Academic literature on the topic 'French copyright law'

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Journal articles on the topic "French copyright law"

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Gannon, Paul. "French government amends copyright law." Computer Fraud & Security Bulletin 1993, no. 1 (1993): 2. http://dx.doi.org/10.1016/0142-0496(93)90189-4.

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Koster, Alexis. "Fighting Internet Piracy: The French Experience With The Hadopi Law." International Journal of Management & Information Systems (IJMIS) 16, no. 4 (2012): 327. http://dx.doi.org/10.19030/ijmis.v16i4.7310.

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With the ever-increasing speed of the Internet and the ever-increasing power of personal computers and mobile devices, illegal downloading affects not only recorded music, but also movies and other medias. To stem the loss of revenues caused to copyright holders, France passed the Hadopi Law in September 2009 to be enforced by a new agency - the Hadopi Authority. The Hadopi Authoritys mission includes three major objectives. 1) to enforce the copyright law on the Internet through legal actions against violators, 2) to educate Internet users about illegal versus legal activities with respect to
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Ginsburg, Jane C. "“UNE CHOSE PUBLIQUE”? THE AUTHOR’S DOMAIN AND THE PUBLIC DOMAIN IN EARLY BRITISH, FRENCH AND US COPYRIGHT LAW." Cambridge Law Journal 65, no. 3 (2006): 636–70. http://dx.doi.org/10.1017/s0008197306007252.

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THE public domain is all the rage. It is invoked to breach copyright’s encroaching enclosure of what one might grandiloquently call the cultural commons of the mind. The heralds of our “remix culture” deploy the public domain to smash that icon of the entertainment–industrial complex, the Romantic Author. But even before the Author became Romantic, he still served as a shill for concentrated industry, then the printing–bookselling complex. Authors’ moral claims of labourious entitlement merely masked the power grab of the printers. If we speak of a grab, we imply that copyright was seised from
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Baloyi, J. Joel. "Demystifying the Role of Copyright as a Tool for Economic Development in Africa: Tackling the Harsh Effects of the Transferability Principle in Copyright Law." Potchefstroom Electronic Law Journal/Potchefstroomse Elektroniese Regsblad 17, no. 1 (2017): 165. http://dx.doi.org/10.17159/1727-3781/2014/v17i1a2209.

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In the English common law tradition copyright is seen as being in the nature of a property right and thus alienable and transmissible from one person to the other. In contrast, the droit d’auteur system of Continental Europe sees copyright as being an author’s right, which attaches to the personality of the author. However, even in this system a distinction can be made between the monist system (as applies in Germany), which treats both moral rights and economic rights as being inseparable and thus equally inalienable, and the dualist system applicable in France, which distinguishes between mo
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Tréguier, Lucie, and William van Caenegem. "Copyright, Art and Originality: Comparative and Policy Issues." Global Journal of Comparative Law 8, no. 2 (2019): 95–127. http://dx.doi.org/10.1163/2211906x-00802001.

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This article reviews the laws of France and of Australia in relation to artistic works copyright for useful articles. Australian law applies a different subsistence test to ‘applied art’ than to fine art, whereas French law makes no such distinction, applying the principle of ‘Unité de l’art’. The decision of the High Court of Australia in IceTV Pty Limited v Nine Network Australia Pty Limited [2009] 239 clr 458, which aligns the standard of originality more closely with that applied in European copyright law, invites reconsideration of the Australian approach in favour of a universal standard
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Vidal, Genevieve. "Online debate and transposition of the European Copyright Directive into French law." International Journal of Electronic Governance 1, no. 2 (2008): 231. http://dx.doi.org/10.1504/ijeg.2008.017906.

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Soo Gon, Park, and Kim Tai Hee. "A Study on Standard for the Determination of Copyright Infringement in French Law." Kyung Hee Law Journal 50, no. 2 (2015): 307–55. http://dx.doi.org/10.15539/khlj.50.2.10.

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Kedia, Yuliia. "Work of collaboration in the creation of literary works under the legislation of Ukraine and France." Theory and Practice of Intellectual Property, no. 6 (June 16, 2021): 24–30. http://dx.doi.org/10.33731/62020.233885.

