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| Author | : Mireille M. M. van Eechoud |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2014 |
| Genre | : SOCIAL SCIENCE |
| ISBN | : 9789089646354 |
What fresh perspectives can viewing copyright law through a humanities' looking glass bring to key notions of tomorrow's copyright law?
| Author | : Mireille van Eechoud |
| Publisher | : |
| Total Pages | : 0 |
| Release | : 2014 |
| Genre | : |
| ISBN | : |
Copyright laws are important regulators of cultural expression, because they grant extensive rights to control the reproduction, adaptation and communication of 'literary' and 'artistic' works. The twin concepts of authorship and original work are central to copyright laws the world over; their interpretation driven by economic and technological concerns. In this collection of essays contributors from various academic disciplines query what diverse disciplines in the humanities - including literary studies, aesthetics, film studies, and the philosophy of art - have to offer law, in a quest to establish a more nuanced and useful conception of copyright and authorship. This volume brings together scholars from a range of disciplines to explore the challenges inherent in translating aesthetics and creativity studies to concepts of copyright.
| Author | : Daniela Simone |
| Publisher | : Cambridge University Press |
| Total Pages | : 327 |
| Release | : 2019-05-02 |
| Genre | : Law |
| ISBN | : 1107199956 |
Addresses the difficult question of how to determine the authorship, and ownership, of copyright in highly collaborative works.
| Author | : Lior Zemer |
| Publisher | : Routledge |
| Total Pages | : 179 |
| Release | : 2017-03-02 |
| Genre | : Philosophy |
| ISBN | : 1351888013 |
As information flows become increasingly ubiquitous in our post digital environment, the challenges to traditional concepts of intellectual property and the practices deriving from them are immense. The romantic understanding of the lone author as an endless source of new creations has to face these challenges. In order to do so, this work presents a collectivist model of intellectual property rights. The core argument is that since copyright works enjoy profit from significant public contribution, they should not be privately owned, but considered to be a joint enterprise, made real by both the public and author. It is argued that every copyright work depends on and is reflective of the author's exposure to externalities such as language, culture and the various social events and processes that occur in the public domain, therefore copyright works should not be regarded as exclusive private property. The study takes its organizing principle from John Locke, defining and proving the fatal flaw inherent in debates on copyright: on the one hand the copyright community is eager to arm authors with a robust property right over their creation, while on the other this community totally ignores the fact that the exposure of the individual to externalities is what makes him or her capable of creating material that is copyrightable. Just as Locke was against the absolute authority of kings, the expressed view of the study is against the exclusive right an author can claim.
| Author | : Mario Biagioli |
| Publisher | : Routledge |
| Total Pages | : 396 |
| Release | : 2014-01-27 |
| Genre | : Law |
| ISBN | : 1135380996 |
Since the seventeenth century our ideas of scientific authorship have expanded and changed dramatically. In this ambitious volume of new work, Mario Biagioli and Peter Galison have brought together historians of science, literary historians, and historians of the book. Together they track the changing nature and identity of the author in science, both historically and conceptually, from the emergence of scientific academies in the age of Galileo to concerns with large-scale multiauthorship and intellectual property rights in the age of cloning labs and pharmaceutical giants. How, for example, do we decide whether a chemical compound is discovered or invented? What does it mean to patent genetic material? Documenting the emergence of authorship in the late medieval period, authorship's limits and its fragmentation, Scientific Authorship offers a collective history of a complex relationship.
| Author | : William H. Dutton |
| Publisher | : MIT Press |
| Total Pages | : 403 |
| Release | : 2010-05-21 |
| Genre | : Computers |
| ISBN | : 0262288311 |
Experts examine ways in which the use of increasingly powerful and versatile digital information and communication technologies are transforming research activities across all disciplines. Advances in information and communication technology are transforming the way scholarly research is conducted across all disciplines. The use of increasingly powerful and versatile computer-based and networked systems promises to change research activity as profoundly as the mobile phone, the Internet, and email have changed everyday life. This book offers a comprehensive and accessible view of the use of these new approaches—called “e-Research”—and their ethical, legal, and institutional implications. The contributors, leading scholars from a range of disciplines, focus on how e-Research is reshaping not only how research is done but also, and more important, its outcomes. By anchoring their discussion in specific examples and case studies, they identify and analyze a promising set of practical developments and results associated with e-Research innovations. The contributors, who include Geoffrey Bowker, Christine Borgman, Paul Edwards, Tim Berners-Lee, and Hal Abelson, explain why and how e-Research activity can reconfigure access to networks of information, expertise, and experience, changing what researchers observe, with whom they collaborate, how they share information, what methods they use to report their findings, and what knowledge is required to do this. They discuss both the means of e-Research (new research-centered computational networks) and its purpose (to improve the quality of world-wide research).
