隨著產業外移和金融風暴，工業用地大量閒置，政府為活化土地資源，於民國91年都市計畫法臺灣省施行細則放寬都市計畫工業區土地使用項目，允許商業和服務業進駐，卻遭建商推出住宅社區，即「工業住宅」。工業住宅是沒有被界定的模糊財產權；行政上，政府的行政不作為助長工業住宅現象；學說上，產權理論和公共領域是形成工業住宅的原因、交易成本和修補制度則為解決工業住宅困境的策略。 本研究從新制度經濟學的財產權、公共領域、尋租理論及法律規定，探討工業住宅的形成及檢視政府的政策與管理制度，也利用法院判決、監察院調查報告及糾正案文、深度訪談來佐證工業住宅形成過程和行政機關的作為。研究結果期對政府都市計畫工業區管理政策及執行提出具體建言。

This study focuses on the Nordic model of Extended Collective Licenses (ECL) and how this model can be used in the process of digitalising and publishing archival material such as photos, letters, maps or films. The question that this study aims to deal with is what advantages, and disadvantages, there are for archives and copyright holders when an ECL is being used. To help answering this question the ‘theory of the knowledge commons’ has been applied. The research question has been answered through a text analysis based on legal texts including Swedish law. To get a wider perspective, international literature such as official and law-binding documents from the Nordic countries and the European Union have also been consulted. Policies and contributions to the debate about making cultural heritage available online have also been included to give light to the complexity of the question. In 2013 the Swedish copyright law was changed to facilitate for certain archives and libraries to sign an agreement with a so called Collective Administration Organization (CAO). There are no examples of ECLs being used by Swedish archives for classical archival materials even if the possibility to draw up this type of agreements has existed since 2005. One of the reasons might be the complexity of the law and that the archival institutions have problems of interpreting it. The institutions often avoid providing access to their materials online or choose material they know is in the public domain already. Finding copyright holders before publishing material online is time-consuming. One of the major advantages of functional ECLs is that they save time and resources – both for the archival institutions and the copyright holders. The ECLs provide an opportunity for the archival institutions to share their collections with the public and the copyrights holders get an organized way to communicate their terms and conditions. This is a two years master’s thesis in Archive, Library and Museum studies.

The urban space is subjected to countless transformations depending on multiple reasons such as urban planning decisions, the administrative system and regulations. In this context, the aim of this thesis is to reveal the spatial transformation of an urban area at the conjunction of the old and new districts of a historical city. A morphological analysis method depending on quantitative and qualitative chaarcteristics will be utilized to understand its changing spatiality.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 148-155). Also available in electronic format on the Internet.

The author introduces the regulatory and political landscape of the mining concession and the institutional decay it has suffered. He also shows the systems of acreage and the system which our country has received it well: the System of Public Domain. Finally, the author analyzes the mining concession and harvesting rights, raised according to the Constitution and the General Mining Law, explaining the policy changes needed to strengthen it as a fundamental qualifying title for the development of mining activities in the country. / El autor presenta un panorama normativo y político de la concesión minera y el desgaste institucional que ha sufrido. Asimismo, expone los sistemas de dominio minero y el que nuestro país ha acogido con acierto: el Sistema Dominalista. Por último, analiza la concesión minera y el derecho de aprovechamiento, planteado de acuerdo a la Constitución y Ley General de Minería, explicando los cambios normativos necesarios a fin de fortalecerlo como título habilitante fundamental para el desarrollo de las actividades mineras del país.

O estudo do domínio público no direito autoral não se resume a analisar os prazos de proteção conferido às obras intelectuais. De tratamento escasso pela doutrina, o tema é bem mais complexo do que aparenta em um primeiro momento, abrangendo diversas áreas do direito e tendo implicações diretas na vida da sociedade. Uma vez que o direito autoral é composto de dois feixes distintos de direitos o patrimonial e o moral compreender o domínio público é, em primeiro lugar, determinar que efeitos decorrem do ingresso de determinada obra em domínio público quanto a cada um de tais grupos de direitos. Além disso, o impacto do domínio público se faz sentir em outras áreas jurídicas, como direito contratual, direito de propriedade, direito do consumidor, direito de família, direito das sucessões. Sem contar com a relação inevitável a aspectos econômicos e sociais relacionados ao uso de obras em domínio público.Esta tese procura determinar a estrutura jurídica do domínio público no direito autoral brasileiro a partir das leis atualmente em vigor, bem como traçar a função do instituto, a fim de dar ao domínio público a importância devida e estimular o desenvolvimento sócio-cultural do país. / The study of public domain in the copyright law is not limited to the analysis of the terms of copyright protection. Being scarcely studied by the doctrine, the issue is more complex than it appears at first, covering different areas of law and having direct implications in society. Since copyright is composed of two distinct bundles of rights - the economic and the moral - to understand the public domain is, first, to determine what effects result from the entry of certain work in public domain on each of these groups of rights. Moreover, the impact of public domain is felt in other legal areas such as contract law, property law, consumer law, family law, law of succession. Apart from the inevitable relation to economic and social aspects related to the use of public domain works. This thesis seeks to determine the legal structure of the public domain in copyright according to Brazilian laws currently in force, as well as tracing the role of the institute in order to give due importance to the public domain and stimulate the social and cultural development of the country.

