The Author As Proprietor: Donaldson V
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What Is the Point of Copyright History? Reflections on Copyright at Common Law in 1774 by H
CREATe Working Paper 2016/04 (March 2016) What is the Point of Copyright History? Reflections on Copyright at Common Law in 1774 by H. Tomás Gómez-Arostegui Editors Elena Cooper Ronan Deazley University of Glasgow Queen’s University Belfast [email protected] [email protected] CREATe Working Paper Series DOI: 10.5281/zenodo.47710. This release was supported by the RCUK funded Centre for Copyright and New Business Models in the Creative Economy (CREATe), AHRC Grant Number AH/K000179/1. What is the Point of Copyright History? Reflections on Copyright at Common Law in 1774 by H. Tomás Gómez-Arostegui Elena Cooper and Ronan Deazley (eds) 1. What is the Point of Copyright History? 3 Elena Cooper and Ronan Deazley 2. The Persistent Myth of Perpetual Common Law Copyright 11 Howard B. Abrams 3. A Few Remarks on Copyright at Common law in 1774 24 Lionel Bently 4. A Page of History 31 Oren Bracha 5. Donaldson and the Muse of History 38 Mark Rose 6. Personal Comments on a Policy Perspective 43 Charlotte Waelde 7. A Reply to my Colleagues regarding Donaldson v Becket 46 H. Tomás Gómez-Arostegui 8. Excerpts from the Symposium 61 Elena Cooper and Ronan Deazley (eds) Appendix 83 What is the Point of Copyright History? Elena Cooper and Ronan Deazley An understanding of the past – how we got to where we are today – informs the approach of much recent scholarship about copyright. This has been traced to a ‘historical turn’ in scholarship in the late 1990s, which marked a move away from the more forward-looking approach of the earlier twentieth century, when lawyers had little time for historical perspectives. -
Licensing of the Press Act of 1662
Cum privilegio: Licensing of the Press Act of 1662 The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nipps, Karen. 2014. “Cum Privilegio: Licensing of the Press Act of 1662.” The Library Quarterly: Information, Community, Policy 84 (4) (October): 494–500. doi:10.1086/677787. Published Version doi:10.1086/677787 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:17219056 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Cum privilegio: Licensing of the Press Act of 1662 HISTORY OF THE BOOK opyright has troubled humans for almost as long as our thoughts have been re- corded. The ancient Greeks, Jews, and Romans all set down laws concerning an author’s C personal rights, a sponsor/publisher’s economic rights, an owner’s rights to an individual copy, and a ruler’s right to censor and to regulate the industry. The Church and various gov- ernments ðboth totalitarian and democraticÞ have tried copyrighting any number of times. We are still at it today. As of the writing of this piece, currently pending in Washington is legisla- tion that some have referred to as “the next great copyright act” ðPallante 2013Þ. This act—if it ever comes to pass—will have the American government ruling on procedures regarding such varied property as orphan works, musical recordings, film, and fashion design, particularly as they relate to digitization and the Internet. -
Literary Property in Scotland in the Eighteenth and Nineteenth
Edinburgh Research Explorer Literary Property in Scotland in the Eighteenth and Nineteenth Centuries Citation for published version: MacQueen, H 2016, Literary Property in Scotland in the Eighteenth and Nineteenth Centuries. in I Alexander & HT Gomez-Arostegui (eds), Research Handbook on the History of Copyright Law. Research Handbooks in Intellectual Property, Edward Elgar, Cheltenham, UK, pp. 119-138. https://doi.org/10.4337/9781783472406 Digital Object Identifier (DOI): 10.4337/9781783472406 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Research Handbook on the History of Copyright Law Publisher Rights Statement: This is a draft of a chapter that has been published by Edward Elgar Publishing in The History of Copyright Law; A Handbook of Contemporary Research edited by Isabella Alexander and H. Tomás Gómez-Arostegui, published in 2016. http://www.e-elgar.com/shop/the-history-of-copyright-law General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 30. Sep. 2021 [fresh page][cn] 7. [ct] Literary property in Scotland in the eighteenth and nineteenth centuries [au]Hector MacQueen [a] 1. -
