This thesis focuses on the rules governing the protection of workers in case of transfer of employer in the European Union law and in the Czech law. The aim of this thesis is to analyze the implementation of the Directive 2001/23/EC into the Czech legal order. The thesis consists of three chapters. The first chapter briefly describes the origin and evolution of the European Union, EU institutions, competence of the Court of Justice of the European Union, sources of the European Union law and the principles governing the relationship between the EU law and national legal order. It also describes the main features of the employment relationship. The second chapter focuses on the legal rules governing the protection of workers in case of transfer of the employer at the European Union level. The first subchapter explains the historical development of the legislation, Directive 77/187/EEC and its amendment (Directive 98/50/EC). The second subchapter defines the personal, territorial and temporal scope of the Directive 2001/23/EC. The third subchapter focuses on the interpretation of the criteria of the subject-matter of the Directive 2001/23/EC conducted by the Court of Justice of the European Union. The fourth subchapter describes the pillars of the protection of employees in case of transfer of the...

In her PhD thesis, the author deals with the legal regulation of transfer of undertaking (and the passage of the employees' rights and obligations it involves) and the frequent collective redundancy related to such transfers. Both sets of provisions dealing with these topics are embodied in the Czech Labour Code and are harmonised with the EU directives pertaining to these fields, specifically Council Directive 2001/23/EC of 12 March 2001 on the approximation of the laws of the Member States relating to the safeguarding of employees' rights in the event of transfers of undertakings, businesses or parts of undertakings or businesses (originally, Council Directive 77/187/EEC of 14 February 1977 on the approximation of the laws of the Member States relating to the safeguarding of employees' rights in the event of transfers of undertakings, businesses or parts of businesses) and Council Directive 98/59/EC of 20 July 1998 on the approximation of the laws of the Member States relating to collective redundancies. The two directives mentioned above were already transposed to the Czech Labour Code in 2001 by means of an amendment adopted under No. 155/2001 Coll. As regards the rules governing collective redundancies, it can be stated, in substance, that the original regulation of 2001 remained unchanged and...

La condition juridique de l'artiste-interprète se caractérise par une imbrication étroite du droit du travail et du droit de la propriété intellectuelle. Chaque source de droits appréhende des temps différents de l'activité de l'artiste-interprète. Le droit du travail s'intéresse à l'artiste-interprète en tant que travailleur. Le modèle du salariat s'impose largement puisque le législateur a instauré une présomption de salariat. Le droit de la propriété littéraire et artistique s'intéresse au résultat du processus de création sur lequel les artistes-interprètes bénéficient de droits voisins du droit d'auteur. L'artiste-interprète se trouve donc au cœur d'une articulation délicate entre la liberté d'expression inhérente à son activité et la subordination juridique qui caractérise la relation de travail salariée. En réalité, le droit du travail n'ignore pas la nature particulière de l'activité de l'artiste-interprète. D'une part, l'artiste-salarié est largement soustrait aux conditions traditionnelles de la subordination juridique, d'autre part, un espace est laissé aux artistes qui souhaitent exercer en qualité d'indépendant. Malgré l'existence d'une double protection juridique, l'artiste-interprète demeure un sujet de droit fragile. Il fait souvent figure de travailleur précaire avec la généralisation de formes d'emploi flexibles et son droit voisin fait figure de « parent pauvre». L'artiste-interprète est d'autant fragilisé que son droit fait l'objet de contestations dans le cadre de l'Internet. Le rapport de force avec les acteurs de l'économie numérique est inégal et les revendications du public sont fortes. Il s'ensuit le besoin de définir un cadre plus équitable. / The legal position of the performer consists in a narrow interweaving of the labour law and intellectual copyright rights. Each source of rights bandles different times related to performing artists's activities. Labour law refers to the performer as a worker. Salaried staff status is predominant since the legislator bas introduced a presumption of employment. Literary and artistic property rigbts focus on the result of the creating process on which performers benefit from rights related to copyright. Performing artists are indeed at the heart of a delicate joint between the freedom of speech inherent to their activity and the legal subordination which characterises salaried staff relations. Actually, the labour law is not unaware of the peculiar nature of performing artists's activities. On one band, the salaried artist is exempt from the usual requirements of legal subordination; on the other hand, room is left to artists hoping to work as self-employed. Although a double legal protection exists, performing artists remain a fragile subject of law. They are often considered as precarious workers with the generalization of flexible forms of work and their neighbouring rights are often seen as a poor relation. Performing artists are even more so weakened that their right is subject to protests on the Internet. The power relationship with the players in the digital economy is uneven and grievances from the public are very strong. There is a need to define a more equitable frame.