in English Fine Arts and other types of Visual Arts Copyright This dissertation deals with copyright law with a special focus on fine art and modern forms of contemporary visual art. The introduction describes in brief the copyright, especially its inclusion in the law system, the definition of basic principles and sources of law. Further it concentrates on personal and property authors' rights in its specific forms. The next chapter deals thoroughly with the legal definition of fine art, including both its traditional and modern forms. The following part summarizes the means of legal protection of fine art, by both private and public actions. The fifth chapter presents a legal and philosophical reflection on the protection of art in public space, street art and graffiti, the unique art forms that come often into conflict with the third parties' rights. The sixth chapter is a follow-up to the previous and addresses the legal regulation of urban art (street art and graffiti) in France. The seventh chapter analyses the well-known cases related to copyright disputes in Czech legal environment. The next part is focused on copyright and its concept in France, the historical and philosophical context, the definition of copyright and the obligatory conditions of protection. This chapter also contains a...

in English Painting as an Object of Jurudical Acts The work is focused on individual types of legal proceedings connected with the painter's artwork. First, it offers an excursion to the basics of copyright, its development and contemporary issues. The work provides classification of copyright in the system of intellectual property rights and briefly explains the differences between continental and Anglo-American concepts. The following chapters attempt to define the terms "author", "work" and "painting". Then, it deals in more detail with specific types of artworks, such as restoration, book illustrations, derived works, parody and cartoon and street-art. In the next chapter, the thesis explains the relationship between the author and the owner of the work and some copyright restrictions that this situation brings, in the subchapter the work analyzes the export of painting artworks abroad. In its main part, the work gradually focuses on the individual types of legal proceedings connected with the painting, their characteristics and their adaptation. In the sorting of different ways of using it proceeds according to the system of the law, the largest range is devoted to the sale and purchase of the painter's artwork. In the subchapters, the work deals with the issue of pricing of painting artworks,...

This empirical exploratory study quantitatively analyzed content similarity indices (potential plagiarism) from a corpus consisting of 360 dissertations and 360 published articles. The population was defined using the filtering search criteria human resource development, training and development, organizational development, career development, or HRD. This study described in detail the process of collecting content similarity analysis (CSA) metadata using Turnitin software (www.turnitin.com). This researcher conducted robust descriptive statistics, a Wilcoxon signed-rank statistic between the similarity indices before and after false positives were excluded, and a multinomial logistic regression analysis to predict levels of plagiarism for the dissertations and the published articles. The corpus of dissertations had an adjusted rate of document similarity (potential plagiarism) of M = 9%, (SD = 6%) with 88.1% of the dissertations in the low level of plagiarism, 9.7% in the high and 2.2% in the excessive group. The corpus of published articles had an adjusted rate of document similarity (potential plagiarism) of M = 11%, (SD = 10%) with 79.2% of the published articles in the low level of plagiarism, 12.8% in the high and 8.1% in the excessive group. Most of the difference between the dissertations and published articles were attributed to plagiarism-of-self issues which were absent in the dissertations. Statistics were also conducted which returned a statistically significant justification for employing the investigative process of removing false positives, thereby adjusting the Turnitin results. This study also found two independent variables (reference and word counts) that predicted dissertation membership in the high (.15-.24) and excessive level (.25-1.00) of plagiarism and published article membership in the excessive level (.25-1.00) of plagiarism. I used multinomial logistic regression to establish the optimal prediction model. The multinomial logistic regression results for the dissertations returned a Nagelkerke pseudo R2 of .169 and for the published articles a Nagelkerke pseudo R2 .095.