§ a Statute of Anne (1710)
Copyright Enactments Prior to the 1909 Act, Including the English Statute of Anne (1710) and Original State Statutes from 1783 Statute of Anne (1710) An act for the encouragement of learning, by the vesting the copies of printed books in the author's or purchasers of such copies, during the times therein mentioned. WHEREAS printers, booksellers, and other persons have of late frequently taken the liberty of printing, reprinting, and publishing, or causing to be printed, reprinted, and published, books and other writings, without the consent of the authors or proprietors of such books and writings, to their very great detriment, and too often to the ruin of them and their families: for preventing therefore such practices for the future, and for the encouragement of learned men to compose and write useful books; may it please your Majesty, that it may be enacted, and be it enacted by the Queen's most excellent majesty, by and with the advice and consent of the lords spiritual and temporal, and commons, in this present parliament assembled, and by the authority of the same, That from and after the tenth day of April, one thousand seven hundred and ten, the author of any book or books already printed, who hath not transferred to any other the copy or copies of such book or books, share or shares thereof, or the bookseller or booksellers, printer or printers, or other person or persons, who hath or have purchased or acquired the copy or copies of any book or books, in order to print or reprint the same, shall have the sole right and liberty -
Quick Overview: Regulation of the Press Henry VIII Ruled 1509–47
Quick overview: Regulation of the Press Henry VIII ruled 1509–47 Act of 1534: • prevented “aliens” becoming printers • concentrated the production of books in London Proclamation of 1538 against “naughty printed books”: “no book in English was to be printed without the approval of a royal licenser” (Blagden 30–1) Edward VI (Protestant) ruled 1547 – 1553 Edward is fiercely Protestant; imposes the Book of Common Prayer in 1549 (replaced Latin services with English) proclamations against popish books are issued by Edward Quick overview: Regulation of the Press • 1555: royal proclamation prohibits the printing or importation of the works of Luther, Calvin, Tindale, and other reformers • 1557: the Worshipful Company of Stationers receives royal charter (purpose is to prevent propagation of the Protestant Reformation) • very small membership has sole right throughout England to print, publish, and sell printed works Mary I 1558: proclamation directed against heretical reigned 1553–8 • and treasonable books including the service books of Edward VI What was in the 1557 Charter? • Only freemen who were members of the Stationers’ Co. or those with royal permission were allowed to print books • Stationers’ Co. authorities had the right to “search the houses and business premises of all printers, bookbinders and booksellers” (Blagden 21) Quick overview: Regulation of the Press • 1558: Injunctions geven by the Quenes Majestie: no book or paper to be printed without license of the Queen, her privy council, Archbishops of Canterbury and York, Bishop of London, or chancellors of both universities • 1566: the Star chamber issues a decree against the printing, importing, or selling of prohibited books • 1579: John Stubbe has his right hand cut off for his critique of proposed marriage of the queen and Duke of Anjou Elizabeth I • 1584: William Carter, printer, condemned for high treason reigned 1558–1603 and hanged, bowelled and quartered no manner of book or paper should be printed unless it: “be first licenced by her maiestie by expresse wordes in writynge, or by .vi. -
The Public Sphere and the Emergence of Copyright: Areopagitica, the Stationers’ Company, and the Statute of Anne*
