Relevant bibliographies by topics / Bern copyright convention (1886)

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Academic literature on the topic 'Bern copyright convention (1886)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Bern copyright convention (1886)"

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Al Nusair, Fayez, and Firas Massadeh. "Analytical Study of United Arab Emirates Copyright Federal Law No. 7, 2002." Arab Law Quarterly 32, no. 3 (2018): 281–97. http://dx.doi.org/10.1163/15730255-12323010.

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Abstract This article presents a comprehensive examination and analysis of copyright protection under the provisions of the United Arab Emirates’ Federal Law No. 7, 2002 concerning copyrights and neighbouring rights in preparation for the accession of relevant international conventions. The law revoked Federal Law No. 40, 1992 regarding intellectual property copyright. The nature of copyright and its economic justification, the scope of its protection in the United Arab Emirates’ legal framework, the concepts of originality and creativity, and the author’s moral and economic rights are scrutin
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Sastrawan, Gede, and Gede Sastrawan. "ANALISIS YURIDIS PELANGGARAN HAK CIPTA PADA PERBUATAN MEMFOTOKOPI BUKU ILMU PENGETAHUAN." Ganesha Law Review 3, no. 2 (2021): 111–24. http://dx.doi.org/10.23887/glr.v3i2.446.

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 This article discusses the Juridical Analysis of Copyright Infirigement On The Act Of Photocopying Books of Science. Copyright is a part of Intellectual Property Rights (HKI). The copyright phrase comes from a foreign term, namely Copyrights. The term Copyrights was first put forward in the Berne Comvertion (International Convention on Copyright concerning the protection of Art and Literature) which was held in 1886. According to Article 1 number (1) of Law Number 28 of 2014 concerning Copyright, it states that "Copyright is the right exclusive to the creator that a
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Shah, Sayed Zubair, and Muhammad Hamza Zakir. "CPEC AND INTELLECTUAL PROPERTY LAWS IN PAKISTAN." Global Journal for Management and Administrative Sciences 3, no. 4 (2022): 43–55. http://dx.doi.org/10.46568/gjmas.v3i4.157.

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The "World Trade Organization (WTO)" is an organization that Pakistan is a part of, the primary goal of which is to improve international trade in a long-term, sustainable way. What's more, Pakistan stands behind the “Berne Convention for the Protection of Literary and Artistic Work of 1886” in addition to the “Universal Copyright Convention of 1952” and “The agreement on Trade-Related Aspects of Intellectual Property Rights, 1995 (TRIPs)”. On 1st January 1995, Pakistan signed the “Trade-Related Intellectual Property Rights (TRIPs Agreement)” with the “World Trade Organisations (WTO)” in terms
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Moscati, Laura. "Origins, Evolution and Comparison of Moral Rights between Civil and Common Law Systems." European Business Law Review 32, Issue 1 (2021): 25–52. http://dx.doi.org/10.54648/eulr2021002.

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The protection of moral rights embraces the now widespread personal sphere of copyright and originated much later than the economic exploitation of the work itself. Some of its components can be found in the English and German thought between the 17th and 18th centuries and, starting from the early 19th century, would have a substantial development through the contribution of both the French legal scholarship and case law. The legal foundations, in any case, date back to some codifications of the German area and to the earliest international treaties, making it a discipline that did not take i
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Pasechnyk, Olena. "INTERNATIONAL ASPECTS OF INTELLECTUAL PROPERTY RIGHTS PROTECTION." Baltic Journal of Economic Studies 8, no. 5 (2022): 146–57. http://dx.doi.org/10.30525/2256-0742/2022-8-5-146-157.

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The article is devoted to the study of the main aspects of international protection of intellectual rights. The authors consider a number of international conventions and treaties, as well as the main provisions of cooperation between WIPO and the WTO under the Agreement on Trade-Related Aspects of Intellectual Property Rights. International treaties form a network that serves all member states, depriving them of the opportunity to act arbitrarily, at their discretion. They establish common norms and standards of IP protection, deviation from which is punishable by sanctions. By signing such t
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Michnevisch, L. "Specific of copyright law development in certain ukrainian territories in the interwar period of the 20th century." Uzhhorod National University Herald. Series: Law 1, no. 75 (2023): 35–40. http://dx.doi.org/10.24144/2307-3322.2022.75.1.5.

