The aim of this master's thesis is to probe into copyright, especially the moral rights that are inevitably included. Due to the complexity of terminology in intellectual property law, which includes the copyright, it is first provided an overview of intellectual property rights and somewhat as highlighting of some changes that were caused by the adoption of the new Civil Code, particularly with regards to the change of perspective in the conception of a thing in a legal sense. After this lets say general introduction to intellectual property rights the main focus passes to the definition of basic copyright terminology and there are outlined the principles by which is our copyright controlled. For a better understanding of moral rights in copyright it is explained what the nature of those rights actually is, together with the definition of basic approaches to moral rights and property rights as well and of course in relation to differentiation from general personality rights, i.e. those that lack the aspect of the creative nature. Due to the recodification of private law, especially the inheritance law, it is also pointed out that according to the current regulation author's commands not to disclose his particular work is not for the purposes of inheritance proceedings just a wishful thinking, but...

Available via the Australian National University Library Electronic Pre and Post Print Repository. Title from title screen (viewed Mar. 28, 2003) Includes bibliographical references. Mode of access: World Wide Web.

The topic of the paper is integrity right implementation problems. Author‘s right of integrity is on the list of international obligations since the beginning of the XIX century and has to be made available by all Berne convention members‘ national laws. However this International obligation only imlies a minimum standart for integrity right protection, thereby it‘s implementation issues are to be solved at national level. The goal of the paper is identification and analysis of integrity right implementation problems in modern states under the rule of law. Accordingly different legal regulation is one of the main issues of the topic. Establishing conflicts between authors and their work users, identifying persons of law in the integrity right is a great part of this paper. Consequently different sides of the conflick of interests are being elaborated, most frequent dispute cases and ways of solving them are being analised in the light of different legal regulation. His paper also contains legal tradicions of implementing integrity right in continential and common law countries that are being compared to each other, as well as different copyright laws in separate countries and court practice (lithuanian and foreign).

Moral rights in copyright Abstract This thesis, after a brief introduction to the issue of copyright, defines the basic concepts relating to author's moral rights and its nature. It provides an insight into the issue from various different points of view, focusing on the natural nature of moral rights and the natural nature of an author's work, that is reflected in the copyright legislation. The thesis also offers a comparison of two major legal systems of copyright - the authors' right system and the copyright system, which demonstrate the key institutes and characterize both legal cultures through their typical features and differences. The thesis draws attention to the fact that the regulation of copyright and moral rights in particular is far from uniform in the national context and that there are significant differences not only between the different legal systems but also within those legal systems. The thesis also presents copyright and moral rights in valid Czech legislation in terms of the systemic and conceptual definition of the Czech copyright law and then discusses in detail the individual moral rights of authors. An important part of this thesis is the issue of originality as one of the conceptual features of the work. The thesis explains the role of the Court of Justice of the European Union...

The thesis is an exploration of how indigenous knowledge has emerged as a subject within Australian intellectual property law. It uses the context of copyright law to illustrate this development. The work presents an analysis of the political, social and cultural intersections that influence legal possibilities and effect practical expectations of the law in this area. The dilemma of protecting indigenous knowledge resonates with tensions that characterise intellectual property as a whole. The metaphysical dimensions of intellectual property have always been insecure but these difficulties come to the fore with the identification of boundaries and markers that establish property in indigenous subject matter. While intellectual property law is always managing difference, the politics of law are more transparent when managing indigenous concerns. Rather than assume the naturalness of the category of indigenous knowledge within law, this work interrogates the politics of its construction precisely as a ???special??? category. Employing a multidisciplinary methodology, engaging theories of governmental rationality that draws upon the scholarship of Michel Foucault to appreciate strategies of managing and directing knowledge, the thesis considers how the politics of law is infused by cultural, political, bureaucratic and individual factors. Key elements in Australia that have pushed the law to consider expressions of indigenous knowledge in intellectual property can be located in changing political environments, governmental intervention through strategic reports, cultural sensitivity articulated in case law and innovative instances of individual agency. The intersection of these elements reveals a dynamic that exerts influence in the shape the law takes.

An instrumental defense of a right to do wrong is plausible because we cannot directly intervene in an individual's choices so as to effectively promote that individual's moral good, if her moral good is conceived as being some form of individual autonomy. An epistemic defense is also plausible if we reorient J.S. Mill's epistemological argument for his Harm Principle in "On Liberty" to center on the agent's knowledge, rather than on the interfering observer's knowledge. Restrictions on harmless acts that are imposed because the acts are wrong are only justifiable to that individual if she herself knows that her acts are wrong. Both approaches depend upon the limited subjectivity and fallibility of the agent or interfering observer. Moreover, both approaches make the justification for a right to knowingly do wrong problematic.

