论共有表演者权

两个以上的民事权利主体就同一表演活动共同享有的表演者权称为共有表演者权。共有表演者权既可以通过共同的表演活动原始产生,也可以通过转让和继承的方式继受取得。共有表演者权的权利主体包括自然人和法人组织,权利对象为静态的表演形象和动态的表演活动,权利内容则具有人身权和财产权的二元属性。共有表演者权的权利归属以及许可、转让等行使规则比较复杂,但我国现行《著作权法》几乎没有规定,应完善相关立法,以约定优先、鼓励传播的原则确立其行使规则。     

论表演者权的法定主义

学界通过“四说”与其说是对知识产权法定主义原则合理性的论证,不如说是对知识产权私权合理性的论证.表演者权入法的历史、表演者权私权的本质、表演产品的特性决定了其法定主义原则的选择的合理性.严格法定主义原则可能会导致司法僵化是伪问题.及时修法、谨慎设置兜底条款,竞争法保护模式,为表演者法益的保护开辟了创造性司法之路,从而有效缓解知识产权体系化过程的所谓的法定主义和僵化性的矛盾.     

表演者权保护研究

表演者权是各国著作权法/版权法所保护的一项重要权利,大陆法系国家一般通过邻接权的方式加以保护,而英美法系国家将表演者的表演直接作为"作品"赋以版权保护,出现这样差别的关键是两大法系对作品独创性标准的不同理解.在对表演者权的保护作一系统梳理的基础上,分析作品独创性标准对表演者权保护模式的影响,以及表演者权国际保护的新发展,并探讨中国表演者权保护的完善,建议在第三次修订<著作权法>时为表演者增加"因广播和向公众传播获得报酬的权利".     

浅议表演者权的保护期限

目前,我国赋予表演者权以五十年的保护期限,这体现了对表演者相关权利的重视。但是,相关法律条文的表述存在不妥之处。通过对《著作权法》第三十八条、第三十九条的分析,指出可改进之处并提出修改意见。     

表演者广播获酬权研究

传播技术的发展打破了已有的著作权利益格局,表演者对其已固定表演的“二次使用”逐渐失去控制,出现了表演者利益失衡的现象。表演者广播获酬权是指表演者享有的因广播电台使用其已固定的表演而获得合理报酬的权利,是对信息时代表演者与广播之间利益的重新平衡。赋予表演者以广播获酬权是著作权的立法趋势。传播技术的革命催生了建立表演者广播获酬权的必要性,表演者从其已固定表演的“二次使用”中获得合理的经济利益具有正当性。我国著作权法未来修订中应明确增加表演者广播获酬权条款,尽快推动建立表演者集体管理组织,积极参与国际权利组织构建,逐步取消对《北京条约》第11条的保留。     

论数字技术对表演者权保护的冲击与法律上的回应

音频视频录制和传播技术的发明与应用推动了表演者权的产生和发展,表演者权的内容也在随着技术的发展不断扩展。近年来智能化数字录制和传播技术的广泛应用,使得表演者难以有效控制其表演节目的传播和利用,因而著作权法赋予表演者的权利无法得到有效行使,表演者在表演节目的利益分享中处于边缘化的地位,对表演者权的保护构成了严重的冲击。回应当前数字技术冲击的关键是强化表演者对其权利的管理和控制能力。为此,应当在法律上加强表演者精神权利的保护以强化表演者权保护的基础,发展表演者权集体管理机制以解决缔约成本过高导致的许可失败问题,加强表演者权利管理数字化建设以解决权利管理能力不足的问题。只有利用技术和法律机制相结合的方式对表演者权进行管理、许可和保护,才能有效保障著作权法赋予表演者的各项权利。     