Ce travail de recherche traite des rapports entre le droit de la propriété littéraire et artistique et le principe d'équité, qui permet à chacun des acteurs de la propriété littéraire et artistique : auteur, public, exploitant, de se voir attribuer des prérogatives à sa juste mesure, en faisant en sorte de léser le moins possible les autres acteurs. Les rapports à l'équité sont dans un premier temps étudiés dans le cadre de l'exploitation traditionnelle des droits d'auteur : d'une part par l'intermédiaire des sociétés de gestion collective et d'autre part du fait des contrats d'exploitation portant sur des œuvres. Dans ces cas de figure, l'équité sert de référence dans les relations contractuelles entre l'auteur et l'exploitant. Les rapports à l'équité sont également étudiés dans le cadre du phénomène des œuvres évolutives et des licences libres qui les accompagnent. Les rapports à l'équité sont ensuite étudiés dans le cadre des limitations des droits de l'auteur. Certains de ces limitations font l'objet de compensation, telles les licences légales et les exceptions rémunérées. Les exceptions qui ne font pas l'objet d'une rémunération font l'objet d'une rationalisation. Sont évalués à l'aune de l'équité les moyens de rationalisation d'une part et les exceptions rationalisées du fait de ces moyens d'autre part. L'équité est mesurée dans cette hypothèse entre les prérogatives des ayants droit et celles des bénéficiaires des exceptions. / This PhD thesis deals with the link between the French copyright system and the principle of equity. The French copyright system should allow each of its actors: the author, the public and the manager of the work, to receive attribution pertaining to their role without being overly affected by the other actors' prerogatives. First, we shall study effects on the principle of equity within the framework of traditional exploitation, namely when the author confides the exploitation of his work either to a copyright collecting agency or to a publishing company. Influences on equity will be measured in the nature of the contractual relationship between the author and the copyright manager. Impact on equity will also be studied in cases of open artworks and open licences, such as Copyleft and Creative Commons licences. Next, we shall evaluate the influence on equity within the framework of copyright limitations. These limitations can be offset either by payment – such is the case with legal licences or remunerated exceptions – or by a restriction of their use. Unremunerated exceptions undergo rationalization; we shall examine both the means of rationalization and the rationalized exceptions from a point of view of equity. In the various cases of limitation, the impact on equity will be determined according to the relationship between the copyright owner and the beneficiary of the limitation.

Lors de ces dernières décennies, la recherche de nouveaux instruments générant des recettes publiques est apparue comme un phénomène commun dans des Etats dont les conditions politiques, juridiques et économiques diffèrent pourtant sensiblement. De manière générale, les difficultés financières rencontrées par les États ont favorisé le développement de la parafiscalité mais aussi un certain essor de l’utilisation d’instruments d’obtention de recettes publiques liés au principe du bénéfice. Parmi ces instruments se trouvent les redevances, qui procurent un montant non négligeable de recettes publiques aux États à l’heure actuelle.A partir les années 80, les lois mexicaines présentent une définition de la redevance qui intègre dans son sein les redevances pour service rendu et les redevances domaniales, en leur attribuant un caractère fiscal. Après trois décennies, le régime juridique des redevances dans ce pays se caractérise par un manque considérable de lisibilité. Une technique normative déficiente et l’absence d’un effort de systématisation tant dans les lois qui les établissent que dans la jurisprudence rendent difficile de cerner les redevances comme un tout harmonieux et cohérent.Face à cette problématique, notre thèse a pour objectif de contribuer à l’étude de la redevance en droit mexicain. Dans une Première Partie, nous identifions les éléments qui suggèrent une affirmation progressive de la redevance en tant que catégorie de ressources publiques possédant une logique et un fonctionnement propres. Dans une Deuxième Partie, nous analysons les spécificités des deux grandes modalités de redevance. / Over the past decades, in a context of budgetary pressure, governments turned to fees imposed on those that receive a specific benefit. Since the collection of public service fees increased in the last years, they constitute an important source of revenue for governments. This phenomenon is widespread in many countries, regardless of their economic, political, or legal framework.In Mexico, user fees and fees for the special use or exploitation of the public domain, are levied by both federal and local governments. Nevertheless, since the 1980’s these fees are considered as mandatory levies in this country. Currently, federal and local laws need to be amended in order to establish clearly these fees. Indeed, since several fees exist in Mexican law, it is necessary to investigate if user fees and fees for the special use or exploitation of the public domain belong to the same category. Also, it is necessary to distinguish them from taxes. This thesis aims to contribute to the understanding of fees in Mexican law. First, it is analyzed the definition and legal nature of such fees as well as the constitutional principles that are applied. Second, it is provided an overview of the main characteristics of both user fees and fees for the special use or exploitation of the public domain at federal and local level.

