, in a creative and multitudinous way, sow the common as an important political horizon in the struggle for a more democratic, cooperative and fraternal production of space. The purposes of this investigation, in turn, lead us to a problem that is ongoing in the present moment of the metropolis everyday life and that is built based on the unequal relations of spatial domination and appropriation that are established between different social groups. In times of space metropolization, the reorientation of State policies based on the economic determinations of the real estate-financial market culminated in the elaboration of new government guidelines in Rio de Janeiro, now expressed under an order that homogenizes, fragments and hierarchizes the uses and representations of the city. In view of the strategic and market rationality of these hegemonic actors, the process of social segregation based on private land ownership has consolidated itself as a general trend in the territory. And the public space, inserted in this privatist logic of territorial control, is in a progressive metamorphosis: incorporating elements that limit its conditions of accessibility and alterity. However, while many of the city s contemporary transformations take place in tune with the dominant order, others point to signs of significant disruptions to the status quo. From this perspective, in recent years, the collective management initiatives of the public space in Rio de Janeiro have multiplied through community urban farming. In a peculiar way, such initiatives reveal many existing openings for the exercise of life in common, a life that is cultivated together with the Other.

[pt] A presente pesquisa propõe analisar a construção dos meios de reapropriação e gestão coletiva do espaço público da cidade do Rio de Janeiro através do coletivo de arte Opavivará!. O grupo Opavivará!, criado em 2003 por artistas cariocas, é um coletivo de arte que desenvolve ações em locais públicos da cidade, galerias e instituições culturais, propondo inversões dos modos de ocupação do espaço urbano, através da criação de dispositivos relacionais que sugerem experiências coletivas, participando também ativamente no panorama das artes contemporâneas. Opavivará! é um grito pela arte livre e crítica.. O grupo, especificamente, produz uma arte que queira explorar contextos não institucionalizados de interesse estético e propor uma estratégia de ocupação do espaço. Diante da racionalidade estratégica e mercadológica do ordenamento territorial hegemônico, o processo de segregação social pautado na propriedade privada do solo se consolidou como uma tendência geral nas cidades. E o espaço público, inserido nesta lógica de privatização, é espaço para transformações contemporâneas da cidade se realizam em sintonia com a ordem dominante. São mudanças protagonizadas por agentes que questionam os imperativos do Estado neoliberal ao reivindicar o direito de usar e ocupar a cidade de modo autônomo. Sob esta perspectiva, nos últimos anos multiplicaram-se os ensaios de gestão coletiva do espaço público carioca através da arte pública. Novos grupos artísticos, tais como o Opavivará!, são iniciativas que mostram múltiplas alternativas e possibilidades para a vida urbana. / [en] This research aims to analyze the construction of means for the reappropriation and collective management of public space in the city of Rio de Janeiro through the Opavivará! art collective. The Opavivará! group, created in 2003 by artists from Rio de Janeiro, is an art collective that carries out actions in public locations of the city, galleries, and cultural institutions, proposing inversions of the modes of urban space occupation through the creation of relational devices that suggest collective experiences, actively participating in the panorama of contemporary arts. Opavivará! is a cry for free and critical art. The group specifically produces art that aims to explore non-institutionalized contexts of aesthetic interest and propose a strategy of space occupation. Faced with the strategic and market-driven rationality of hegemonic territorial ordering, the process of social segregation based on private property ownership has become a general trend in cities. And public space, inserted into this logic of privatization, becomes a space where contemporary transformations of the city take place in tune with the dominant order. These changes are led by agents who question the imperatives of the neoliberal State by claiming the right to use and occupy the city autonomously. From this perspective, in recent years, there has been a multiplication of attempts at collective management of public space in Rio de Janeiro through public art. New artistic groups, such as Opavivará!, are initiatives that show multiple alternatives and possibilities for urban life.