The thesis is an exploration of how indigenous knowledge has emerged as a subject within Australian intellectual property law. It uses the context of copyright law to illustrate this development. The work presents an analysis of the political, social and cultural intersections that influence legal possibilities and effect practical expectations of the law in this area. The dilemma of protecting indigenous knowledge resonates with tensions that characterise intellectual property as a whole. The metaphysical dimensions of intellectual property have always been insecure but these difficulties come to the fore with the identification of boundaries and markers that establish property in indigenous subject matter. While intellectual property law is always managing difference, the politics of law are more transparent when managing indigenous concerns. Rather than assume the naturalness of the category of indigenous knowledge within law, this work interrogates the politics of its construction precisely as a ???special??? category. Employing a multidisciplinary methodology, engaging theories of governmental rationality that draws upon the scholarship of Michel Foucault to appreciate strategies of managing and directing knowledge, the thesis considers how the politics of law is infused by cultural, political, bureaucratic and individual factors. Key elements in Australia that have pushed the law to consider expressions of indigenous knowledge in intellectual property can be located in changing political environments, governmental intervention through strategic reports, cultural sensitivity articulated in case law and innovative instances of individual agency. The intersection of these elements reveals a dynamic that exerts influence in the shape the law takes.

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Sowohl aus juristischem als auch moralischem Blickwinkel sind Menschenrechte ein unerlässliches Element der aktuellen normativen Realität. Im Bereich der moralischen Philosophie gibt es die deutliche Tendenz, Menschen als Individuen für die einzigen Träger von Menschenrechten zu halten. Die Erfahrung zeigt uns dennoch, dass das Menschenleben sich in das Kollektive widerspiegelt und dass es Kollektive wie Staaten, indigene Völker usw. gibt, deren Existenz lebenswichtig für ihre Mitglieder ist. In Anbetracht der Wichtigkeit bestimmter Kollektive im Menschenleben befasst sich diese Arbeit mit der Frage, wie es möglich ist, kollektive Menschenrechte moralisch zu begründen. Die Arbeit besteht aus drei Teilen, die begrifflich miteinander zusammenhängen. Der erste Teil konzentriert sich auf die Festlegung eines Begriffs von Menschenrechten und die Hauptthese ist, dass Menschenrechte als moralische Rechte, als nicht-juristische Rechte vor allem verstanden werden sollten. Der zweite Teil legt die wichtigsten Argumente gegen die Idee kollektiver Menschenrechte dar und es wird ebenfalls erklärt, warum diese Argumente unzulänglich sind. Es handelt sich denn um eine indirekte Argumentation für kollektive Menschenrechte. Der dritte Teil bringt Argumente vor, die die Idee kollektiver Menschenrechte direkt unterstützen. In diesem Sinne wird hier eine direkte Argumentation für diese Rechte vorgelegt.

Ce travail s’attache à étudier le droit des artistes interprètes à la protection de leur travail à l’ère numérique. La première partie de ce travail s’intéresse à la théorie des droits d’auteur, l’histoire des droits moraux, et à l’application de la théorie des droits moraux aux procès qui impliquent les artistes interprètes aux Etats-Unis, au Royaume-Uni, et en France. De plus, ce travail présente le droit international en la matière, y compris la Convention de Berne et le Traite de Beijing. La deuxième partie de ce travail examine l’histoire de l’industrie du cinéma. Plus spécifiquement, il se concentre sur l’histoire de l’industrie du cinéma aux Etats-Unis, au Royaume-Uni et en France, en observant comment les progrès des technologies cinématographiques ont affecté les droits des acteurs de cinéma dans le domaine du droit national et international. La troisième partie de ce travail propose un Protocole au Traité de Beijing afin que créer un mécanisme pour diminuer les obstacles à l'accès à la justice qui empêchent les artistes interprètes de faire valoir leurs droits. La thèse se termine par uneréflexion sur les leçons qui peuvent être tirées de l'histoire et des pratiques actuelles des États-Unis, du Royaume-Uni et de la France en ce qui concerne les droits moraux des artistes interprètes, en recommandant que les trois pays fournissent à l'avenir des protections plus significatives aux artistes interprètes. / This work provides a broad study of the right of performing artists to protect their performances in the Internet era. The first part of this work explores the theoretical foundation of copyright law, the history of moral rights, and the application of the theory of moral rights to cases affecting performing artists in the United States, the United Kingdom, and France. In addition, this work discusses relevant international law, including the Berne Convention and the Beijing Treaty. The second part of this work addresses the history of the movie industry. More specifically, it concentrates on the history of the film industry in the United States, the United Kingdom, and France, observing how technological progress in filmmaking techniques have affected the rights of movie actors under both national and international law. The third part of this work proposes a Protocol to the Beijing Treaty that would create a mechanism to lower the barriers to justice that currently prevent performing artists from vindicating their rights. This work concludes with a reflection on the lessons that can be drawn from both the history and the current practices of the United States, the United Kingdom, and France with respect to the moral rights of performing artists, recommending that the three countries provide more significant protections to performing artists going forward.