Tekijänoikeuden erikoiskirjasto

 
Fixing the shadows : access to art and the legal concept of cultural commons
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Henkilönnimi
  • Bruncevic, Merima.
Nimeke- ja vastuullisuusmerkintö
  • Fixing the shadows : access to art and the legal concept of cultural commons
Julkaistu
  • Juridiska institutionen, Handelshögskolan vid Göteborgs universitet, Göteborg : 2014.
SAB-luokituskoodi
  • 33.34
Muu luokituskoodi
  • 33.34
Ulkoasutiedot
  • PDF.
  • 407 s.
Huomautus väitöskirjasta
  • Väitöskirja :
Huomautus sisällöstä
  • TABLE OF CONTENTS VOLUME I: BEYOND THE ONTOLOGICAL QUESTION Part 1: The Law INTRODUCTION 1.1 ACCESS AND NOT OWNERSHIP 1.2 THE DARK SIDE 1.3 PROBLEM AND PURPOSE 1.4 DELIMITATIONS 1.5 INTELLECTUAL PROPERTY RIGHTS AND THE CONCEPT OF THE CULTURAL COMMONS IN INTERNATIONAL LAW 1.6 CULTURAL HERITAGE AND CULTURAL COMMONS 1.7 METHODOLOGICAL CONSIDERATIONS 1.7.1 THE DELEUZIAN ENCOUNTER 1.8 SITUATING THE THESIS WITHIN ITS CANONICAL HEIMAT(S) 1.9 STRUCTURE OF THE THESIS: A RHIZOMATIC JOURNEY 1.9.1 SUMMARY OF THE EIGHT CHAPTERS 1.9.2 HOW THE CHAPTERS MIRROR EACH OTHER AND THE PURPOSE OF THE VOLUMES 1.9.3 THE NOMADIC STRUCTURE AND ITS METHODOLOGICAL TOOLS 2 A RHIZOMATIC JURISPRUDENCE 2.1 INTRODUCTION TO DELEUZE 2.1.1 DELEUZE AND GUATTARI 2.1.2 DELEUZE, DELEUZE/GUATTARI AND POSTMODERNISM 2.1.3 DELEUZE AND LAW 2.2 DETERRITORIALISING JURISPRUDENCE 2.3 RHIZOMATIC NOMOS 2.3.1 THE SIGNIFICANCE OF “ASSEMBLAGES” AND “BODIES WITHOUT ORGANS” FOR THE RHIZOME 2.4 THE LEGAL THEORY OF THE RHIZOME: DELEUZE IN LAW 2.4.1 THE SIX PRINCIPLES OF THE RHIZOME 2.5 NOMADIC NOMOS 2.5.1 LUFTMENSCH: ON THE LEGAL PERSON AND THE LEGAL SUBJECT 2.5.2 LEGAL GROUNDLESSNESS: SANS FOND Part 2: The artwork 3 THE RHIZOMATIC ARTWORK 3.1 THE ORIGINAL FISSURE? HOW ART ALWAYS REACHED BEYOND THE “WHAT IS” QUESTION 3.2 RHIZOME 1: INDUSTRIALISM – THE FRANKFURT SCHOOL 3.2.1 PLATEAU 1: THE CULTURE INDUSTRY 3.2.2 PLATEAU 2: THE DICHOTOMY BASED LOGIC, AND BEYOND 3.3 RHIZOME 2: POST INDUSTRIALISM – ECONOMIC, SOCIAL AND CULTURAL CAPITAL 3.3.1 PLATEAU 3: THE FORMS OF CAPITAL 3.4 RHIZOME 3: KNOWLEDGE SOCIETY – RHETORIC BASED AND SEMIOTIC/NETWORK BASED ART 3.4.1 PLATEAU 4: RHETORIC-BASED ART 3.4.2 PLATEAU 5: SEMIOTIC/NETWORK-BASED ART 3.4.3 PLATEAU 6: A MIXTURE OF THEM ALL 3.5 RHIZOME 4: THE ASSUMPTIONS ENTRENCHED IN LAW 3.5.1 PLATEAU: DELEUZE AND ART 3.5.2 PLATEAU: ACCESS 2.0 3.5.3 PLATEAU: ORIGINALITY AND FIXATION 3.5.4 PLATEAU: ART AS BEING 4 CASE STUDIES (PART 1): ENCOUNTERS AND LINES OF FLIGHT157 4.1 ENCOUNTER 1: THE LOST MURAL OF BRUNO SCHULZ 4.1.1 LINE OF FLIGHT: IDENTITY 4.1.2 LINE OF FLIGHT: FRAGMENTED AND AURA OF THE WORK 4.1.3 LINE OF FLIGHT: (COLLECTIVE?) MORAL RIGHTS 4.1.4 LINE OF FLIGHT: DIGITAL REPRODUCTION OF THE WORK, A MOVABLE PIECE, NOT MERELY CHATTEL 4.1.5 LINE OF FLIGHT: THROUGH TIME AND