The introduction of a regulatory framework in the area of collective management of rights in Nigeria must have been intended to strengthen the creative industry. Unfortunately, it has thrown this industry and in particular the music and film industries into a battle of a regulated against a non-regulated collective administration sector for upward of twenty (20) years. My choice of research on this topic could be attributed to the interest I developed while administering the collective administration desk at the Nigerian Copyright Commission. Serving on that desk afforded the opportunity to see the frustration of right owners who were being deprived the fruit of their labor, as the societies meant to collect and distribute royalties on their behalf were enmeshed in litigations and in the process, rarely paid any royalties to authors. Within this context, this research seeks to explore whether there is any merit in the continued existence of the current regulatory framework for collective management in Nigeria, and what the best operational framework for collective administration in Nigeria would be. A methodological approach entailing literature review of books, articles, journals, legislation, cases, reports of committees and interviews with experts was adopted, with critical analysis carried out on particularly the Nigerian Copyright Act, the Nigerian Copyright (collective management organisation) regulation, the South African Copyright Act, the South African Performers’ Protection Act, the South African Collecting Societies Regulation, as well as judicial decisions challenging certain provisions in the Nigerian legislation. It is hoped that this research will spur a desire for the need for supervisory and regulatory agencies of government to seek the national interest above all others in taking and making decisions that affect the collective administration of copyright and related rights. / Mercantile law / LL.M. (Intellectual Property)

Devenue en l'espace d'une trentaine d'années un segment à part entière de la finance internationale, la finance islamique trouve désormais tout son sens dans l'économie contemporaine. La crise de 2008 et ses conséquences dramatiques sur le tissu économique et entrepreneurial ont donné un attrait aux financements islamiques et notamment aux opérations de capital risque. Apparu au début des années 2000, le capital risque islamique consiste à prendre des participations au capital de sociétés non cotées considérées comme conformes à l'éthique musulmane afin de financer leur création et leur démarrage. Dans cette opération, il existe un lien incontestable entre l'éthique religieuse et la notion d’investissement. Si les prescriptions du droit musulman garantissent un équilibre entre les partenaires financiers, elles soumettent néanmoins l’investisseur à certaines contraintes. La structuration d'une opération financière islamique commande en effet le respect de certains principes d'essence religieuse tels que la prohibition de la spéculation, l'aléa et toute forme de rémunération par l'intérêt. Se pose alors la question de l'acculturation de ce modèle dans la finance française. En ce sens, l'hypothèse principale de cette recherche vise à analyser l'adaptabilité du capital risque islamique en vue de sa structuration dans le cadre juridique français. A travers une analyse approfondie des exigences de la loi islamique et du cadre de la gestion collective en France, la présente étude met en perspective les structures juridiques permettant d'atteindre la flexibilité requise pour mettre en œuvre une opération de capital risque islamique en droit français. Outre les enjeux économiques qui sont attachés à la réception d'une activité à haute valeur ajoutée, la modélisation d'un « capital risque islamique à la française » pourrait renforcer l'attractivité de la place de Paris en permettant l'inclusion d'une catégorie d'entrepreneurs et d'investisseurs à la recherche d'une alternative plus éthique et solidaire pour le financement d'entreprise. / In the space of 30 years, Islamic finance has become a full segment of international finance and has proved its value in the contemporary economy. The 2008 crisis and its dramatic consequences on the economic and business fabric raised attractiveness of Islamic finance transactions, in particular venture capital. The latter was created in the early 2000’s and consists in taking equity participations in unlisted companies that are considered compliant with Islamic ethics to finance their creation and startup. Thus, religious ethics and investment are indisputably linked. If the Islamic law requires ensuring a balance between financial partners, the investor is nevertheless subject to certain constraints. Indeed, the legal structuring of Islamic financial transactions obliges compliance with certain religious principles such as prohibition of speculation, hazard and any form of remuneration by interest. This raises the question of the acculturation of this model within the French finance. To this end, the main hypothesis of this research aims to analyze the adaptability of Islamic venture capital in view of its implementation in the French legal framework. Through in-depth analysis of the requirements of Islamic law and the framework of collective management in France, this study puts into perspective the legal structures that could provide the flexibility required to implement an Islamic venture capital transaction into French law. In addition to the economic benefits attached to the receipt of an activity with high added value, modeling a "French Islamic venture capital" could increase the attractiveness of the financial place of Paris by allowing the inclusion of a class of entrepreneurs and investors looking for ethical and cooperative alternatives for corporate finance.