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The article is devoted to the characteristics of the legislative provision of copyright law in the lands of Eastern Galicia, Northern Bukovyna, Bessarabia, and Transcarpathia in the interwar period of the 20th century. The thesis is substantiated that there was no single approach to copyright law regulation in these territories, just as there was no single system of legislation in the field of intellectual property because at that time these lands were in the legal field of Poland, Romania, and Czechoslovakia, and even earlier – the Austro-Hungarian and Russian empires.
 It was revealed t
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Kryvolapov, B. M. "Some aspects of copyright protection of an original work of art." Analytical and Comparative Jurisprudence, no. 3 (February 20, 2022): 47–51. http://dx.doi.org/10.24144/2788-6018.2021.03.8.

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The article deals with theoretical and practical problems of the intellectual property protection of original works of art.
 The specifics of copyright of works of art in national law are explored, particularly the law of Ukraine “On copyright and related rights” of 1993 and some norms of the Civil Code of Ukraine. For the purposes of the study, such international treaties and documents as Directive 2001/84/EC of 2001 on the resale right for the benefit of the author of an original work of art, some provisions of Association Agreement between the European Union and Ukraine, norms of Berne
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Jelisavac, Sanja. "International regulation of intellectual property rights." Medjunarodni problemi 56, no. 2-3 (2004): 279–303. http://dx.doi.org/10.2298/medjp0403279j.

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Intellectual property refers to creations of the mind: inventions, literary and works of art, as well as symbols, names, images, and designs that are used in commerce. Intellectual property is divided into two categories industrial property, which includes inventions (patents), trademarks industrial designs, and geographic indications of source; and copyright which includes literary and works of art such as novels, poems and plays films, musical works, works of art such as drawings, paintings, photographs and sculptures, and architectural designs. Rights related to copyright include those of p
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Yanto, Oksidelfa. "KONVENSI BERN DAN PERLINDUNGAN HAK CIPTA." Jurnal Surya Kencana Satu : Dinamika Masalah Hukum dan Keadilan 6, no. 1 (2016): 108. http://dx.doi.org/10.32493/jdmhkdmhk.v6i1.341.

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The object of copyright protection under the Berne Convention, namely: works of literature and art that encompasses all the results of the fields of literature, science and art in any manner or form any explication. Since the entry into force of the Berne Convention that was classified as Making Law Treaty and open to all countries that are not yet members to immediately become a member by way of ratifying and handed over the instrument of ratification to the Director General of WIPO. The participation of a country as a member of the Convention Barn, give rise to liability in the participating
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Panjaitan, Hulman. "UNDANG UNDANG NOMOR 28 TAHUN 2014 TENTANG HAK CIPTA DAN PERLINDUNGAN HUKUM BAGI PENCIPTA KARYA CIPTA MUSIK DAN LAGU." to-ra 5, no. 1 (2019): 19. http://dx.doi.org/10.33541/tora.v5i1.1193.

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 The meaning of song and music is different, but copyright literature does not seem to distinguish them. In the library of international law, the term commonly used to refer to a song or music is musical work. The Bern Convention states that one of the protected works is music compositions with or without words. There is no explicit description in the Bern Convention about what musical work really is. However, from the existing provisions it can be concluded that there are two types of music creation that are protected by copyright, namely music with words and music without words
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Books on the topic "Bern copyright convention (1886)"

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Organization, World Intellectual Property, and World Intellectual Property Organization. International Bureau., eds. La Convention de Berne pour la protection des oeuvres littéraires et artistiques de 1886 à 1986. Bureau international de la propriété intellectuelle, 1986.