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Copyright is conventionally justified as an incentive to produce and disseminate works of authorship. We can justify and theorise copyright more richly, not least because empirical evidence does not support the incentive narrative. Rather than focussing on quantitative matters such as the number of works incentivised and produced, we should consider copyright's qualitative influence on culture. A threshold objection to such an approach is the risk of cultural paternalism. This objection can be overcome. Rather than specifying paternalistic standards of merit for works, we can target the conditions under which their creation and consumption takes place. I argue, firstly, that we should adopt the following high-level principles: (i) that the conditions of creation and consumption of works should be conducive to democratic deliberation (democracy) and (ii) that they should facilitate the development of human capabilities (autonomy). Secondly, I propose that we pursue three mid-level objectives, which are helpful indicia of democracy and autonomy: - a fair and wide distribution of communicative and cultural power (inclusiveness); - diversity in the content and perspectives available to the public (diversity); and - conditions that permit authors and users of works to engage rigorously with the conventions of the media in which they operate (rigour). It is often said that copyright obstructs important qualitative objectives, like freedom of expression, and that we could better pursue these goals by weakening copyright and relying on non-proprietary alternatives. My approach produces a more optimistic, but also more complicated, view of copyright. While copyright's qualitative influence is not optimal, reductions in the strength and scope of copyright sometimes produces conditions and incentive structures that are worse for inclusiveness, diversity and rigour than stronger copyright. For example, both attention and wealth are highly concentrated in networked information economies driven by free sharing of content, and this is bad for diversity or inclusiveness. Online business models, based on surveillance of users' consumption of free works, are corrosive of autonomy and democracy. Merely removing copyright-based restrictions on the sharing of works is not a panacea for copyright's ills. A qualitative theory such as mine equips us to better understand and calibrate more richly the trade-offs involved in copyright policy decisions, and encourages us to treat copyright as part of a broader, qualitatively-oriented information and cultural policy.

Thesis (LLM)--Stellenbosch University, 2012. / Includes bibliography / ENGLISH ABSTRACT: This thesis analyses current South African copyright law to ascertain the proper interpretation and application of the fair dealing provisions contained in the Copyright Act 98 of 1978. Copyright law ensures that authors’ works are not used without their consent, which they can grant subject to compensation or conditions attached to the use. Fair dealing exceptions allow the general public to use copyright works for certain purposes without the copyright owner’s consent and without paying compensation. These provisions are intended to balance copyright owners’ interests with the interest that members of the public have in using copyright works for socially beneficial purposes. These provisions typically allow the use of a copyright work for the purposes of research or private study, personal or private use, criticism and review, and news reporting. Unfortunately there is no South African case law concerning the fair dealing provisions, and the application of these exceptions remains unclear. This study aims to clarify the extent of application of the fair dealing exceptions to copyright infringement so that courts may be more willing to consider foreign and international law and in doing so develop South African intellectual property law. The social and economic policy considerations underlying the fair dealing exceptions are considered to determine their function. International conventions relating to copyright and neighbouring rights are examined, specifically the provisions allowing exceptions to copyright. The legislation and case law of Australia and the United Kingdom are analysed to determine the proper interpretation and application of these statutory defences. This knowledge is then used to inform South African law. The Copyright Act 98 of 1978 does not contain a fair dealing exception for parody and satire. Australian legislation does contain such an exception, and it is analysed in that context. An exception for parody is proposed for South African law, and the need for and application of this provision is considered. The constitutionality of the proposed exception is evaluated in terms of its impact on the constitutional property rights of copyright owners. / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek Suid-Afrikaanse outeursreg om die behoorlike uitleg en toepassing van die “billike gebruik”-bepalings in die Wet op Outeursreg 98 van 1978 te bepaal. Outeursreg beskerm die werk van ʼn outeur teen ongemagtigde gebruik van haar intellektuele eiendom. Gebruik kan deur die outeur gemagtig word, òf teen vergoeding òf onderhewig aan bepaalde voorwaardes. Artikels 12-19B (die billike gebruik-bepalings) van die Wet op Outeursreg laat ander toe om sekere werke te gebruik sonder die toestemming van die eienaar van die werk en sonder om vergoeding te betaal. Die bepalings streef om ʼn balans te tref tussen die belange van die outeur en die belange van die publiek. ʼn Werk mag volgens hierdie bepalings tipies gebruik word vir die doeleindes van navorsing of private studie, persoonlike of private gebruik, beoordeling of resensie, of om nuus te rapporteer. Daar is tans geen Suid-Afrikaanse regspraak rakende hierdie uitsonderings nie, en hul toepassing is dus onseker. Hierdie tesis beoog om die werking van die billike gebruik-bepalings duidelik uiteen te sit om hoër gewilligheid in howe te skep om internasionale en buitelandse reg toe te pas, en sodoende Suid-Afrikaanse immateriële goederereg te ontwikkel. Die sosiale en ekonomiese beleidsoorwegings wat die bepalings ondersteun word geanaliseer om die doel daarvan te bepaal. Internasionale outeursreg-verdragte word bespreek om ʼn raamwerk vir die uitsonderings te skep. Wetgewing en regspraak van Australië en die Verenigde Koninkryk word ondersoek, en die kennis wat daar opgedoen word, word toegepas op die Suid-Afrikaanse bepalings. Die Wet op Outeursreg 98 van 1978 bevat geen uitsondering vir die doeleindes van parodie en satire nie. Die Australiese Wet op Outeursreg 63 van 1968 bevat wel so ʼn uitsondering, en dit word in hierdie verband beoordeel. ʼn Uitsondering vir parodie en satire word voorgestel en oorweeg in die konteks van Suid-Afrikaanse outeursreg. Die grondwetlikheid van die voorgestelde uitsondering word bepaal na aanleiding van die impak wat dit sal hê op outeurs se eiendomsreg.