Faced with the exclusion promoted by the conventional financial system (public and private banks) due to the criteria of selectivity, guarantees required and margins of financial return pursued by these institutions, a large part of the Brazilian population does not have access to banking services. They are people living in extreme poverty, especially those living in communities far from the urban centers of Brazilian cities. For this part of the population, alternatives have recently appeared that try to democratize access to financial resources, which are treated as a common good, that is, of collective use, especially for small-scale economic units, using innovations by a multiplicity of institutional arrangements and new governance mechanisms such as innovations in the field of solidarity finance, in particular the Community Development Banks (DCBs). From this context, the present study sought to understand the nature of innovation and the challenges raised in the management of solidarity finance services, carried out through Community Banks as a modality of a common good. To achieve this objective, a single case study was carried out at the Cocais Community Bank, located in the municipality of São João do Arraial, in the state of Piauí. This study has a qualitative character, with a descriptive and exploratory approach. Data were collected through semi-structured interviews, documentary research and non-participant observation, and were analyzed through narrative. The Cocais bank was built by its own users, in order to solve the problem of lack of access to financial services in the municipality, especially for the part of the population excluded from the conventional banking system, having as mechanisms of access the social utility of these services, in particular solidarity credit, respecting the socio-cultural characteristics of the territory belonging to its users, defining it as a social innovation. Challenges related to: (a) the process of constructing the initiative, conflicts related to political issues in the territory, challenges regarding acceptance of the social currency, limiting the credit fund, and the demobilization of the population in relation to the management of the bank. These challenges express the complexity of resource management in common use. / Diante da exclusão promovida pelo sistema financeiro convencional (bancos públicos e privados) devido aos critérios de seletividade, garantias exigidas e margens de retorno financeiro perseguido por essas instituições, grande parcela da população brasileira não dispõe de acesso aos serviços bancários. São pessoas que vivem em situação de extrema pobreza, principalmente as que moram em comunidades distantes dos centros urbanos das cidades brasileiras. Para essa parcela da população, recentemente, tem surgido alternativas que tentam democratizar o acesso aos recursos financeiros, que passam a ser tratados como bem comum, ou seja, de uso coletivo, especialmente para unidades econômicas de pequena monta, utilizando-se de inovações constituídas por uma multiplicidade de arranjos institucionais e novos mecanismos de governança, como as inovações no campo das finanças solidárias, em especial, os Bancos Comunitários de Desenvolvimento (BCDs). A partir desse contexto, o presente estudo buscou compreender a natureza da inovação e os desafios suscitados na gestão dos serviços de finanças solidárias, realizados por meio de Bancos Comunitários como modalidade de um bem comum. Para atingimento deste objetivo, foi realizado um estudo de caso único no Banco Comunitário dos Cocais, localizado no município de São João do Arraial, no estado do Piauí. Este estudo tem caráter qualitativo, com abordagem descritiva e exploratória. Os dados foram coletados por meio de entrevistas semiestruturadas, pesquisa documental e observação não-participante e, na sequência, foram analisados por meio de narrativa. O banco dos Cocais foi construído por seus próprios usuários, com a finalidade de resolver o problema da falta de acesso a serviços financeiros no município, em especial, para a parte da população excluída do sistema bancário convencional, tendo como mecanismos de acesso a utilidade social destes serviços, em especial, o crédito solidário, respeitando as características socioculturais do território de pertencimento de seus usuários, definindo-o como uma inovação social. Foram identificados desafios relacionados: (a) ao processo de construção da iniciativa, a conflitos relacionados a questões políticas do território, desafios em relação à aceitação da moeda social, a limitação do fundo de crédito, e a desmobilização da população em relação à gestão do banco. Tais desafios expressam a complexidade presente na gestão de recursos de uso comum. / São Cristóvão, SE