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Kedya Y. Work of collaboration in the creation of literary works under the legislation of Ukraine and France. This article highlights particular legal frameworks, definition and practice of applicability of co-authorship (works done in collaboration) by publishers and co-authors. In addition, we will cover the differences between the co-authorship upon creation of a work and collective works. The analysis is based, inter alia, on comparison of French Ukrainian laws, thus, giving an opportunityto crystalize particular shortcomings and advantages of set forth by Ukrainian laws related to above m
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Urbavičiūtė, Monika, and Laimonas Petreikis. "Blocking access to websites as a measure of copyright protection." Vilnius University Open Series, no. 4 (November 16, 2020): 69–97. http://dx.doi.org/10.15388/os.tmp.2020.4.

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The research is mainly focused on blocking acces to websites as one of the main measure of copyright protection in the online space. The concept and content of this copyright measure have been disclosed. The effectiveness and efficiency of website blocking has been thoroughly analyzed. From the practical aspect, the mechanism of blocking acces to a website has been disclosed. Italian and French ways of copyright protection on the internet were compared with the Lithuanian model. The legal relationship between the court and the public administration entity as the role of these entities were als
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Kowala, Michalina. "Collective Work as an Inspiration for Legal Qualification of Computer-Generated Works – Comparative Analysis of the Institution from Polish and French Copyright Law Perspective." Review of European and Comparative Law 45, no. 2 (2021): 35–56. http://dx.doi.org/10.31743/recl.10651.

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The paper focuses on the question whether the institution of collective work could be used as an inspiration in order to regulate the legal situation of computer-generated works. Technological progress makes the creation of art by artificial intelligence with only minimal human participation an increasingly popular phenomenon. For this reason, world literature more and more often discusses how to legally qualify algorithmic creativity. An interesting idea, proposed in January 2020 by French Superior Council of Literary and Artistic Property is to regulate the issue alike the institution of a c
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Dissertations / Theses on the topic "French copyright law"

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Pavis, Mathilde Goizane Alice. "The author-performer divide in intellectual property law : a comparative analysis of the American, Australian, British and French legal frameworks." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/23692.

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Western intellectual property frameworks have at least one feature in common: performers are less protected than authors. This situation knows many justifications, although all but one have been dismissed by the literature: performers are simply less creative than authors. As a result, the legal protection covering their work has been proportionally reduced compared to that of their authorial peers. This thesis investigates this phenomenon that it calls the 'author-performer divide'. It uncovers the culturally-rooted principles and legal reasoning that policy-makers and judges of Australia, Fr
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Mohr, Pablo J. "L'harmonisation européenne du droit des contrats d'auteur : étude de droit comparé à partir des droits allemand, anglais, espagnol et français." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAA019.

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L’objectif de cette étude est d’analyser comparativement le droit contractuel d’auteur dans quatre systèmes juridiques de l’Union Européenne, à savoir les droits allemand, anglais, espagnol et français, et de s’interroger sur les perspectives d’harmonisation européenne en la matière. Seront tout d’abord explorés les points communs et les particularités des dits systèmes à propos d’un certain nombre d’éléments fondamentaux du droit contractuel d’auteur ; ensuite seront formulées des propositions de rapprochement pouvant constituer une base de discussion dans le cas d’une éventuelle harmonisatio
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Groffe, Julie. "La bonne foi en droit d'auteur." Thesis, Paris 11, 2014. http://www.theses.fr/2014PA111016.

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La bonne foi, notion floue teintée de morale et issue du droit commun, a vocation à intervenir dans toutes les branches du droit. A ce titre, elle trouve naturellement à s’appliquer en droit d’auteur, c’est-à-dire au sein du droit qui organise la protection des rapports entre l’auteur et l’œuvre de l’esprit qu’il a créée, en reconnaissant à ce dernier des droits patrimoniaux et des droits extrapatrimoniaux. Notion duale, la bonne foi s’entend tantôt comme la croyance erronée dans une situation – c’est là la dimension subjective –, tantôt comme l’exigence de loyauté dans le comportement, ce qui
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Sol, Credence. "Le droit des artistes-interprètes à la protection de leur travail à l'ère numérique." Thesis, Tours, 2017. http://www.theses.fr/2017TOUR2026/document.

