Table des matières
Martin Kretschmer, Lionel Bently et Ronan Deazley
Introduction. The History of Copyright History: Notes from an Emerging Discipline.Joanna Kostylo
1. From gunpowder to print: the common origins of copyright and patent- The First Printing Monopolies in Europe
- Medieval Guilds and Corporate Ownership of Knowledge
- The Statute of 1474 and the Venetian Privilege System
- From Corporate Ars to Individual Ingenium: Filippo Brunelleschi and the Humanist Synthesis of Theory and Practice
- Author-inventors and the Press: The Rise of Professional Writers
Oren Bracha
4. Early American Printing Privileges. The Ambivalent Origins of Authors’Copyright in AmericaLaurent Pfister
5. Author and Work in the French Print Privileges System: Some Milestones- 1. The author and the work during the early years of print
- 1.1 Relative indifference of the legal system towards the author
- 1.2 The Incompatibility of Property and Publication
- 2. The integration of the author within the system of royal privileges
- 2.1 The author re-invented
- 2.2 The compatibility of property and privilege
- 3. Conclusion
Maurizio Borghi
6. A Venetian Experiment on Perpetual Copyright- The Legal Nature of the Book Privilege: Exceptions to Law, Regulatory Instrument or (Publishing) Contract?
- The Origins of the System in the ‘Golden Age’ of the Venetian Printing Press (the Fifteenth and Sixteenth Centuries)
- Harmonising Duration, Defining Novelty, Eroding the Public Domain: The Privilege System in the Seventeenth and Eighteenth Centuries
- The System in the Age of Crisis: The Perpetual Privilege Experiment (the End of the Eighteenth Century)
- Conclusion
Stef van Gompel
7. Les formalités sont mortes, vive les formalités! Copyright Formalities and the Reasons for their Decline in Nineteenth Century Europe- 1. Introduction
- 2. Copyright Formalities in the First Half of the Nineteenth Century
- 2.1 A Short Overview of Formalities in National Copyright Law
- 2.2 The Nature and Legal Effects of the Early Copyright Formalities
- 2.2.1 General Observation
- 2.2.2 The Nature and Legal Effects in Practice
- 2.3 Some Important Reasons for the Different Attitude towards Formalities
- 3. Copyright Formalities in the Second Half of the Nineteenth Century
- 3.1 The Development of Formalities in National Copyright Law
- 3.2 Some Important Reasons for the Change of Perspective vis-à-vis Formalities
- 3.2.1 The Increased Person-oriented Nature of Authors’Rights
- 3.2.2 The Functions of Copyright Formalities
- 3.2.2.1 Internal Functions
- 3.2.2.2 External Functions
- 3.2.3 Some Important Conceptual Innovations and Transformations
- 3.3 The Absence of Concomitant Developments in the Netherlands and the UK
- 4. Evaluation and Conclusion
Friedemann Kawohl
8. The Berlin Publisher Friedrich Nicolai and the Reprinting Sections of the Prussian Statute Book of 1794- 1. Introduction
- 2. Book Privileges and the General Ban of Reprinting in 1766
- 3. The Proposed Abolition of Privileges and the Long Journey from the First Draft to the Enactment of the Statute Book
- 4. Klein’s draft Version and Svarez’s Amendments
- 5. The Publisher Friedrich Nicolai’s Views on Authors and Translators
- 6. A Commented Synopsis of Svarez’s Draft and the Enacted Provisions
- 6.1 Copyright Comprises the Exclusive Right to Sell Copies
- 6.2 First Owner of Copyright
- 6.3 Written and Oral Contracts
- 6.4 Transfer of Copyright for Only One Edition
- 6.5 Works Undertaken Solely for Payment
- 6.6 Transfer of Copyright Limited to a Certain Number of Copies
- 6.7 Author’s Obligation to Buy Remaining Copies
- 6.8 Copyright Term for Publishers, Not Authors
- 6.9 Perpetual Copyright for Publishers, Not Authors
- 7. Conclusion
Frédéric Rideau
9. Nineteenth Century Controversies Relating to the Protection of Artistic Property in FranceKatie Scott
10. Maps, Views and Ornament: Visualising Property in Art and Law. The Case of Pre-modern FranceRonan Deazley
11. Breaking the Mould? The Radical Nature of the Fine Arts Copyright Bill 1862- Introduction
- The Working Life of an Artist
- Paintings, Drawings, and the Engravers’Acts
- The Society of Arts, the International Exhibition, and the Catalyst for the Act
- The 1861 Bill, the Prevention of Fraud, and the Moral Rights of the Artist
- Photography: Fine Art or Mechanical Process?
- Publication and Registration: The Radical Nature of the 1862 Bill
- Ownership, Originality, and the interests of the Art Market
- Domestic Legislation and the Work of Foreign Artists
- Conclusion
Isabella Alexander
12. ’Neither Bolt nor Chain, Iron Safe nor Private Watchman, Can Prevent the Theft of Words’: The Birth of the Performing Right in BritainKarl-Nikolaus Peifer
13. The Return of the Commons – Copyright History as a Common SourceWilliam St Clair
15. Metaphors of Intellectual Property