L’auteur d’une oeuvre de l’esprit au Burkina Faso jouit d’un faisceau de droits reconnus par le droit positif. Ainsi, des droits aussi bien moraux que patrimoniaux lui sont octroyés. Dans le cadre de la mise en oeuvre de ces droits, un mécanisme est mis en place. Il consiste à la perception et à la répartition des droits de l’auteur sur son oeuvre. Cependant, le poids de la tradition, l’analphabétisme des populations et la méconnaissance de la propriété littéraire et artistique entravent conséquemment le bon déroulement du mécanisme. Ces facteurs socio-culturels concourent à la violation massive des droits d’auteur. En effet, les droits du créateur s’en trouvent fortement affectés tant l’exploitation illégale des oeuvres a atteint des proportions fort inquiétantes. Ainsi, l’auteur est pris en tenaille entre une société réfractaire et une loi obsolète. En effet, la loi n° 032/AN/99 du 22 décembre 1999 portant protection de la propriété littéraire et artistique au Burkina Faso est, à bien des égards, en déphasage avec l’environnement juridique contemporain. Il convient donc de procéder à une relecture de ce texte pour une protection optimale des droits de l’auteur burkinabé d’une oeuvre de l’esprit. Il convient, également, de mettre l’accent sur la sensibilisation des populations afin de changer la perception erronée de celles-ci de la propriété littéraire et artistique / The author of a work of the spirit in Burkina Faso enjoys a bundle of rights recognized by positive law. Thus, both moral and patrimonial rights are granted. As part of the implementation of these rights, a mechanism is put in place. It consists in the perception and the distribution of the rights of the author on his work. However, the weight of the tradition, the illiteracy of the populations and the ignorance of the literary and artistic property consequently hinder the smooth running of the mechanism.These socio-cultural factors contribute to the massive violation of copyright. Indeed, the rights of the creator are strongly affected as the illegal exploitation of works has reached very disturbing proportions. Thus, the author is caught between a refractory society and an obsolete law.Indeed, Law No. 032 / AN / 99 of 22 December 1999 on the protection of literary and artistic property in Burkina Faso is, in many respects, out of step with the contemporary legal environment. It is therefore appropriate to re-read this text for an optimal protection of the rights of the Burkinabe author of a work of the mind. Emphasis should also be placed on sensitizing the population to change their misperception of literary and artistic property

La rémunération des créateurs d’œuvres musicales est indispensable au développement et à la pérennisation de l’innovation artistique. Cette rémunération doit se faire de manière juste et équitable entre les divers acteurs de la création musicale. Pour assurer une répartition équitable des redevances musicales, le droit de la propriété intellectuelle prévoit diverses règles et mécanismes de gestion des droits d’auteur. Cependant, à l’ère du numérique, ces mécanismes ne semblent plus efficaces face au développement des technologies informatiques. À côté des règles étatiques, des règles d’origine privée se sont développées. Parmi ces règles, les règles de nature technique et informatique présentent des caractéristiques intéressantes et efficaces pour renforcer et/ou suppléer les règles étatiques de gestion des droits d’auteur. En partant du principe que l’on se trouve aujourd’hui dans une ère juridique postmoderne où se juxtaposent des règles juridiques d’origine et de nature différentes, ce mémoire se présente comme une réflexion sur le type de régulation le plus pertinent pour assurer la juste et équitable rémunération des créateurs de la musique à l’ère du numérique. / The remuneration of music creators is essential for the development and sustainability of artistic innovation. This remuneration must be fair and equitable among the various participants in the creation of music. To ensure a fair distribution of music royalties, intellectual property law sets up various rules and mechanisms of copyright management. Yet, in this digital age, these mechanisms no longer seem appropriate for the developments of such technologies. In addition to legislative rules, other rules have developed in the private sector. Among them, technical and IT rules provide interesting and efficient characteristics to reinforce and/or replace the collective management rules found in mainstream copyright law. Starting with the assumption that we are today in a postmodern legal era where legal rules of different origins and natures are juxtaposed, this dissertation is a reflection on the relevant type of regulation that is needed to ensure a fair and equitable remuneration for music creators in the digital age.