隨著科技的進展，產生了許多新興的創作媒介與方式，使得終端的網路使用者不再甘於僅做為主流媒體所提供內容之接收者，也想進一步地成為內容的提供者，網路上混搭創作的興盛正是在此種潮流趨勢下的一種社會文化現象。網路混搭創作可依其創作內容之不同而區分為三種：網路混搭、影片混搭與音樂混搭；但其創作之方式都有一個共同的特徵：將不同來源之資訊、素材，經由混搭創作者發揮創意後，以嶄新面貌而呈現之作品。著作權制度之目的乃在促進人類智識文化之進展與累積，因此對於新興之網路創作也應賦予一定之保護，才能真正發揮著作權制度之功能。然而，現行著作權制度制定時並未充分考量到數位時代下各種創作方式與媒介之特性，所以並無法提供此類創作適當之保護。為了社會文化之發展，現行的著作權制度有其修正之必要，讓負責平衡公私益之合理使用原則能夠發揮其功能，而不再僅具有象徵性之意義，而是能更實際地落實保護之功能。此外，在現行著作權制度尚未修正前，本文也嘗試提出兩個體制內解決之方法：創作共用以及創新之商業模式。透過創作共用可以讓目前的著作權制度更有彈性；創新的商業模式則能讓所有著作權關係人能夠互利共生，更有助於問題之實際解決。 / This thesis aims to study on copyrights concerning the mashups on blogs. The technology evolution brings about new media and new mode for creation and the end-users can both be the information recipients and providers. Mashups become one of the frequently adopted modes among the internet creation and the copyright of mashups call for a closer study. The main idea of mashups is to mash and recombine materials taken from different sources with the creator’s own creativity. Mashups are regarded as a creation, which requires legal protection. However, the protections for mashups and their creators in current laws are still incomplete and needed to be amended for a better environment for creators. Beside the amendment of copyright laws, other solutions are as well available, such as Creative Commons and new business models. Creative Commons provides authors with some licensing clauses, which helps to create a more flexible creative environment. On the other hand, a good business model could transform legal issues into a commercial opportunity and provide the best solution for all parties related. The first chapter of this thesis will outline the main purpose and possible contribution of this thesis. The second chapter will introduce the blogs. The introduction will begin with the streaming technology and concerning legal issues. Streaming technology is a crucial factor in the developments and the functions of blogs. Further on, the thesis will elaborates the history and future trend of blogs. In the third section of the chapter, some main copyright issues of blogs will be brought into discussion. The third chapter is the introduction of audio-visual mashups on blogs. The discussion begins with website mashup technology and the types of mashups. Remix Culture plays an important role in the development of mashups and its connection between audio-visual mashups on blogs will be elaborated. The chapter will also include some copyright issues of audio-visual mashups on blogs and a detailed discussion on the fair use doctrine of the current copyright law. The fourth chapter will focus on the Creative Commons and new business models, which should be an alternative solution beside the law amendments. The discussion will involve with an introduction about Creative Commons. The ccMixter and Jamendo can be taken as two examples of combination of Creative Commons and audio-visual mashups. The chapter will as well include some latest digital music business models and suggestions for future mashup business models. This thesis indicates the deficiency of current copyright laws concerning the protection of mashups and calls for attentions to the necessity of law amendments. In addition, the thesis propose two alternative solutions for the copyright dilemma: the Creative Commons and new business models, through which the mashups problems can hopefully dealt with in a more practical way.