The Public Sphere and the Emergence of Copyright: Areopagitica, the Stationers’ Company, and the Statute of Anne* Mark Rose† I. INTRODUCTION ................................................................................. 123 II. HABERMAS AND THE PUBLIC SPHERE .............................................. 124 III. AREOPAGITICA .................................................................................. 128 IV. THE EARLY MODERN STATIONERS’ COMPANY ................................ 132 V. THE STATUTE OF ANNE ..................................................................... 136 VI. THE “HOLLOWING OUT” OF THE PUBLIC SPHERE ............................ 139 I. INTRODUCTION The notion of the public sphere, or more precisely the bourgeois public sphere, associated with German philosopher Jürgen Habermas, has become ubiquitous in eighteenth-century cultural studies. Scholars concerned with media and democratic discourse have also invoked Habermas. Nonetheless, the relationship between the emergence of the public sphere and the emergence of copyright in early modern England has not been much discussed. In this Article, I will explore the relationship between the Habermasian public sphere and the inauguration 1 of modern copyright law in the Statute of Anne in 1710. * This Article will also appear in PRIVILEGE AND PROPERTY: ESSAYS ON THE HISTORY OF COPYRIGHT (Ronan Deazley, Martin Kretschmer, and Lionel Bently eds., forthcoming 2010). † © 2009 Mark Rose. Mark Rose (AB Princeton, BLitt Oxford, PhD Harvard) is Professor Emeritus at the University of California, Santa Barbara, where he has taught in the English Department since 1977. He has also held positions at Yale, the University of Illinois, Urbana-Champaign, and the University of California, Irvine. Authors and Owners, his study of the emergence of copyright in eighteenth-century England, was a finalist for a National Book Critics’ Circle Award. Rose also regularly serves as a consultant and expert witness in matters involving allegations of copyright infringement. -
How WE LOST OUR MORAL RIGHTS and the DOOR CLOSED on NON-ECONOMIC VALUES in COPYRIGHT
THE JOHN MARSHALL REVIEW OF INTELLECTUALF' PROPERTY LAW How WE LOST OUR MORAL RIGHTS AND THE DOOR CLOSED ON NON-ECONOMIC VALUES IN COPYRIGHT SUSAN P. LIEMER ABSTRACT The Visual Artists Rights Act ('VARA") is a piece of modern legislation preceded by a rich history, with a significant gap. As early as the 1400's, patents were offered as economic incentive to develop new processes in the trades and applied arts. By the 1700's, the Statute of Anne became the first statute to protect the literary work of individual creators. The Engravers' Act of 1735 soon followed, expanding this protection to include the first works of visual art and providing the precursor to the modern right of integrity. Millar v. Taylor was the landmark case that alluded to moral rights protection and found copyright existed at common law; however, it was replaced by statutory copyright in Donaldson v. Beckott. From then on, only the statute could prescribe protection. This effectively closed the door on moral rights protection in the United States, because the Donaldson interpretation provided the groundwork for interpretation of the first United States copyright statute. Until VARA, the United States copyright law focused on economic protection, disregarding most other values. This article traces moral rights through the early intellectual property law history, discusses the importance of the rights granted, and argues that VARA is most useful if jurists and legislators become aware of the history and the legislation itself. Copyright © 2005 The John Marshall Law School Cite as Susan P. Liemer, How We Lost Our MoralRights and the Door Closed on Non -Economic Values in Copyright,5 J. -
Pre-Copyright Rights Carl W