O estudo do domínio público no direito autoral não se resume a analisar os prazos de proteção conferido às obras intelectuais. De tratamento escasso pela doutrina, o tema é bem mais complexo do que aparenta em um primeiro momento, abrangendo diversas áreas do direito e tendo implicações diretas na vida da sociedade. Uma vez que o direito autoral é composto de dois feixes distintos de direitos o patrimonial e o moral compreender o domínio público é, em primeiro lugar, determinar que efeitos decorrem do ingresso de determinada obra em domínio público quanto a cada um de tais grupos de direitos. Além disso, o impacto do domínio público se faz sentir em outras áreas jurídicas, como direito contratual, direito de propriedade, direito do consumidor, direito de família, direito das sucessões. Sem contar com a relação inevitável a aspectos econômicos e sociais relacionados ao uso de obras em domínio público.Esta tese procura determinar a estrutura jurídica do domínio público no direito autoral brasileiro a partir das leis atualmente em vigor, bem como traçar a função do instituto, a fim de dar ao domínio público a importância devida e estimular o desenvolvimento sócio-cultural do país. / The study of public domain in the copyright law is not limited to the analysis of the terms of copyright protection. Being scarcely studied by the doctrine, the issue is more complex than it appears at first, covering different areas of law and having direct implications in society. Since copyright is composed of two distinct bundles of rights - the economic and the moral - to understand the public domain is, first, to determine what effects result from the entry of certain work in public domain on each of these groups of rights. Moreover, the impact of public domain is felt in other legal areas such as contract law, property law, consumer law, family law, law of succession. Apart from the inevitable relation to economic and social aspects related to the use of public domain works. This thesis seeks to determine the legal structure of the public domain in copyright according to Brazilian laws currently in force, as well as tracing the role of the institute in order to give due importance to the public domain and stimulate the social and cultural development of the country.

Based on the premise that only in being accessible can the film reach its potential for history making, the contribution of the film archive to a particular film historical narrative is fragmented: the films that are extant are not necessarily available and the ones that are available are not necessarily publicly accessible. The contention of the thesis is that ‘doing’ film history in the context of the film archive should always be seen in light of an ever increasingly narrowing fragmentation of accessible material that takes place in the film archive. What is new about the contribution of this thesis is not that the film archive can be seen simultaneously as a result of a particular historical narrative as well as contributing to one, but that this debate is put in the context of copyright as a determining factor of why the accessible part of the film archive is only a partial picture. To this end, the thesis proposes a reorganisation of existing categories of analysis in the form of a cross-section of the film archive based on copyright ownership plotted against the material’s ‘availability’. By such practices as using a risk-managed approach to copyright clearance for archival digitisation projects, the film archive can be seen to act as a mediator between copyright and film historiography. On the one hand, the film archive is subjected to copyright law, against the constraints of which it can be seen to resist. On the other hand, the archive makes productive use of copyright in its involvement in the interplay between the ownership of the physical objects and the ability to control the subsequent use and dissemination of those objects. Some of these resistant and productive practices, such as found footage filmmaking as a historiographic intervention and providing access to public domain material, are analysed in the context of some of the digital access practices of EYE Film Institute Netherlands between 2002-2005, in which the film archive can be seen to actively shape access to its film archival holdings as well as a particular potential for film history writing.