| Author | : David Saunders |
| Publisher | : Taylor & Francis |
| Total Pages | : 272 |
| Release | : 2023-02-28 |
| Genre | : Law |
| ISBN | : 1000884864 |
First published in 1992, Authorship and Copyright traces the history of constructions of authorship as a legal reality. It offers an alternative to the two mainstream interpretations that have traditionally been assigned to authorship: the Romantic dialectical ‘birth of the author’ or the language-based post-structuralist ‘death of the author.’ Saunders examines the shortcomings of both schemes by arguing that they impose an arbitrary philosophical direction on the history of authorship and the law of copyright. Saunders addresses the issues relating to copyright and the construction of authorship as a legal status. Combining information and polemic, the author explores such matters as the historical and theoretical relations of copyright and the droit moral, the aestheticization of the law and the juridification of aesthetics, and the argument that authorship as a legal reality is a historically contingent and variable arrangement that cannot be separated from its cultural and juridical context. This book will be of interest to students of law, literature and philosophy.
| Author | : Martha Woodmansee |
| Publisher | : Duke University Press |
| Total Pages | : 482 |
| Release | : 1994 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 9780822314127 |
What is an author? What is a text? At a time when the definition of "text" is expanding and the technology whereby texts are produced and disseminated is changing at an explosive rate, the ways "authorship" is defined and rights conferred upon authors must also be reconsidered. This volume argues that contemporary copyright law, rooted as it is in a nineteenth-century Romantic understanding of the author as a solitary creative genius, may be inapposite to the realities of cultural production. Drawing together distinguished scholars from literature, law, and the social sciences, the volume explores the social and cultural construction of authorship as a step toward redefining notions of authorship and copyright for today's world. These essays, illustrating cultural studies in action, are aggressively interdisciplinary and wide-ranging in topic and approach. Questions of collective and collaborative authorship in both contemporary and early modern contexts are addressed. Other topics include moral theory and authorship; copyright and the balance between competing interests of authors and the public; problems of international copyright; musical sampling and its impact on "fair use" doctrine; cinematic authorship; quotation and libel; alternative views of authorship as exemplified by nineteenth-century women's clubs and by the Renaissance commonplace book; authorship in relation to broadcast media and to the teaching of writing; and the material dimension of authorship as demonstrated by Milton's publishing contract. Contributors. Rosemary J. Coombe, Margreta de Grazia, Marvin D'Lugo, John Feather, N. N. Feltes, Ann Ruggles Gere, Peter Jaszi, Gerhard Joseph, Peter Lindenbaum, Andrea A. Lunsford and Lisa Ede, Jeffrey A. Masten, Thomas Pfau, Monroe E. Price and Malla Pollack, Mark Rose, Marlon B. Ross, David Sanjek, Thomas Streeter, Jim Swan, Max W. Thomas, Martha Woodmansee, Alfred C. Yen
| Author | : George Bainton |
| Publisher | : |
| Total Pages | : 380 |
| Release | : 1891 |
| Genre | : Authorship |
| ISBN | : |
| Author | : Kate van Orden |
| Publisher | : Univ of California Press |
| Total Pages | : 256 |
| Release | : 2013-10-19 |
| Genre | : Music |
| ISBN | : 0520276507 |
What does it mean to author a piece of music? What transforms the performance scripts written down by musicians into authored books? In this fascinating cultural history of Western musicÕs adaptation to print, Kate van Orden looks at how musical authorship first developed through the medium of printing. When music printing began in the sixteenth century, publication did not always involve the composer: printers used the names of famous composers to market books that might include little or none of their music. Publishing sacred music could be career-building for a composer, while some types of popular song proved too light to support a reputation in print, no matter how quickly they sold. Van Orden addresses the complexities that arose for music and musicians in the burgeoning cultures of print, concluding that authoring books of polyphony gained only uneven cultural traction across a century in which composers were still first and foremost performers.