Notre Dame Law Review Volume 14 | Issue 4 Article 3 5-1-1939 Pre-Copyright Rights Carl W. Doozan Follow this and additional works at: http://scholarship.law.nd.edu/ndlr Part of the Law Commons Recommended Citation Carl W. Doozan, Pre-Copyright Rights, 14 Notre Dame L. Rev. 391 (1939). Available at: http://scholarship.law.nd.edu/ndlr/vol14/iss4/3 This Article is brought to you for free and open access by NDLScholarship. It has been accepted for inclusion in Notre Dame Law Review by an authorized administrator of NDLScholarship. For more information, please contact [email protected]. PRE-COPYRIGHT RIGHTS To occupy himself during his spare moments a prominent citizen wrote a small biographichl sketch of a famous old character in the community and upon completion passed around the manuscript to a few close friends. An editor of a local" publication gained possession of the manuscript and without permission published the article. Immediately, the question arose, what are the author's rights? The work of course was not copyrighted. In that event he has no rights, you say? Well, perhaps - but be not too hasty in your reply. Copyright law, like the Constitution is a topic which makes fine conversational material among intelligent men, but con- cerning which very few have actual first hand information - surprisingly so, in view of the fact that copyright concerns almost exclusively intelligent men and women. Artists, pro- fessors, musicians, photographers are only a few of those affected by these laws and who should be vitally interested in knowing what their rights are. -
Colleague, Critic, and Sometime Counselor to Thomas Becket
JOHN OF SALISBURY: COLLEAGUE, CRITIC, AND SOMETIME COUNSELOR TO THOMAS BECKET By L. Susan Carter A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of History–Doctor of Philosophy 2021 ABSTRACT JOHN OF SALISBURY: COLLEAGUE, CRITIC, AND SOMETIME COUNSELOR TO THOMAS BECKET By L. Susan Carter John of Salisbury was one of the best educated men in the mid-twelfth century. The beneficiary of twelve years of study in Paris under the tutelage of Peter Abelard and other scholars, John flourished alongside Thomas Becket in the Canterbury curia of Archbishop Theobald. There, his skills as a writer were of great value. Having lived through the Anarchy of King Stephen, he was a fierce advocate for the liberty of the English Church. Not surprisingly, John became caught up in the controversy between King Henry II and Thomas Becket, Henry’s former chancellor and successor to Theobald as archbishop of Canterbury. Prior to their shared time in exile, from 1164-1170, John had written three treatises with concern for royal court follies, royal pressures on the Church, and the danger of tyrants at the core of the Entheticus de dogmate philosophorum , the Metalogicon , and the Policraticus. John dedicated these works to Becket. The question emerges: how effective was John through dedicated treatises and his letters to Becket in guiding Becket’s attitudes and behavior regarding Church liberty? By means of contemporary communication theory an examination of John’s writings and letters directed to Becket creates a new vista on the relationship between John and Becket—and the impact of John on this martyred archbishop. -
Lehigh Preserve Institutional Repository
Lehigh Preserve Institutional Repository Drama and history: Thomas Becket as portrayed by Eliot and Anouilh Wenger, Donna Faye 1969 Find more at https://preserve.lib.lehigh.edu/ This document is brought to you for free and open access by Lehigh Preserve. It has been accepted for inclusion by an authorized administrator of Lehigh Preserve. For more information, please contact [email protected]. .... DRAMA AND HISTORY: THOMAS BECKET AS PORTRAYED BY ELIOT AND ANOUILH by Donna Faye Wenger A THESIS Presented to the Graduate Committee of Lehigh University in candidacy for the Degree of Master of Arts in• English / Lehigh University .. 1969 If!.", I 1•1.1.1.1111L•1___ .. _ ...111 •-- ------•-•-- --~-~·-""""""'..._µ .O";,;:;;,,~'"""",'-= .. 'f;;,:;,-,r,;"i+~~:·=- ~=,=-~--~-~-~--.. '!'!'!'!'!'_-~-- ~---·~-.... ~.--~-~lll!llllllll....... ____ ~----!l!ll!-,.- ..~.--l!ll!l!!l!-----~,.--•,,, .. _l!!l!!!!! ____ !Jl!l!!!______._L1122-•z-a•s..,ll!IIL.t•.111•1 ·1 - { ii . I ~-- ~: This thesis is accepted and approved in partial fulfillment of the requirements for the degree of Master of Arts. Professor in charge of the Department -· --.:....;.;:, . : ... {· c•, ,.