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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
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Rodrigues, Daniela Oliveira. "Limites aos direitos de autor sob a perspectiva do direito internacional dos direitos humanos: estudo dos limites aos direitos de autor frente aos direitos de acesso ao conhecimento e à educação nos ordenamentos internacional e interno." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/2/2135/tde-11022015-082708/.

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A presente dissertação se propõe a analisar a interação entre o sistema internacional de direitos humanos e o sistema internacional de propriedade intelectual e as implicações desta relação para o ordenamento jurídico brasileiro, no que concerne especificamente aos direitos de autor e direitos conexos. No ano em que o Acordo TRIPS completará vinte anos, é oportuna a reflexão a respeito da efetividade de suas regras, especialmente quanto à capacidade de interagir com os demais sistemas jurídicos internacionais, especialmente o sistema internacional de direitos humanos. A leitura da seção de pri
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Books on the topic "French copyright law"

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Makeen, Makeen Fouad. Copyright in a global information society: The scope of copyright protection under international, US, UK, and French law. Kluwer Law International, 2000.

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Before copyright: The French book-privilege system, 1498-1526. Cambridge University Press, 1990.

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The French booktrade and the "permission simple" of 1777: Copyright and public domain, with an edition of the permit registers. Voltaire Foundation at the Taylor Institution, 1992.

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France. Convention between the government of the United States of America and the government of the French Republic for the avoidance of double taxation and the prevention of fiscal evasion with respect to taxes on income and capital: Message from the President of the United States transmitting convention between the government of the United States of America and the government of the French Republic for the avoidance of double taxation and the prevention of fiscal evasion with respect to taxes on income and capital, signed at Paris on August 31, 1994, together with two related exchanges of notes. U.S. G.P.O., 1994.

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France. Convention between the government of the United States of America and the government of the French Republic for the avoidance of double taxation and the prevention of fiscal evasion with respect to taxes on income and capital: Message from the President of the United States transmitting convention between the government of the United States of America and the government of the French Republic for the avoidance of double taxation and the prevention of fiscal evasion with respect to taxes on income and capital, signed at Paris on August 31, 1994, together with two related exchanges of notes. U.S. G.P.O., 1994.

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France. Convention between the government of the United States of America and the government of the French Republic for the avoidance of double taxation and the prevention of fiscal evasion with respect to taxes on income and capital: Message from the President of the United States transmitting convention between the government of the United States of America and the government of the French Republic for the avoidance of double taxation and the prevention of fiscal evasion with respect to taxes on income and capital, signed at Paris on August 31, 1994, together with two related exchanges of notes. U.S. G.P.O., 1994.

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France. Protocol amending the tax convention with France: Message from the President of the United States transmitting Protocol Amending the Convention between the Government of the United States of America and the Government of the French Republic for the Avoidance of Double Taxation and the Prevention of Fiscal Evasion with Respect to Taxes on Income and Capital, signed at Paris on August 31, 1994. U.S. G.P.O., 2005.

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France. Protocol amending the tax convention with France: Message from the President of the United States transmitting Protocol Amending the Convention between the Government of the United States of America and the Government of the French Republic for the Avoidance of Double Taxation and the Prevention of Fiscal Evasion with Respect to Taxes on Income and Capital, signed at Paris on August 31, 1994. U.S. G.P.O., 2005.

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France. Protocol to the 1967 Tax Convention with France: Message from the President of the United States transmitting the protocol of June 16, 1988, together with a related exchange of notes, to the convention between the United States of America and the French Republic with respect to taxes on income and property of July 28, 1967, as amended by the protocols of October 12, 1970, and November 24, 1978 and January 17, 1984. U.S. G.P.O., 1988.

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France. Protocol to the 1967 Tax Convention with France: Message from the President of the United States transmitting the protocol of June 16, 1988, together with a related exchange of notes, to the convention between the United States of America and the French Republic with respect to taxes on income and property of July 28, 1967, as amended by the protocols of October 12, 1970, and November 24, 1978 and January 17, 1984. U.S. G.P.O., 1988.

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Book chapters on the topic "French copyright law"

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Binctin, Nicolas. "The French Copyright Law Opens Its Arms to the FOSS." In Ius Comparatum - Global Studies in Comparative Law. Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-21560-0_9.

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Segoin, Daniel. "Rationales and litigation strategy of the French government before the CJEU in copyright cases." In The Routledge Handbook of EU Copyright Law. Routledge, 2021. http://dx.doi.org/10.4324/9781003156277-29.

