Copyright law regulates creativity. It affects the way people create works of authorship ex-ante and affects the status of works of authorship significantly ex-post. But does copyright law really understand creativity? Should legal theories alone inform our regulation of the creative process?This book views copyright law as a law of creativity. It asks whether copyright law understands authorship as other creativity studies fields do. It considers whether copyright law should incorporate non-legal theories, and if so, how it should be adjusted in their light. For this purpose, the book focuses on one of the many rights that copyright law regulates – the right to make a derivative work. A work is considered derivative when it is based on one or more preexisting works. Today, the owner of a work of authorship has the exclusive right to make derivative works based on her original work or to allow others to do so. The book suggests a new way to think about both the right, the tension, and copyright law at large. It proposes relying on non-legal fields like cognitive psychology and genre theories, and offers new legal-theoretical justifications for the right to make derivative works.As the first book to consider the intersection between copyright law, creativity and derivative works, this will be a valuable resource for students, scholars, and practitioners interested in intellectual property and copyright law.
Format: CONTRIBUTORS: Omri Rachum-TwaigEAN: 9780367583507COUNTRY: United KingdomPAGES: WEIGHT: 453 gHEIGHT: 234 cm
PUBLISHED BY: Taylor & Francis LtdDATE PUBLISHED: 2020-06-30CITY: GENRE: LAW / General, LAW / Administrative Law & Regulatory Practice, LAW / Intellectual Property / CopyrightWIDTH: 156 cmSPINE:
Book Themes:
Copyright law
"From mashups to fan fiction, the digital age has been a wellspring of creativity that builds on copyrighted works. Drawing on insights from cognitive psychology and creativity studies, Omri Rachum-Twaig articulates a provocative new theory for understanding the rationale for, proper scope of, and remedial framework for copyright law's right to prepare derivative works. Such fundamental rethinking of how society can best promote cumulative creativity deserves serious attention."Professor Peter S. MenellKoret Professor of Law and Director, Berkeley Center for Law & TechnologyUniversity of California at Berkeley School of Law"Copyright Law and Derivative Works offers a novel account of the nature, justification and scope of the derivative work right in copyright law in light of insights about the essence of creativity culled from cognitive psychology and genre theory, thus richly evoking the variegated junctures between critical analysis of copyright doctrine, creativity theory, and the relation between extra-legal theory and specifically legal theory and practice. Worthwhile reading for anyone engaged with copyright law, its justification, and its place and role in broader social and theoretical concerns."Abraham DrassinowerProfessor and Chair in the Legal, Ethical and Cultural Implications of Technological InnovationUniversity of Toronto Faculty of Law
Omri Rachum-Twaig is adjunct professor of law at the Faculty of Law, Tel Aviv University, Israel. He teaches and writes about copyright, cyber and information law, artificial intelligence and emerging technologies. He has published on all these matters in leading law reviews and journals, has won several academic awards and prizes, and his work is frequently cited in scholarly work and courts, including the Supreme Court of Israel.
Copyright law regulates creativity. It affects the way people create works of authorship ex-ante and affects the status of works of authorship significantly ex-post. But does copyright law really understand creativity? Should legal theories alone inform our regulation of the creative process?This book views copyright law as a law of creativity. It asks whether copyright law understands authorship as other creativity studies fields do. It considers whether copyright law should incorporate non-legal theories, and if so, how it should be adjusted in their light. For this purpose, the book focuses on one of the many rights that copyright law regulates – the right to make a derivative work. A work is considered derivative when it is based on one or more preexisting works. Today, the owner of a work of authorship has the exclusive right to make derivative works based on her original work or to allow others to do so. The book suggests a new way to think about both the right, the tension, and copyright law at large. It proposes relying on non-legal fields like cognitive psychology and genre theories, and offers new legal-theoretical justifications for the right to make derivative works.As the first book to consider the intersection between copyright law, creativity and derivative works, this will be a valuable resource for students, scholars, and practitioners interested in intellectual property and copyright law.
Format: CONTRIBUTORS: Omri Rachum-TwaigEAN: 9780367583507COUNTRY: United KingdomPAGES: WEIGHT: 453 gHEIGHT: 234 cm
PUBLISHED BY: Taylor & Francis LtdDATE PUBLISHED: 2020-06-30CITY: GENRE: LAW / General, LAW / Administrative Law & Regulatory Practice, LAW / Intellectual Property / CopyrightWIDTH: 156 cmSPINE:
Omri Rachum-Twaig is adjunct professor of law at the Faculty of Law, Tel Aviv University, Israel. He teaches and writes about copyright, cyber and information law, artificial intelligence and emerging technologies. He has published on all these matters in leading law reviews and journals, has won several academic awards and prizes, and his work is frequently cited in scholarly work and courts, including the Supreme Court of Israel.
