Introduction for Caribbean Pelau

The Aesthetics or Theory of Reception, which analyzes the meanings of literary works and the function of the reader with a reader-response perspective, is an original aesthetic theory that spread from Germany to the world and then to the other branches of art in late 1960s. In the dialogue between the received work of art and the receiver, the style and duration of reception differ fundamentally in each branch of art. As in literary works, the experience of reading and understanding the work in other realms of art depends on the language of the art form. Reception Aesthetics mainly investigates such matters as the conditions under which a work of art is to be comprehended, the styles of comprehension and their results. This study analyzes the changes in the conditions and styles of reception during a dialogue with works of Ceramic Art, and the refreshing influence of reception period on the work with an experimental approach. The reception period is analyzed in the exemplary ceramic works of J. Miro. There are two reasons why the works of Miro were selected for analysis. First, Miro is a versatile artist who has influenced not only contemporary art of painting but also the art of ceramics with his ceramic works. His contribution to ceramic art can be exemplified within his works. Second is the advantage provided by the contribution to the experimental period of analysis through publications about Miro in art literature and the advantage of the evaluating the findings of reception. It is thought that the reception period is a period of art-work analysis that responds to a wider recipient audience about the work of art. It is also considered to involve a period of synthesis revitalizing the work of art with each new receiver. A flexible and explicit approach in the evaluation of work of art will support the formation of aesthetic life and communication among a wider recipient audience.

The leadership of literary and artistic work is an important part of the revolutionary cause led by the Communist Party of China (hereinafter referred to as “the CPC”). During the new democratic revolution, the ideological basis for the CPC's leadership in literary and artistic work included the literary and artistic thoughts of Marx and Engels, Lenin and Stalin, as well as the traditional Chinese literary and artistic thoughts. These ideological resources provided theoretical guidance for the CPC to lead literary and artistic work in the period of the new democratic revolution, and also provided basic guidelines for the CPC to formulate policies on literary and artistic work. The study of the ideological basis of the CPC's leadership in literary and artistic work during the new democratic revolution is of great historical significance for promoting the development of Chinese literary and artistic undertakings in the new era.

The purpose of writing this article is to discover the manifestations of the Kuntisraya story in works of arts in Indonesia. In general, Kuntisraya stories can be found in ancient Javanese literary works. In particular, it turns out that there are works of art, design, and ethnic performing arts in Indonesia that are realized based on the Kuntisraya story. The problems are : 1) What is the form of the manifestation of the Kuntisraya story in works of art and design?; 2) What is the form of the manifestation of the Kuntisraya story in ethnic performing arts?. This research was conducted with qualitative methods. Observations and interviews have been used to obtain primary data. The results of the literature study have been used as secondary data. All data has been analyzed qualitatively using aesthetic and reception theories. The results of the study show that : 1) manifestations of the Kuntisraya story exist in works of art and designs in the form of architectural reliefs of temples; and 2) manifestations of the Kuntisraya story exist in performing arts in the form of sacred performing arts and tourism performing arts.

TRADITIONAL APPROACHES TO COLLECTIONS AND COMPILATIONS The Berne Convention If multimedia products come close to literary works in any sense, it is in the category of collections. The leading text for the definition of collections is the Berne Convention. Collections for the purposes of the Berne Convention are collections of literary or artistic works, such as encyclopaedias and anthologies, only. These works qualify as literary works, or else as intellectual creations, not by reason of the originality of their contents, as would be the case with any genuine literary work, but by reason of the selection or arrangement of their contents. If collections are thought to have any resemblance to literary works, it is mostly because they incorporate original literary and artistic works in a manner which is considered original, and because traditionally they also present themselves in written-book format. Their qualification as copyrightable material, however, is meant to be without prejudice to the copyright existing in each of the works forming part of such collections. The Berne Convention's provision on compilations has been incorporated into the national laws of the Member States in various ways. However, this does not cause too many problems since the Berne Convention provides only for de minimis rules. Member States can deviate from them as long as the protection they afford to works is stronger or wider in substance than the one provided for in the Berne Convention.

