Ophavsret

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it.This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Durch das Internet erfahren nachschaffende Kunstformen zunehmenden Aufschwung. Fans gelten als Motor dieser kreativen Massenkultur. Sie benutzen urheberrechtlich geschützte Werke in eigenen Kreationen als Ausdruck ihrer Bewunderung und künstlerischen Entfaltungsfreiheit. Die Urheber stürzt dieses Verhalten in ein Dilemma. Theoretisch haben sie rechtliche Mittel, um sich gegen Urheberrechtsverletzungen zu wehren. Praktisch machen sie davon jedoch nur in Extremfällen Gebrauch, um ihre Fans nicht zu verlieren.Das Phänomen der Fan Art ist damit Teil eines Problems, das in Rechtswissenschaft und Politik zunehmend diskutiert wird: Kann das geltende Urheberrecht im Zeitalter der Remixkultur die Interessen von Urhebern und kreativen Werknutzern noch zu einem gerechten Ausgleich führen?Die Arbeit geht dieser Frage nach und entwickelt anhand anschaulicher Beispiele aus der Welt der Fan Art einen Vorschlag für einen Interessenausgleich, der bereits durch das geltende Recht erzielt werden kann.

This open access book explores the intertwined histories of mapmaking and copyright law in Britain from the early modern period up to World War 1, focusing chiefly on the 18th and 19th centuries. Taking a multidisciplinary approach and making extensive use of the archival record, this is the first detailed, historical account of the relationship between maps and copyright. As such, it examines how the emergence and development of copyright law affected mapmakers and the map trade and how the application of copyright law to the field of mapmaking affected the development of copyright doctrine. Its explorations cast new light on the circulation of geographical knowledge, different cultures of authorship and creativity, and connections between copyright law, print culture, technology, and society.The book will be of interest to legal historians, intellectual property scholars, and historians of the map and print culture, as well as those interested in the history of knowledge and how legal control over data has been exerted over time. It takes the reader back to the earliest attempts to establish who can own and control geographical information and its graphic representation in the form of a map. In so doing, it establishes a long history of tension between the interests of private enterprise, government, and the public. The book's investigations end in the first decades of the 20th century, but the tensions it identifies persist in the 21st century, although today paper maps have been largely replaced by web-based mapping platforms and digital geospatial data.The eBook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Australian Research Council.

Der Band vermittelt die juristischen Grundkenntnisse, die beim Ein- und Verkauf von Rechten zur Vermarktung von Verlagsprodukten erforderlich sind. Ziel ist der kompetente Umgang mit Verlagsvertragen aller Art. Schwerpunkte bilden das klassische Urheber- und Verlagsrecht auf Basis des neuen Urhebervertragsrechts, die Rolle der Verwertungsgesellschaften, Fragen der Nebenrechte und ihrer Verwertung sowie Fragen des Honorars.

Church leadership: Did you know that only 42.4% of churches in North America are paying song copyright holders for their work? Do you know why church music licenses exist, who collects these fees and distributes the money?Did you know that there's a clause in copyright law specifically for churches in the US? Let me tell you about the opportunities that this brings to songwriting and church ministries.Do you know how independent songwriters and music publishers share in the revenue generated from church song licenses?Worship songwriters: Would you like to know the exact method to document your songs and register them for the maximum royalties? Give this money to the church or build your songwriting ministry.All these questions are answered in this comprehensive special report that promotes spreading the gospel and honoring the creative people who help to make all church ministries possible. Pass this report on to songwriters, musicians, worship pastors, and church leadership so they are informed about current copyright laws and the practices of paying for the use of intellectual property.Stephen Robert Cass is an author, songwriter, worship leader, and musician playing and leading worship since 1970. He has over 70 titles in his song catalog at Christian Copyright Licensing International.Get this 2023 Christian Indie Award book today.