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Ricketson, Sam. The Berne Convention for the Protection of Literary and Artistic Works: 1886-1986. Centre for Commercial Law Studies, Queen Mary College, 1987.

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Ricketson, Sam. The Berne Convention for the Protection of Literary and Artistic Works: 1886-1986. Centre for Commercial Law Studies, Queen Mary College, 1987.

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Ricketson, Sam. The Berne Convention for the Protection of Literary and Artistic Works: 1886-1986. Centre for Commercial Law Studies, Queen Mary College, 1987.

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1939-, Lloyd Humphrey, ed. The Liability of contractors. Centre for Commercial Law Studies, Queen Mary College, 1986.

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United States. President (1981-1989 : Reagan) and United States. Congress. Senate. Committee on Foreign Relations., eds. Berne Convention for the Protection of Literary and Artistic Works: Message from the President of the United States transmitting the Berne Convention for the Protection of Literary and Artistic Works of September 9, 1886, completed at Paris on May 4, 1986, revised at Berlin on November 13, 1908, completed at Berne on March 20, 1914, and revised at Rome on June 2, 1928, at Brussels on June 26, 1948, at Stockholm on July 14, 1967, and at Paris on July 24, 1971 and amended in 1979. U.S. G.P.O., 1986.

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Solberg, Thorvald, Library of Congress Copyright Office, and International Union For The Protection Of Literary And Artistic Works. International Copyright Union: Berne Convention, 1886: Paris Convention, 1896; Berlin Convention, 1908. Report of the Delegate of the United States to ... Copyright Convention, Held at Berlin, Germany. Ulan Press, 2012.

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International Copyright Union : Berne Convention, 1886: Paris Convention, 1896; Berlin Convention, 1908. Report of the Delegate of the United States to ... Copyright Convention, Held at Berlin, Germany. Franklin Classics, 2018.

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Solberg, Thorvald, Library of Congress Copyright Office, and International Union for the Protection O. International Copyright Union : Berne Convention, 1886: Paris Convention, 1896; Berlin Convention, 1908. Report of the Delegate of the United States to ... Copyright Convention, Held at Berlin, Germany. Franklin Classics Trade Press, 2018.

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Solberg, Thorvald, Library of Congress Copyright Office, and International Union for the Protection O. International Copyright Union : Berne Convention, 1886: Paris Convention, 1896; Berlin Convention, 1908. Report of the Delegate of the United States to ... Copyright Convention, Held at Berlin, Germany. Franklin Classics, 2018.

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Book chapters on the topic "Bern copyright convention (1886)"

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Ricketson, Sam, and Jane C. Ginsburg. "The Subsequent Development of the Berne Convention, 1886–1971." In International Copyright and Neighbouring Rights. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198801986.003.0003.

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This chapter examines the changes which have been made to the Berne Convention from its inception in 1886 until the adoption of its last revised text in Paris in 1971. Article 17 of the 1886 Act provided for periodic revisions, and these (apart from the first and last) have occurred at roughly twenty-year intervals during this period: in 1896, 1908, 1928, 1948, 1967, and then, finally, 1971. There was also one minor addition made in 1914, when, at Canada’s request, the UK Government drafted a protocol permitting the government of a Berne Union country to restrict protection in the case of authors from non-Union countries which failed to protect the authors from the Union country ‘in an adequate manner’. Since 1971, developments concerning the Berne Convention have largely happened ‘off stage’, or in different arenas, such as the World Trade Organization (established in 1994). Nonetheless, in this post-1971 period, the Convention has continued to be the centrepiece of the international copyright system and, in many ways, has become even more critical than it was in the pre-1971 period.
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Ricketson, Sam, and Jane C. Ginsburg. "Origins of the Berne Convention." In International Copyright and Neighbouring Rights. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198801986.003.0002.

