Copyright and Its Categories of Original Works.
In this article, the categories of literary, dramatic, musical and artistic (LDMA) works in which copyright subsists are considered, and an argument made that the legislature’s division of protected works into categories is appropriate given the psychology of art appreciation, and the fact that in o...
| Publicado en: | Oxford Journal of Legal Studies Vol. 30; no. 2; pp. 229 - 255 |
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| Formato: | Artículo |
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Oxford University Press / USA
Summer2010
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=51207775&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 51207775 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 01436503 BJ4 jtl: Oxford Journal of Legal Studies issn: 01436503 maglogo: N pubinfo: dt: Summer2010 vid: 30 iid: 2 pid: 622 pub: Oxford University Press / USA artinfo: ui: 51207775 10.1093/ojls/gqq009 ppf: 229 ppct: 26 formats: fmt: @attributes: type: P size: 171KB tig: atl: Copyright and Its Categories of Original Works. aug: au: PILA, JUSTINE affil: University Lecturer in Intellectual Property, University of Oxford Faculty of Law; Official Fellow and Senior Law Tutor, St Catherine's College, Oxford. su: Copyright Art appreciation Legislative bodies Law & art Art theory Music theory sug: subj: Copyright Art appreciation Legislative bodies Law & art Art theory Music theory ab: In this article, the categories of literary, dramatic, musical and artistic (LDMA) works in which copyright subsists are considered, and an argument made that the legislature’s division of protected works into categories is appropriate given the psychology of art appreciation, and the fact that in order to perceive a work qua work one must perceive it in relation to a category of work. Nonetheless, an argument is also made that the statutory definitions of LDMA works suffer from the defects of formalist theory. Those defects are outlined, and an alternative theory of works proposed, drawing on the scholarship of art theorist Kendall Walton and the intentional, historical view of the work developed in a recent publication (J Pila, ‘An Intentional View of the Copyright Work’ (2008) 71 MLR 535–58). According to that theory, LDMA works are constituted in part by their properties of form and in part by the history of their individual production. Consistent with this, the statutory categories of work are cast as denoting authorial traditions: evolving practices of LDMA expression that exist and are experienced in a particular social context. In addition to its general explanatory and normative value for copyright, this theory has specific implications for the legislature’s expression of the categories of works in which copyright subsists. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: © 2019 Oxford University Press. item: Oxford Journal of Legal Studies holder: Oxford University Press / USA dt: @attributes: year: 2010 holdings: @attributes: islocal: N |
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