Die verhaal van die kasarm en die Calitze kom tot 'n mooi einde
Ek kan nie ’n boek summier toemaak nadat die slotsin geskryf is nie. Ek lees álles, tot by die outeursnotas en die bronnelys (gewoonlik gooi ek darem net vlugtig ’n oog oor die bonne!). Chanette Paul maak in die nota oor Maanschijnbaai 2, die verdere verhaal van Nan en Jeannie, die stelling: “Lesers moet my asseblief vergewe dat my verbeelding altyd die oorhand oor die werklikheid kry en verdigsel voorkeur bo feite.” (p.635) Ek wil daarby aanhaak en bieg dat ’n uitstekende verhoudingsroman soos hierdie tydelik die oorhand gekry het oor my traagheid om te lees oor reïnkarnasie en die esoteriese. Die klomp Calitzse het my tyd en aandag totaal gekaap.
Die skrywer wy die laaste bladsye aan ’n verduideliking oor hoe die Maanschijnbaai-tweeluik ontstaan het. Sy beweer dat die Calitze haar “onkant” betrap het. Sy wou ’n romanse skryf maar uiteindelik was die karakters so kompleks dat dit op twee dik boeke en ’n intense familiedrama uitgeloop het.
Van die onderskeie karakters raak diep waarhede kwyt wat die moeite werd is om te onderstreep en te onthou, soos Zach wat dit gehad het oor die risiko om iemand op ’n pedestal te plaas omdat jy daardeur die persoon ’n onreg aandoen. (p.539) En Nan, wat die hele klomp Calitze moes grootkry, se wyse raad: “Met eerlikheid, Jeannie, kom ’n mens baie verder as met opoffering. Met eerlikheid gee jy almal ’n regverdige kans. Opoffering beteken bloot jy doen iets teen jou sin omdat jy glo dit sal ander baat.” (p.613)
Maak seker dat jy genoeg tyd op hande het, dan lees jy hierdie tweeluik in volgorde, Jo & Sue, gevolg deur Nan & Jeannie. Dit is hersien en met splinternuwe, pragtige baadjies uitgegee deur Lapa Uitgewers.
A very practical approach and the tools to go along with it
Very useful. The book provides a structure and an approach that I would have been useful earlier in my investing. I like the five gates and in particular the attention to quality and management's capital allocation decisions. I will also apply the idea of the stewardship log to get more explicit on my investment theses. This is kind of the practical aspect of what I learned from the Psychology of Money.
the title ties in really nicley the more towards the end but the title for the book suits it real...
the book is very slow burn and takes a while for like captivating parts of the book .but the middle to the end the pace of the book is really nice the beginning is just repetitive and and trust the processes
Skuld en vergifnis word nie versuiker in hierdie jeugverhaal nie
Twee halwes maak ’n hele is die wenner van ’n jeugboekprys. Ek moes myself gedurig herinner wat die teikenmark nou eintlik is, want die sake wat aangeraak word, is geensins beperk tot jeugdige lesers nie. Die sterk newe-karakters dra daartoe by die selfs baie ouer lesers goed aanklank kan vind by die storielyn wat ontvou.
“Hulle sê as jy iemand vergewe, lig jy ’n vrag van daardie persoon se skouers af. Maar miskien is sommige dinge net te swaar om van iemand anders se skouers te lig?” (p.178) Baie aandag word gegee aan skuld en vergifnis, maar geen suikeromhulde kitsoplossings word aangebied nie. Dit sou die storie beslis vervlak het.
Na die aardskuddende ontdekking wat Lira gemaak het, gaan sy vir drie maande na ’n Griekse eiland en maak sy kennis met haar ander helfte, ’n halfsuster wat presies die teenoorgestelde is van haar eie ingetoë, overthinking self. Ek het daarvan gehou dat hulle, die verskille ten spyt, nie in heftige konflik was nie. Eerder besig om algaande te ontdek dat hulle by mekaar kan aanpas en albei sterker daardeur kan kom.
Marita van der Vyver is ’n waardige wenner van die Tafelberg Jeugboekprys en hierdie boek hoort beslis in van der Vyver versamelings. Dit is uitgegee deur Tafelberg, ’n druknaam van Jonathan Ball Uitgewers.