论成员集体与集体成员--集体所有权的主体

集体所有权的主体是集体范围的成员集体。农民集体所有权的成员集体是指农村一定的集体所有的社区范围的人的整体。其权利之享有以团体内全体成员为主体,成员集体共同承受权利义务,但团体的权利和义务又非成员个人的权利义务。成员个人的权利义务也非集体的权利义务。成员个人可以从集体分配取得利益和权利。集体成员是农村社区范围内依赖集体土地和其他自然资源和财产为基本生存保障的自然人。集体成员的资格包括:(1)在各社区集体以历史的居住事实成为集体成员的成年自然人。(2)依据社会习惯和公平正义原则,因婚姻、出生、收养等成为社区集体成员的家庭成员的任何年龄的自然人。(3)依据社区集体章程规定的条件,经集体自治决议接纳为集体成员的自然人。依法律明确规定,或者依社会习惯和公平正义原则应接纳为集体成员的,集体不得拒绝;除此之外的集体成员的加入,由集体自治决定。     

推定在表演者权保护中的适用

推定是对基础事实与未知事实之间用常态联系来认定事实的特殊方法，其在表演者权中的适用一直未受到法学界的关注。《著作权法》第11条所确立的推定规则在表演者身份确认中具有可适用性，《北京条约》中也存在表演者和视听录制品制作者之间的推定转让机制。此外，著作权法的过锚推定的侵权规则也可以在表演者领域内得以广泛适用并加以完善。在知识产权的国际化趋势日益加强，《著作权法》第三次修改的大背景之下，推定在确认表演者身份、保障表演者权利行使、确定表演者责任层面均有可以适用的弹性空间。     

农民集体成员的集体资产股份权

农民集体成员取得对集体经营性资产量化分配股份的权利依据是本集体成员集体所有权上的成员权,农民集体成员股份权的客体是集体经营性资产,是集体经济积累的集体公有制的资产,由此决定集体成员的集体资产股份权不是个人出资的私有资本股份权,而是集体成员享有的参与集体经营收益分配的股份权。集体成员资格的确定、集体经营性资产股份的种类设定、分配原则、股权内容和集体经济组织企业制度的设定,都应当坚持维护和实现农民集体所有权,符合农民集体公有制的要求。     

Performing Arts Entrepreneurship: Toward a Research Agenda

Starting from the position that performing arts entrepreneurship (PAE) deserves its own theoretical treatment in the literature, this article addresses fundamental questions within that subfield. The first step is to define PAE, necessarily incorporating the related concepts of “The Performing Arts Event Cycle” and the “Performing Arts Value Chain.” The question of why PAE takes place explores the motivations of performing arts entrepreneurs, looking beyond the traditional profit motive. Where PAE occurs is the next question, taking into account audiences, financial resources, available performance venues, and artistic inputs. The final two questions have to do with the timing of PAE, as well as who engages in this activity. Relevance to existing and future research is discussed, as are implications for practice.     

Public Higher Education Institutions' Investment in Performing Arts Centers

Although commonplace in academic settings, performing arts centers are multifaceted and remain unexplored. Framed by resource dependency theory, this research sheds light on the motivations of higher education institutions in a resource-scarce environment. Specifically, why do these institutions—with limited resources—prioritize the co-curricular arts? This study employs process research to understand the origination, funding sources, and purposes of performing arts centers at higher education institutions in Virginia. Evidence suggests that these institutions invest in the co-curricular arts to not only fulfill their public service missions, but also to capitalize on and acquire resources.     

Understanding and Measuring Consumption Motives in the Performing Arts

Currently, there is no common understanding of categorizing, conceptualizing, and measuring consumption motives in the performing arts. Study one presents the results of forty-seven semi-structured, in-depth interviews and deepens the understanding of consumption motives. A new framework consisting of cultural and social motives is introduced. This framework is tested in the second study. Here, a quantitative instrument is developed. The results of the principal components analysis refine the framework and demonstrate the following consumption motives: cultural aesthetics (with two dimensions: artistic value and enjoyment of beauty), cultural relaxation, cultural stimulation, social bonding, social attraction, social distinction, and social duty.     

论非洲的集体人权观与第三代人权的确认

集体人权包括国内集体人权与国际集体人权两大类,它源于20世纪40-50年代开始的民族独立运动.对集体人权的确认,是全球性非殖民化运动的结果.非洲人民系统地提出了民族权的概念和内容,全面关注集体人权,尤其是对以发展权和自决权为核心的第三代人权的确认和发展作出了杰出贡献.其集体人权观主要体现在以<非洲人权和民族权宪章>为主体的非洲人权法中.     