SUMMARY In this paper the points of linguistic contact of literary study is discussed. Since the literary work of art is a linguistic work of art, it is imperative that it should also be guaged on a linguistic level. The problem is only who should undertake this task: the literator or the linguist? A literary text does not only comprise a context of linguistic values, but also one of literary values. These two contexts are inextricably interwoven. On account of this organic unity, research into the work of art cannot be divided along disciplinary lines, one part undertaken by linguistics, the other by literary study. It is argued that the literator is best equipped to account for the work of art as a whole, because what basically happens in the creative process is that the linguistic forms have to shape themselves according to the demands of an almost pre-existent literary form or context. This context belongs to the special field of knowledge of the literator. The solution to the problem of disciplinary ...

Securing the Past: Conservation in Art, Architecture and Literature

The article analyses specific issues on the legal regulation in the sphere of restriction on the author's property rights to literary and artistic works in Ukraine through European and international prism. The author examines the legislation of Ukraine, international and European regulatory sources for the purpose of regulating directly the cases of lawful free use of literary and artistic works of the author and the restriction on his prop- erty rights to literary and artistic works, as a result of his intellectual activity. The purpose of this study is to determine the specifics of legal regulation in the sphere of restriction of property rights to works in Ukraine. The philosophical, general-scientific and special-scientific methods of cognition have been used in the work, including comparative-legal method, struc- tural-functional, deductive, as well as methods of analysis, generalization and analogies. The author has found the basic inaccuracies and gaps in the legal regulation for of the restriction and free use of works as an object of copy- right. The author proves that the Ukrainian legislator did has not harmonized the provisions of the Law of Ukraine "On Copyright and Related Rights" with the provisions of the Civil Code of Ukraine. Thus, the article shows that the use of such concepts as "free use of works", "restriction of property rights", "exceptions and restrictions on property rights", "legitimate use of a work without the consent of the author" are not in line with international practice. The author draws conclusions on the improvement of the legislation to avoid these problems. The implementation of Europe- an practice in the legislation of Ukraine is also highlighted. The results of the study can be used for further research in the field of copyright, including comparative copyright. These proposals may be applied to improve current intellectual property law.

Le Petit Journal des Refusées:A Graphical Reading Johanna Drucker (bio) Gelett Burgess' witty 1896 San Francisco publication Le Petit Journal des Refusées provokes two important questions that make us think about how we understand the cultural role and aesthetic identity of certain modern works of innovative art. First, can we do a critical reading of a literary work through attention to its graphic properties? Second, can we talk about an aesthetic work as modern without either straining to align it with the utopian vision and politics of the nineteenth-century avant-garde or reading it only as a product of mass culture?1 In the case of Le Petit Journal, a study of its graphic characteristics leads us into analysis of a work whose innovative expression is situated within a middle-brow world, far from radical ideals except those of playful humor but wonderfully self-conscious about the scene on which it depends. My first encounter with this publication came long before I would have been able to frame the critical issues I address here. I spotted it on the desk of the then curator of the History Department at the Oakland Museum when I was an assistant to the Registrar.2 I had been hired for my typing skills, and such an encounter was as unlikely as it was life changing. Already actively immersed in a world of small press printers and experimental writers, I could recognize how unique a graphic work it was at a glance. The wallpaper cover, the trapezoidal shape, the strangely weird and wonderfully intriguing image on the front were so fascinating I could not keep myself from transgressing decorum and seizing the thing for examination. Questions immediately arose to drive my research. I wanted to know how this publication compared to its contemporary context and whether its graphic form was as unusual as it looked, or whether it borrowed and recycled graphic elements already in use. Returning to this after three decades, I can frame that original response in terms of critical considerations about experimental work and modern publications. Studies of modernism have suffered from two binarisms. The first critical formulation divided works of art from those of mass production.3 The various proponents of Frankfurt school and critical theory argued that the rarified aesthetics of esoteric fine art was a political tool to counter the mind-numbing, formulaic products of the culture industries.4 Since so many modern artists, especially in the twentieth century, are fascinated with mass [End Page 137] culture, practitioners of critical theory had to justify these acts of appropriation and media transformation. Theoretical language assigned a redemptive uplift, specifically, a quality of critique, to the act of bringing the dross of mass production across the line and into the realm of fine art but never allowed for the flow of ideas and values to praise mass cultural works.5 In the second binarism, cultural studies theorists condemned esoteric art as elitist and argued for the empowering effects of subculture audiences created through mass-culture artifacts.6 In these dreary struggles, the supporters of Brecht or Beckett do mortal combat with the fans of Stephen King and Star Wars (usually in academic realms far removed from any but the most symbolic political acts). But critical theorists and cultural studies proponents are united by their adherence to a larger principle: the myth of a utopian role for art or aesthetic experience as a politicizing force in culture. To argue otherwise, they suggest, is to fall into the camp of the neo-conservatives and align one's aspirations for fine art to either an Arnoldian notion of moral improvement, or abandon all moral responsibility and give over to mere hedonistic pleasure or rampant consumerist tactics.7 But between the pole of art as politics (whether through esoteric resistance, activist didacticism, interventionist strategies, or organizing principles) and that of art as product, lies an enormous terrain filled with works of fine art that were not and never could be considered utopian—but which are indisputably modern. This outline of critical positions is over-simplified, but is meant to point to the problem that arises immediately in trying to read a...