著作權集體管理機制（Copyright Collective Management Mechanism），誕生已有數百年的歷史，國際間已經發展出相當成熟的運作機制，相較於我國自民國八十年起才開始有類似收費機制運作，發展經驗可說是相當地懸殊。而我國該機制之正式法制化—著作權仲介團體條例於民國八十六年十一月五日公布施行以來，十年間實務上爭議不斷，機制運作陷於巨大的危機。加以近年來我國推動數位內容產業，著作權授權議題更是攸關數位影音應用產業未來的發展，在在顯示我國著作權集體管理機制確有重新審視之必要。 於是自民國九十五年起在經濟部智慧財產局的主導下，開始召集各方進行對話，並藉此機會蒐集意見以推動著作權仲介團體條例的修法工程。除了國內的改革，國際間在過去十年來也開始對著作權集體管理機制的運作進行檢討，此乃由於數位時代的到來，著作權集體管理機制受到各種新興數位科技，諸如：網際網路、數位權利管理、點對點檔案分享等之巨大衝擊，此種態勢影響機制的保護、行使和管理的環境，使得國際著作權社群開始思考著作權集體管理機制應該如何因應數位環境所帶來的挑戰。 有鑑於此，本研究希望能夠立基於我國著作權集體管理機制的現況，以過去實務上及近日修法歷程中所遭遇的爭議問題為著眼點出發，回顧過去國際間著作權集體管理機制運作經驗，並探討近年國際間發展趨勢，以勾勒出我國機制未來藍圖。探討的重點包括：著作權集體管理機制的歷史與法律背景、意涵、功能與操作原則，以為我國機制擘畫運作之參考；著作權集體管理機制運作場域—我國著作權產業的發展現況；採納「利害關係人」觀點，釐清我國機制中的各方利害關係人為何、所追求的目標何在及互相的利益衝突，進而界定出各方利害關係人未來參與機制的適當形式；評析我國著作權集體管理相關法制的沿革、內容與修法；並針對國際間近年兩大發展趨勢：數位化及跨越疆界的著作權集體管理趨勢，先行探討有哪些新興的數位科技對著作權集體管理機制帶來衝擊，評估其影響與機制的新角色定位，其次討論跨越疆界趨勢：單一窗口、跨國界集體管理及其衍生的公平交易法課題。 最後回應本研究的研究問題，論述對我國實務現況之觀察、著作權集體管理法制總評、國際運作經驗及發展趨勢對我國的啟示，並且提出三大項建議：我國著作權集體管理團體現階段要務、政府的角色、對我國未來機制的幾點省思，是為本研究之結論與建議。 / Copyright Collective Management Mechanism has been established for centuries and developed maturely worldwide. However, it was not until 1991 that some similar collecting organizations started to operate in Taiwan. Compared with some countries around the world, the development experience is quite different. After the formal legalization—the enactment of the Copyright Intermediary Organizations Act on November 5 1997, there were lots of argues emerged in the aspect of law enforcement. Besides, Taiwan’s government has promoted the development of digital content industry in recent years. The issues concerning copyright licensing will have a big impact on the development of audio-visual application industry in the future. It is therefore, necessary to raise concerns and re-scrutinize Taiwan’s copyright collective management mechanism. Since 2006, Taiwan Intellectual Property Office (TIPO) has started to gather public opinion for revising the act. Except the revolution in Taiwan, people started to examine the exercise situation of copyright collective management internationally in last ten years. This is because the advent of digital technologies, such as: the Internet, digital rights management, peer-to-peer file sharing, has changed the environment surrounding the copyrighted works. International copyright societies started to think about how to deal with the challenges brought in digital era. This thesis aims to discuss some of these issues by exploring the current situation of Taiwan’s copyright collective management mechanism, the obstacles encountered in the past practice, the process of law revising, and the latest development trends worldwide. First of all, Chapter One is an Introduction to this thesis. Then Chapter Two discusses the historical and legal background, definition, functions, and operating guidelines of the mechanism for future reference when Taiwan intends to modify current mechanism. Chapter Three describes the developing situation of Taiwan’s copyright industries. Chapter Four adopts “Stakeholder Analysis” to clarify who are the stakeholders in Taiwan’s mechanism, their pursuing goals, and conflicts of interest between them. Chapter Five traces the developing process, content and revision in relation to Taiwan’s copyright collective management legislation. Chapter Six outlines the two latest development trends: digital and cross-border copyright collective management. At first, it analyzes the impact of new digital technologies and the new role of copyright collective management mechanism. Integration trends: one-stop-shop, cross-border collective management and antitrust concerns, are explored as well. At the end of this thesis, Chapter Seven, I propose three recommendations for Taiwan’s mechanism in the future: the urgent missions of Taiwan’s collective management organizations, the role of government, and the self-examination. It is my hope the recommendations contribute to the better resolution of existing and future challenges.