Value-Based Collaboration Between Leaders at Schools of Music and Performing Arts and Leaders at Compulsory Schools

In this study, we investigate collaboration efforts between leaders at schools of music and performing arts and leaders at compulsory schools, as well as the drivers behind the initiation and maintenance of such collaborative work. One driver is an existing concern about the lack of qualified music teachers at compulsory schools. We argue, however, that the real force behind such collaboration is a strong belief in the pure value of music and art among the collaborating leaders. Our findings indicate that value congruence and social exchanges across the organizations in question, provides the core basis for an effective collaboration.     

Ethical Implications of Methodological Settings in Arts Management Research: The Case of Performance Evaluation

In this article, we analyze research on the evaluation of the artistic outcome of arts organizations. Inspired by Wicks and Freeman's new pragmatic approach to organization studies, we give an ethical question a central role in our analysis: to what extent is current research able to serve the needs of individual arts organizations and their communities? Our results highlight the influence of research traditions on the ethical implications of performance evaluation research. To serve the arts world, further research should aim at in-depth understanding of the specific complexity of different contexts rather than at decontextualized generalization of simplified universal principles.     

The Anonymous Matrix: Human Rights Violations by 'Private' Transnational Actors

Do fundamental rights obligate not only States, but also private transnational actors? Since violations of fundamental rights stem from the totalising tendencies of partial rationalities, there is no longer any point in seeing the horizontal effect as if rights of private actors have to be weighed up against each other. On one side of the human rights relation is no longer a private actor as the fundamental‐rights violator, but the anonymous matrix of an autonomised communicative medium. On the other side, the fundamental rights are divided into three dimensions: first, institutional rights protecting the autonomy of social discourses – art, science, religion ‐ against their subjugation by the totalising tendencies of the communicative matrix; secondly, personal rights protecting the autonomy of communication, attributed not to institutions, but to the social artefacts called ‘persons’; and thirdly, human rights as negative bounds on societal communication, where the integrity of individuals' body and mind is endangered.     

Performing Arts Review: Statement of Scope and Purposes

Recent research on arts and cultural audiences has attempted to go beyond the traditional social science surveys that assess attitudes or attendance to capture an understanding of how audiences actually experience the arts and what benefits or impacts those experiences provide. The study reported here contributes to this growing body of research by presenting in-depth case studies of four individuals and their chosen cultural experiences at various times through their lives. The authors used Dervin's Sense-Making Methodology to guide the informants through highly structured but open-ended interviews designed to prompt self-reflection and elaboration of what each experience meant to them. Informants were selected from a larger database because of the richness of their interviews and the insight these interviews offer to the understanding of people's engagements with culture. By considering multiple cultural experiences for each informant, it was possible to gain a clearer sense of the context in which these experiences took place and how informants were impacted personally. In addition, the case studies showed how informants' respective struggles with personal and identity issues moved with them across their cultural experiences.     

论转型社会中的中国农村集体土地权利制度变革——兼评《物权法》的相关规定

当代中国农村集体土地权利制度存在所有权与所有制关系混同、使用权与所有权权能趋同、权利关系与权力关系混同、私法缺位和公法越位以及功能错位等问题,因而在社会转型过程中受到极大的挑战.以土地所有制与土地所有权相分离为原则,对现行集体土地所有制进行股份制改造,在土地价值形态上实行农民集体所有制,变农民为股东,实现公平的价值追求;在土地实物形态上建立"集体法人所有权"制度,变农民集体组织为集体法人组织,实现效率的价值追求,这是当代中国集体土地权利制度改革模式的最优选择.     

《世界知识产权组织音像表演条约》及其对我国著作权立法的影响

随着新技术的发展,现有的表演者权制度不能适应保护表演者利益的需要,世界知识产权组织拟定了《音像表演条约》对现有制度进行了改革,扩大了表演者的权利.我国著作权制度与该条约的规定存在一定的差异,不能充分保护表演者的利益,有必要对表演者的定义、表演者的精神权利和财产权利、权利的让与等问题进行修订,以促进我国文化产业的发展.