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Fauchart, Emmanuelle, and Eric Von Hippel. "Norms-Based Intellectual Property Systems." In Creativity without Law. NYU Press, 2017. http://dx.doi.org/10.18574/nyu/9781479841936.003.0002.

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The creations of many chefs are undoubtedly innovative. But not all valuable creativity finds a home in the IP system. Copyright law has been reluctant to embrace culinary creations, considering them unprotectable methods or processes, or perhaps useful articles—items with intrinsic utilitarian functions. Emmanuelle Fauchart and Eric von Hippel’s research documents the system of social norms among a sample of accomplished French chefs. Recognizing the value of the recipes they develop and their limited legal recourse against copying, these chefs have developed and enforced a set of strong implicit social norms that enhance their private economic returns from their recipe-related creations and maintain strong incentives for innovation in the kitchen despite the unavailability of legal exclusivity.
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Roust, Colin. "New Beginnings in the Post-War Years." In Georges Auric. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190607777.003.0007.

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After World War II, Auric enjoyed a privileged position in the French musical scene, with numerous ballets and scores of incidental music. He was also by this time the leading composer for the French cinema; he remains the only person to have won music prizes at both the Cannes and Venice film festivals. From the 1940s through the 1960s, he composed dozens of films in the French “tradition of quality,” but also for British and American films and for international co-productions. He also was elected to the Administrative Council at SACEM, ultimately serving as President for three decades. In the late 1950s, he was a defendant in Hirshon v. United Artists, a case that clarified two sections of the U.S. Copyright Code, and he was also the principal lobbyist on behalf of the Loi Escarra, the first modern copyright law in France.
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Karapapa, Stavroula. "Introduction." In Defences to Copyright Infringement. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198795636.003.0001.

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The fourth industrial revolution has emerged through the advancement of new technologies, innovative services, and modern business models, which often rely on the use and re-use of copyright-protected content. Although having the potential to enhance public welfare, these technologies and services challenge the limits of copyright law, especially in the European Union where the approach to defensive rules lacks flexibility. Under EU copyright law, exclusive rights are drafted in broad terms and with a high degree of generality, whereas the so-called exceptions and limitations to copyright are narrowly drafted and strictly interpreted, with the result that the breadth of permissible use is rather narrow. Because the fourth industrial revolution promises innovation and business growth—stated objectives of EU copyright—it invites an examination of defensive rules as a whole. The book adopts a holistic approach in its exploration of the limits of permissibility under EU copyright, including legislatively mentioned exceptions and limitations, doctrinal principles, and rules external to copyright, with a view to unveiling possible gaps and overlaps, offering a novel classification of defensive rules, and evaluating the adaptability of the law towards technological change. In this light, the work attempts to offer a measure of conceptual organization for defences to copyright infringement that may foster the development of a fresh understanding on how defensive rules against copyright infringement operate as a system; how they unveil their normative force; where instances of gaps or overlaps exist between defences; and how defences should be developed in light of future law reform or possible interpretative expansion.
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"from one Convention country should be treated in other convention countries just the same as the nationals of that country. In other words, a French author should enjoy the same copyright protection in the UK as a British author. For industrial property, the Paris Convention imposes the same requirement of national treatment:." In Sourcebook on Intellectual Property Law. Routledge-Cavendish, 1997. http://dx.doi.org/10.4324/9781843142928-15.