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This chapter discusses the origins of the Berne Convention. Although the network of bilateral copyright arrangements in force prior to 1886 was extensive, the protection which this offered to authors in countries other than their own was far from comprehensive or systematic. Apart from the early treaties with the German and Italian states, multilateral copyright agreements in the true sense took time to emerge. Of these, the Berne Convention was to be the first, and the most important. However, the need for a more uniform and broader-based kind of international protection had been recognized some time before this by authors and artists. The chapter deals with this development, and the different stages by which this early recognition was eventually transformed into the Berne Convention.
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Lewinski, Silke von. "The berne Convention for the Protection of literary and Artistic Works (Paris act 1971)." In International Copyright Law and Policy. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199207206.003.0011.

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Abstract Basic choices in the 1886 version The Berne Convention did not emerge from nowhere, but against the background of the then existing network of bilateral agreements that had proved unsatisfactory for authors’ needs, so that the next step of a multilateral agreement was needed to improve the situation. The basic aim of both the bilateral treaties and the Berne Convention was to protect foreign works in the contracting states. The bilateral treaties achieved this aim in most cases by the principle of national treatment in different variations, for example, limited in its scope to specified rights or subject to material reciprocity; only in some cases did specific rights stipulated in the bilateral treaties have to be guaranteed.
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Lewinski, Silke von. "Presentation of the Wipo." In International Copyright Law and Policy. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199207206.003.0023.

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Abstract Before the WIPO was established in 1970, the Paris and Berne Unions as well as other intellectual property treaties were administered by the BIRPI (Bureaux Internationaux Réunis pour la Protection de la Propriété Intellectuelle). The BIRPI itself had its roots in the International Bureau of the Paris Convention for the Protection of Industrial Property adopted in 1883 and the International Bureau of the Berne Convention of 1886, which were united in 1893 into one common bureau with the same staff and director. The word ‘bureau’ was commonly used at that time as a designation for the secretariat of an international organization. Since at that time the League of Nations and the United Nations (UN) did not exist, the BIRPI was placed under the ‘high supervision’ of the government of the Swiss Confederation. The Swiss government appointed the Director and staff of the BIRPI and controlled its activities and finances, while the Member States of the Berne and Paris Unions and other related international treaties made decisions only when needed, namely at revision conferences rather than continuously within an established structure such as a governing body.
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Torremans, Paul. "11. Qualification." In Holyoak and Torremans Intellectual Property Law. Oxford University Press, 2019. http://dx.doi.org/10.1093/he/9780198836452.003.0011.

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This chapter discusses the qualification requirement for copyright protection in the UK. The UK copyright system is based on the principle of national treatment contained in the Berne Convention for the Protection of Literary and Artistic Works 1886, in the Universal Copyright Convention, and in the TRIPS Agreement. This requires that authors connected with another member state are to be treated in the same way as a member state’s own authors and should receive the same copyright protection. That connection with a member state might be provided in two ways: the author may have a personal relationship with the member state, or the work may be first published in that member state.
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Lewinski, Silke von. "The Wipo Copyright Treaty (Wct) and the Wipo Performances And Phonograms Treaty (WPPT) of 1996." In International Copyright Law and Policy. Oxford University PressOxford, 2008. http://dx.doi.org/10.1093/oso/9780199207206.003.0025.

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Abstract 17.01 The Berne Convention of 1886 was revised about every twenty years up to 1971. In 1971, the unanimity required for a revision of the Convention was achieved only with major efforts, due to the North–South conflict between industrialized and developing countries which had arisen in the meantime. Thereafter, the economic importance of copyright and, consequently, conflicts of interest among Member States increased—not only between industrialized and developing, but also among industrialized countries, so that it seemed even more difficult to reach unanimity in the future. Nevertheless, copyright needed to be adapted to new technical and other developments that occurred after 1971. WIPO decided to meet this challenge by the so-called ‘guided development’ rather than by the preparation of a new revision conference. The strategy of ‘guided development’ aimed at discussing and promoting common and new standards of protection regarding new kinds of works and new forms of uses. The related work was accomplished mainly in common Committees of Experts of WIPO and UNESCO which resulted in recommendations, guiding principles, or model provisions, and were accompanied by studies mandated or carried out by WIPO and UNESCO. Although these results were not binding upon Member States, they had a considerable impact on the awareness of governments of particular problems and on the development of national copyright laws.
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"Matthew Arnold, ‘Copyright’, Fortnightly Review, 159 (March 1880), 319—34 [321—9, 332—4]." In Victorian Print Media, edited by Andrew King and John Plunkett. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780199270378.003.0024.