在網路的世界裡，搜尋引擎對網路使用者的重要性逐漸升高，而藉由搜尋引擎之幫助，使用者可以在數位資訊爆炸的網路世界中，尋找到所需的資訊。惟此種便利之用途，亦造成著作權人之權利遭受侵權之疑慮，如搜尋引擎協助使用者找到未經合法授權之檔案而下載之；亦或搜尋引擎本身即複製該未經合法授權之內容而散布之等情形。各國對於搜尋引擎業者之侵權責任有相似規定，在如何之情況下搜尋引擎必須負擔侵權行為責任，而在何種情形下搜尋引擎業者可能可以免責，又在何種情形下搜尋引擎業者可能引用合理使用原則，本文亦嘗試提出各國之規定以供國內參考。 國內尚未有搜尋引擎業者之相關案例，故本文嘗試透過不同的國家中不同的搜尋引擎態樣進行案例分析，提出不同的搜尋引擎在不同之情狀之下，可能會造成的著作權爭議。如在圖像搜尋方面即提出美國的Perfect 10 v. Google案中縮小圖示之合理使用爭議，並同時提出多年前的Kelly v. Arriba案做為對照；中國大陸的七大唱片公司訴百度案在音樂搜尋當中是相當具有爭議的問題，本文亦提出其他相關的大陸案例做為對照；瑞典海盜灣的案件是P2P軟體變型後所產生之搜尋引擎，亦可以看出未來會有更多不同態樣的搜尋引擎出現；而新聞搜尋之問題，牽涉到重製權，近期Google與美聯社達成和解，本文亦為新聞搜尋此特殊的態樣為探討；而圖書搜尋方面則是以Google的圖書館計畫為基礎，並進一步探討合理使用的可能性。 本論文試圖提出美國、歐盟以及中國大陸的法規以及諸多案例，並探討在世界各地的搜尋引擎面對的著作權爭議問題，而這樣的問題會隨著科技的進步與發展有更多不同態樣的變化。我國目前尚未有相關的案例，故本文嘗試提出案例語法規的論述與探討，以期能予我國參考之。 / In the internet world, search engines become much more important to the users. By using the search engines, users can easily gather the useful data online. Although search engines bring so much convenience, but the copyright holders accuse the search engines of coypright infringement. For instance, the search engines sometimes help their users to download the copyrighted materials or themselves reproduce the copyrighted materials. The actions might bring them law suits.There are similar regulations of search engines in different countries. In some situation, search engines might defense themselves by claiming safe harbor regulation, and in others, they could claim the fair use doctrine. In the thesis, it states many cases from different countries to discuss the regulations. Due to the different functions of search engines, there are various cases. Kelly v. Arriba case and Perfect 10 v. Google case are about thumbnails search in the United States. Baidu v. EMI record case in China is about mp3 files search. Despite the traditional search engines, there are some relatively new and specific search engines, such as Private Bay. Private Bay is a search engine which focuses on searching bittorrent files for P2P downloading. In the future, there will be much more search engines with different functions. In the thesis, it also states the disputes of news search and book search.Google Book Project rised discussion worldwide. The thesis states the opinions of the ones who agree to apply the fair use doctrine on the project and the one who disagree to. In Taiwan, there have not been any copyright cases of search engines so far.The thesis states the copyright regulations in U.S., Europe and China, such as safe harbor, contributory infringement and fair use doctrine. By presenting the cases and regulations in other countries, the thesis also provide some inspirational ideas about the copyright disputes of search engine.