امروزه، مسأله ی واگذاری تمام یا قسمتی از حقوق مادی متعلق به پدیدآورنده و قراردادهای مرتبط با آن از اهمیت ویژه‌ای برخوردار است؛ به گونه‌ای که در برخی نظام‌های حقوقی، همچون:فرانسه، قراردادهای معین متعددی، مانند:قرارداد انتشار، پیش‌بینی و مقررات ویژه ای برای آن وضع گردیده است. این در حالی است که در نظام حقوقی ایران به رغم شناسایی حقوق آثار ادبی و هنری و پذیرش انتقال ارادی حقوق مادی پدیدآورنده، قواعد ویژه‌ای در خصوص قراردادهای مذکور، به چشم نمی‌خورد. در نتیجه، ماهیت حقوقی قراردادهای مرتبط با واگذاری حقوق مادی آثار ادبی و هنری با ابهامات جدی مواجه است. با مطالعه ی تطبیقی در خصوص ماهیت حقوقی قرارداد انتشار، به نظر می‌رسد در حقوق ایران، قرارداد انتشار می‌تواند در قالب هر یک از قراردادهای اجاره، صلح، معاوضه و نیز قراردادهای حق انتفاع منعقد گردد. افزون بر این، ماده ی 10 قانون مدنی نیز این امکان را فراهم نموده است که قرارداد انتشار، به صورت قراردادی غیرمعین منعقد گردد.

THE U.S.-TAIWAN COPYRIGHT AGREEMENT: COOPERATION OR COERCION? Jean Lint Taiwan's' economic success has led to its international recogni- tion as one of the four Newly Industrialized Countries ( NIC ). However, Taiwan has historically failed to comply with the interna- tional standards set forth in the Berne Convention for the Protec- tion of Literary and Artistic Works ( Berne Convention ), 3 or even the much more lenient Universal Copyright Convention ( UCC ). Along with its fame for economic success, Taiwan has earned a rep- utation for piracy 5 of world intellectual property. Although Taiwan and the U.S. remain close trade partners, the problem of copyright infringement in Taiwan is a perennial cause of friction, as U.S. in- dustries annually lose millions of dollars due to inadequate copy- right protection in Taiwan. Ever since the U.S. listed curbing international piracy as one of the most important items in its trade agenda, 7 it has vigorously pressured Taiwan to reform its copyright laws. In response to U.S. t J.D. expected 1993, Cornell Law School. 1. In accordance with U.S. government usage, this Comment uses the term Tai- wan rather than The Republic of China whenever practical. See Taiwan Relations Act, 22 U.S.C. § 3314 (1988). 2. The other three NICs are Singapore, South Korea, and Hong Kong. 3. Berne Convention for the Protection of Literary and Artistic Works, Paris Ad- ditional Act, July 24, 1971, 828 U.N.T.S. 221 [hereinafter Berne Convention]. The U.S. adopted the Berne Convention in 1988. Berne Convention Implementation Act of 1988, Pub. L. No. 100-568, 102 Stat. 2853. 4. Universal Copyright Convention, Sept. 6, 1952, 6 T.I.A.S. 3324, 216 U.N.T.S. 132 [hereinafter UCC, 1952 Text]; Universal Copyright Convention as revised at Paris, July 24, 1971, 25 T.I.A.S. 7868, 943 U.N.T.S. 178 [hereinafter UCC, 1971 Revision]. 5. For the purposes of this Comment, piracy is 'the unauthorized taking of another person's intellectual property through substantial duplication or production of a substantially similar product of information for commercial purposes.' GARY M. HOFFMAN & GEORGE T. MARCOU, ANNENBERG WASH. PROGRAM, CURBING INTER- NATIONAL PIRACY OF INTELLECTUAL PROPERTY 8 (1989) (quoting the Annenberg Program panel). 6. Id. app. B at 30. 7. Marshall A. Leaffer, Protecting United States Intellectual Property Abroad: To- ward a New Multilateralism, 76 IOWA L. REV. 273, 295 (1991).