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Abstract Arnold (1822—88) is now mainly famous as a literary and social critic, but he was also concerned with the implications of the professionalization and regulation of writing (typically, Arnold retained copyright of this article, reprinting it in Irish Essays and Others (London: Smith, Elder and Co., 1882, 444—80)). His article is a useful collage of arguments and tropes derived from a variety of sources that date back to the five-year debate preceding the 1842 Copyright Act. In 1876, a Royal Commission was set up to examine British and international copyright law. The commission’s report, published two years later, attempted to clarify the law and close loopholes. International copyright was eventually ratified by the 1885 Berne Convention (to which America was not a signatory).
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Wirtén, Eva Hemmungs. "Globalization." In The Oxford History of the Book. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192886897.003.0013.

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Abstract This chapter is focused on how we might think of the book and its attendant practices of publishing, bookselling, and reading within the broader history of globalization and digitization. One of the main lines of inquiry concerns questions of copyright and censorship, both crucial to questions of ownership and control, authorship and creativity, as well as to the ongoing question of where the boundaries of cultural works are drawn. The Berne Convention for the Protection of Literary and Artistic Works from 1886 constituted a watershed moment in the international and later global history of the book. At the close of the nineteenth century, the interconnectedness of sophisticated communication networks meant that it was essential to create an international infrastructure securing protection for these assets, assets that were prone to cross-border competition. Copyright mediates social relations, and the Berne Convention addressed several of the most important relationships that can be identified within the orbit of the book: those between authors and readers, between new technologies and the stability and instability of the work, between publishers and the market, and between the global North and the global South. Such dependencies and relationships were enabled by more efficient transportation and communication networks and set within fast-moving economic and cultural transformation. Changes included new book technologies, geopolitical alliances that sought to redress previous imbalances in global access to knowledge, and the integration of publishing into larger media conglomerates from the 1960s.
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Richmond, John W. "Law Research and Music Education." In The New Handbook Of Research On Music Teaching And Learning. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195138849.003.0005.

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Abstract The history of music education as formal curriculum in America’s public schools is now nearly 170 years old, tracing to Lowell Mason’s efforts with the Boston public schools in the 1830s. Legislation making provision for public school music education and litigation pertaining to its provision and practice are nearly that old. Bennett Boyles identifies one of the earliest music education lawsuits (Bellmeyer v. Independent School District of Marshalltown; Boyles, 1981, p. 46) as having been decided by the Iowa Supreme Court in 1876-more than 120 years ago. Throughout music education’s public school history, the significance and power of the law-both in terms of legislation and litigation-have become increasingly important considerations as vehicles for music education policy formation. The range and scope of education issues touched by our nation’s laws are extensive, and a chronic naivete about the power of the law to shape our professional lives can only mean an increasingly perilous state of affairs at best for American music education. Any discussion of policy in music education would be incomplete without a least a modest, cursory examination of our laws and their impact on our field. Some law research topics are likely to be more familiar than others to readers of this Handbook. Copyright law, for example, is sure to be one of the most familiar, as it has received considerable attention in our journals, newsletters, and convention programs during the last four decades. Advancing technologies and the economy of the photocopy machine have had much to do with this. Frankly put, the ease teachers now have in gaining access to these copy technologies has made their use too convenient, too expedient, too tempting, and too often suspect. More recently, the emergence of the Worldwide Web has made this issue even more complex, and created a need for new and updated legal definitions of such terms as broadcasting, personal use, and fair use. As we shall see later in this chapter, this extremely important area of the law continues to evolve in dramatic and sometimes contentious ways.
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