近年來隨著科技進步以及傳媒興盛，文化創作已非少數專業作者之權利，一般大眾得藉由網路、新聞等媒介進行個人創作。日本的｢同人文化｣即為其中代表之一，所謂「同人誌」，係指原創作品的愛好者於未授權的狀態下，藉資訊技術，改編、混合或以原作品設定為基礎進行衍生創作，這些創作可能帶有補完原創作不足劇情之目的、惡搞或諷刺之目的。同人作者通常對於原作抱持著「稱讚或崇拜」的態度，而非企圖以自己之再創作和原作進行市場競爭，且同人作家之再創作，有時可為原作帶來更高之經濟及文化利益。 然而，同人行為以及同人誌在其內容以及行為模式上，均可能涉及著作權侵權問題，以著作人格權為例，同人誌可能侵害「禁止不當改作權」、「姓名表示權」；以著作財產權為例，同人誌所面臨者，係同人誌行為可能侵害「重製權」以及「衍生著作權」，但由於同人誌之高度經濟效益，亦有美日學者提出同人誌應得就其經濟優勢主張「合理使用」；除此之外，同人誌「借用原作角色和背景設定」之行為，同時也涉及美國法所謂「角色著作權」爭議問題。另外，同人誌本身亦為一種著作作品，惟此種未獲得同意之衍生創作，是否得以合法地取得新的著作權？ 　　本文將先從同人誌的產生及其經濟效益為始，講解為何目前同人誌發源地--日本，對同人誌之發展採取何種態度。第三章至第五章則就著作權法法規面，先行說明與同人誌相關之著作權法規定和法學理論，進而以美、日以及我國實務判決，釐清同人誌與著作人格權、著作財產權的交集，試圖釐清同人誌在著作權法中之定位。第六章係以近來同人誌地位最具威脅性之爭議問題- -TPP協約，推測未來同人誌產業可能之走向若未來日本簽暑該條約後將對日本同人誌產業和其他國家的同人誌產業造成衝擊。 　　　最後，本文將總結同人誌在著作人格權及著作財產權面臨之侵權爭議，依照本文所引用之外國判例或實務見解，試圖提出使同人誌合法之方式，盼能藉此維護同人產業和相關動漫產業的持續發展。 / In recent years, because of the rapid development of digital technologies, everyone can be a creator and easily public his or her work online. The “doujin-activities”(also called “fan-based activities” in American) originating from Japan has provided a good example of how ordinary people can become creators participating in the free culture.Most famous doujin-activities is “doujinshi” , which is associated with the preparation of derivative works without authors’ permission.Most doujinshi creators involve in the activities in order to show their respect of the original works. The aim of these doujin-activities is to create mocks, or parodies of the original work, or to complete the original story. Nonetheless, these fan-based creators have exposed themselves to great extent of copyright infringement. For example, doujinsi may infringes author’s moral right, like “the right to claim the authorship of works” and “the right of integrity”. Moreover, because doujinshi is an unauthorized derivative work, it could infringe author’s property right.However, due to the huge economic interest behind doujinshi, a lot of copyright scholars claim that doujinsi should apply to fair use doctine. By the way,because doujinshi is a work that “borrow characters “from a story, it also face a controversy- -whether a character should be protect by copyright or not? Considering doujinshi is an unauthorized derivative work,can this work be protect by copyright? This research will introduce the problems above. Chapter 2 introduced the origin of doujinshi, and try to explain why the birthland,Japan tolerate the development of doujinshi.Chapter 3 to Chapter 5 introduced the copyright issues which is relevant to doujinshi. Chapter 6 analysis the future of doujinshi.Finally,after discussing the copyright issues about doujinshi,this research provide certain suggestion and try to let doujinshi legalized.

The legality of music sampling is in Sweden unknown. The reason for this is mainly the lack of relevant case law and that the legislation and legislative history has not reach clarity within this subject. There are generally two different routes and perspectives on sample issues. The first main route is that samples should be judged according to the “common” copyright rules where originality, similarity and other factors need to be investigated. The second route is that sampling issues should be judged upon the neighbouring rights, and within these rules no other tests needs to be included. It is simply an infringement if it is proven that someone has in fact sampled a recording. American case law has inherent both views and most often are pending between these views. German case law however made it clear in the Kraftwerk case that the neighbouring rights are used within German law. Through this inconsistency the authors have not found any clear indications which rules a Swedish court would apply. Due to the relationship between Sweden and Germany, and that they are both members of the European Union the authors believe that Sweden will judge accordingly to the neighbouring rights. However, the authors believe that the neighbouring rights were created for the purpose to contradict piracy and not sampling disputes. Furthermore, neither the legislative history nor judicial literature gives any indications that the neighbouring rights should be used when a part of a work has been altered and used in a new work. The author’s personal beliefs are therefore that the neighbouring rights should not be applied on sampling cases. The “common” copyright rules should instead be applied which includes originality and similarity tests.