The Rome Convention can no longer work effectively in relation to the protection of the rights of broadcasting organisations. In light of this situation, a proposal to consider establishing a new convention was raised at WIPO and subsequently, discussions were commenced towards a new international instrument. The first occasion that the above proposal was raised, was the Committee of Experts on a Possible Protocol to the Berne Convention for the Protection of Literary and Artistic Works. This chapter examines the discussions held at the foregoing Committee of Experts on a Possible Protocol to the Berne Convention for the Protection of Literary and Artistic Works, the WIPO World Symposium on Broadcasting, New Communication Technology and Intellectual Property and the WIPO Standing Committee on Copyright and Related Rights. Through the examination, the issues to be resolved to conclude a new convention for the protection of the broadcasters' rights are clarified.Keywords: Berne Convention; broadcasting organisations; Copyright; international instrument; Rome Convention; World Intellectual Property Organisation (WIPO); World Symposium on Broadcasting

Henrik Ibsen and Conspiracy Thinking: The Case of <i>Peer Gynt</i>

The question of how long a copyright should last has troubled scholars and policymakers ever since the first copyright statute was enacted. The controversy continues because there are two divergent views concerning the basic rationale underlying copyright law. Under the natural rights view, the author of a literary or artistic work has a natural right to profit from the fruits of his or her artistic labor. The logical extreme of the natural rights view is that copyright should be perpetual and is limited in duration only because of certain practical considerations. Under the utilitarian view, however, copyright exists primarily to encourage the creation and distribution of new literary and artistic works. Public choice theory is a branch of economics that applies game theory and decision theory to government action. It works very well in explaining how decisions concerning the duration of copyright are made. Keywords: copyright; natural rights view; public choice theory; utilitarian view

Literary works cannot be separated from the activity of thinking, imagining or observing sensitivity the author and his environment. This means that literary works are the result of an author's expressive feeling with full strength of heart, intuition and imagination. It's the same as the romantic criticism which prioritizes aspects of the heart, intuition and soul in expressing the natural context in literary work. This research aims to examine that how element of poetry through romantic perspective play a role in expressing the natural context in the novel Lelaki Harimau by Eka Kurniawan. This novel is beautifully conveyed by Eka about the beauty of nature until the reader feels it for real. For the element of poetry in this research thorough romantic perspective is nature was often presented as a work of art itself, constructed by a divine imagination, in emblematic language, and a nature full of wildness, irrational reason. Common life situation or rural life unite with the nature is a mature life landscape and a natural life according to Romantic perspective. However the next element of poetry is colouring imagination, something that is considered ordinary must be brought into our minds to be an unusual aspect. Making objects that we generally know are displayed uncommon. And the last element is prophetic intelligence how great the author is in processing text with the power of his words in a text that feels real, carried the reader into the soul and carried away by the atmosphere.Keywords: Romanticism; element of poetry ; nature

2 - Copyright works