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"construing the Berne Convention to say that all that was required was a positive right to claim authorship which the author may exercise as he wishes. Normally this will be by placing his name on copies of the work. The Green Paper noted that s 43 of the 1956 Act provided a useful remedy where the plaintiff is not a professional writer and could not therefore recover damages for loss of goodwill in a passing off action; the provision survives as s 84 of the 1988 Act. The Berne Convention also contains some latitude as to the right of integrity since Article 6 bis requires a right to object in cases only where actions in relation to an author’s work would be prejudicial to his honour or reputation. The government agreed with Whitford that exceptions such as the permitting of reasonable modifications (as in the Netherlands Copyright Act) should be made and that they would be in accordance with the Berne Convention. The Green Paper therefore proposed that the legislation should provide that no change should be made in any literary, dramatic, musical, artistic or cinematographic work without the author’s consent, with the exception of changes to which the author could not in good faith refuse consent. The Act embraces this principle by implication, not expressly, as it adopts the wording of the Berne Convention rather than that of the Green Paper. The Green Paper went on to propose that the rights would be exerciseable only by the author or, after his death, by his personal representative. Contravention of the rights would be actionable as a breach of statutory duty. The rights would not be assignable. However, the author would be permitted to waive his moral rights and such waiver would be binding on his successors in title. The moral rights would exist for the same period as economic rights. The White Paper promised legislation along the lines foreshadowed in the Green Paper, noting that while Whitford had doubted whether UK law had complied with the Brussels text of the Berne Convention, there was no doubt that amendment of the law was necessary to comply with the Paris text. Chapter 4 of the Act sets out the new rights. The rights to be protected are the minimum required to be protected by Berne – paternity and integrity. There is no equivalent to the French droit de divulgation (the right to control circulation of a work prior to its being completed for publication), the droit d’accès (mainly of artists to their paintings after sale), the droit de repentir (the right of withdrawal after publication, subject in German law to the payment of compensation to the publisher, of a work of which its author no longer approves). Nor is there a right to reacquire a work of which the author has disposed – such as Graham Sutherland might have found useful in the case of his portrait of Churchill – or a right of publication. The possibility of." In Sourcebook on Intellectual Property Law. Routledge-Cavendish, 1997. http://dx.doi.org/10.4324/9781843142928-70.

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Rudic, Gheorghe. "Education from the Enlightenment to the Globalization." In Handbook of Research on Applied Learning Theory and Design in Modern Education. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-4666-9634-1.ch001.

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The chapter presents a series of “calls” offered by globalization to education and to educational system, which are not compatible with our time: the integration of Enlightenment Age into Globalization; the conflict with the pedagogical sciences (the transition from the knowledge-pedagogy to competency pedagogy); the attempt, through changing the old form declare a fresh content; the aspiration, through linear thinking to reveal the essence of education in multi-dimensional space; through the low level of functional literacy implement the highest levels of education; the current level of cybernetics to substitute of using computers as a technical training aids; while remaining in the framework of the modernism to prepare the next generation for life in the post-modernism. In this chapter the “calls” are analysed as the paradoxes in education, through the prism of scientists' opinion from various fields of science, public figures and the teaching community (copyright pilot study). This synthetic approach has allowed to outline a new conceptual framework.
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Woodcock, Leone E., and San Murugesan. "Gender Differences in Ethics Perceptions in Information Technology." In Information Security and Ethics. IGI Global, 2008. http://dx.doi.org/10.4018/978-1-59904-937-3.ch230.

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Greater emphasis is now placed on ethics in information technology (IT) which covers a broad range of issues such as privacy, honesty, trustworthiness, software reliability, data storage, the environment, security breaches, hacking, viruses, and acknowledging the intellectual property of others. Further, legal aspects tend to overlap ethics perceptions. For example, issues such as copying computer programs, music CDs, images, or videos are more than just ethical problems; they also pose legal problems. The ethical dimensions also extend to issues such as computer crime and fraud, information theft, and unauthorized information dissemination. These ethical issues are becoming more complex as continuing advances in IT present many new ethical situations and fresh dilemmas. Developments such as the Internet, electronic commerce, and wireless/mobile communications present a new set of ethical issues and challenge current of codes of ethics, copyright laws, and their authors. In addition, computer users’ ethical standards may also vary from one situation to another (Wikipedia, 2005). What is ethical is subjective, and more so in the areas of IT. Perceptions of ethics in IT vary to a degree from individual to individual. Further, there seems to be significant differences in the perception of ethics among males and females. According to Adam (2000), male and female judgment is most often influenced by their personal values and whether an action is considered legal. Woodcock (2002) conducted a study on ethical perceptions among 405 male and female students from universities, technical colleges, and schools in North-Eastern Australia and found significant differences in some ethical situations between males and females. This article presents common issues and dilemmas that confront IT professionals, students, and the general community. In particular, it presents gender differences in perceptions of ethics and legalities in IT and highlights the different ethical perceptions of male and female students. These insights are particularly significant as the ethical beliefs and perceptions that students have may influence their ethical behaviors during their working careers.
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