•) • • o ' / • 1 1 • 1 ' " 0 ... iii CONTENTS ... Chapter I The Historical Becket 2 Chapter II The Man Becket 27 Chapter III The Cleric Becket 43 Chapter IV The Martyr Becket 59 Chapter V Evaluation 76 .... Footnotes 86 .. ·' I :J ! : ' 1 ., Abstract The story of Thomas Becket has long captivated men's imaginations: two dramatists, T. s. Eliot and Jean Anouilh, have utilized that history as a basis for dramaso Through ' ! O caindiscussable -Becket s s·tory O Eliot and Ano,iilh presen~c 00 of truths : for Eliot 0 -it is that Becket is the epitome Christian freedom which comes only through total submission to a Divine will; for Anouilh, it is that each man must determine his own salvation in an isolated universeo The criterion for evaluating the success of the two dramatists is their degree of adherence to historical fact. -
Memory and Uncertainty in Michael Frayn's Copenhagen
Charles University in Prague Faculty of Education Department of English Language and Literature Memory and Uncertainty in Michael Frayn’s Copenhagen Diploma thesis Tereza Lesáková Secondary School Teacher Education (En – Cz) Supervisor: PhDr. Petr Chalupský, Ph.D. Prague 2014 I declare that I have worked on this final thesis independently using only the primary and secondary sources listed in the works cited section. I would like to thank my supervisor, PhDr. Petr Chalupský, Ph.D, for his kind help and valuable advice and Mgr. Jindřich Soukup for his suggestions concerning physics. Abstract The thesis is an attempt to explore various ways in which Michael Frayn employs the philosophical implications of Werner Heisenberg’s uncertainty principle and Niels Bohr’s complementarity principle in his play Copenhagen and to find out how he works with the theme of memory in the text. The theoretical part puts the play into the frame of the science theatre genre and offers a brief overview of depiction of memory in literature. The practical part then analyses the theme of memory in connection with quantum physics in the text and covers the development of our perception of the characters. Key words: Frayn, Copenhagen, uncertainty, memory, science theatre Abstrakt Diplomová práce je pokusem prozkoumat, jakými způsoby Michael Frayn ve své divadelní hře Kodaň aplikoval filosofické důsledky Heisenbergova principu neurčitosti a Bohrovy komplementarity a jak pracuje s tématem paměti. Teoretická část hru zasazuje do kontextu žánru science theatre a nabízí stručný přehled zobrazování paměti v literatuře. Praktická část analyzuje spojení paměti a kvantové fyziky v textu a popisuje, jak se mění naše hodnocení postav. -
Copyright at Common Law in 1774
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenCommons at University of Connecticut University of Connecticut OpenCommons@UConn Connecticut Law Review School of Law 2014 Copyright at Common Law in 1774 H. Tomas Gomez-Arostegui Follow this and additional works at: https://opencommons.uconn.edu/law_review Recommended Citation Gomez-Arostegui, H. Tomas, "Copyright at Common Law in 1774" (2014). Connecticut Law Review. 263. https://opencommons.uconn.edu/law_review/263 CONNECTICUT LAW REVIEW VOLUME 47 NOVEMBER 2014 NUMBER 1 Article Copyright at Common Law in 1774 H. TOMÁS GÓMEZ-AROSTEGUI As we approach Congress’s upcoming reexamination of copyright law, participants are amassing ammunition for the battle to come over the proper scope of copyright. One item that both sides have turned to is the original purpose of copyright, as reflected in a pair of cases decided in Great Britain in the late 18th century—the birthplace of Anglo-American copyright. The salient issue is whether copyright was a natural or customary right, protected at common law, or a privilege created solely by statute. These differing viewpoints set the default basis of the right. Whereas the former suggests the principal purpose was to protect authors, the latter indicates that copyright should principally benefit the public. The orthodox reading of these two cases is that copyright existed as a common-law right inherent in authors. In recent years, however, revisionist work has challenged that reading. Relying in part on the discrepancies of 18th-century law reporting, scholars have argued that the natural-rights and customary views were rejected.