SPACE, JOURNEYS TO THE UNKNOWN 4.2 ENCOUNTER 2: DARFURNICA 4.2.1 LINE OF FLIGHT: DERIVATIVE WORKS 4.2.2 LINE OF FLIGHT: POSSESSION AND EXPRESSION 4.3 ENCOUNTER 3: DEAD POETS 4.3.1 AWAY-FROM-HERE 4.3.1.1 THE KAFKA CASE 4.3.1.2 THE JOYCE CASE 4.3.2 LINE OF FLIGHT: DEAD AUTHORS AND ART 27 UDHR 4.3.3 LINE OF FLIGHT: DEBRIS 4.3.4 LINE OF FLIGHT: RECLUSES AND PRIVACY 4.3.5 LINE OF FLIGHT: MEMORY-MAKING AND PRODUCTION OF HISTORY 4.3.6 LINE OF FLIGHT: BEYOND THE CLASHES OF HUMAN RIGHTS AND IP RIGHTS 4.4 ENCOUNTER 4: ORPHAN WORKS 4.4.1 ORPHAN WORKS UNDER THE MICROSCOPE 4.4.2 THE RAISON D×ÊTRE OF THE CONCEPT ORPHAN WORKS 4.4.3 LINE OF FLIGHT: ORPHANED? THE PLAY WITH METAPHORS 4.4.4 LINE OF FLIGHT: GOOGLE BOOKS AND HATHITRUST 4.4.5 LINE OF FLIGHT: THE LOST MURAL OF BANKSY 4.4.6 LINE OF FLIGHT: ORPHANED ANTIQUITIES VOLUME II: THE PERFORMATIVITY OF THE COMMONS Part 3: The Common 5 PROPERTY, SPACE AND COMMONS: FROM ROMAN LAW TO THE BEING-IN-COMMON 5.1 PROPERTY AND COMMONS 5.1.1 IMMOVABLE PROPERTY AND LAND LAW 5.1.1.1 RIGHT OF WAY AND RIGHT OF PUBLIC ACCESS 5.1.2 MOVABLE PROPERTY AND PROPERTY LAW 5.1.3 IMMATERIAL PROPERTY AND INTELLECTUAL PROPERTY LAW 5.2 SPACE 5.2.1 PUBLIC SPHERES: HABERMAS 5.3 THE COMMONS 5.3.1 THE NATURAL COMMONS 5.3.2 THE ARTIFICIAL COMMONS 5.4 COMMON NOT PUBLIC 5.5 THE BEING-IN-COMMON(S) NOT COMMUNITY 6 COMMONS V. INTELLECTUAL PROPERTY LAW 6.1 STINTED COPYRIGHT V. DETERRITORIALISING CAPITALISM 6.2 THE BALANCING ACT: LEARNING V. OWNING 6.3 THE TYPE OF OWNERSHIP: PRIVILEGE V. RIGHT 6.3.1 PRIVILEGE 6.3.2 RIGHT 6.3.3 RIGHT AND PRIVILEGE 6.4 CONTENT V. CARRIER 6.4.1 DIGITAL RIGHTS MANAGEMENT Part 4: Commons and communication – Fixing the shadows 7 COMMONS IN THE DIGITAL ERA (CASE STUDY PART 2) 7.1 THE COMMONS INSIDE THE DELEUZIAN FORMS OF POSSESSION 7.1.1 THE SEDENTARY AND NOMADIC FORMS OF POSSESSION 7.2 THE RES ISSUE 7.3 COMMONS (1): INITIATIVE BASED CREATIVE COMMONS 7.3.1 CREATIVE COMMONS 7.3.2 THE PROBLEM WITH THE CREATIVE COMMONS 7.4 COMMONS (2): CONTRACT BASED CULTURAL COMMONS – GOING BACK TO THE CASES 7.4.1 SCHULZ – THE LONG TERM AGREEMENT 7.4.2 THE YAD VASHEM AGREEMENT – A SEDENTARY MODEL OF POSSESSION? 7.4.3 KAFKA – THE WILL VS. THE JUDICIAL DECISION 7.4.4 GALUT – THE KAFKA DECISION AND THE NOMADIC FORMS OF POSSESSION 7.4.5 SHLOSS – THE SETTLEMENT AGREEMENT 7.4.6 CONTRACT BASED ACCESS TO KNOWLEDGE – SEDENTARY AND NOMADIC MODELS PUT TOGETHER 7.5 THE PROBLEM WITH THE CONTRACT BASED SOLUTIONS. 7.5.1 PRIVATE ORDERING – ENCLOSURE 2.0 7.5.2 BARGAINING POWER (INCLUDING FINANCIAL POWER) 7.5.3 LAW AND POLITICS 7.6 COMMONS (3): THE LEGAL CONCEPT OF CULTURAL COMMONS 7.6.1 NOMADOLOGY: SMOOTH AND STRIATED SPACES AND THE LEGAL CONCEPT OF THE CULTURAL COMMONS 7.6.2 THE NO-LACK 8 CONCLUSION – FIXING THE CONCEPT OF THE CULTURAL COMMONS IN LAW 8.1 SUMMARIES AND CONCLUSIONS 8.1.1 SUMMARY AND CONCLUSION: VOLUME I 8.1.2 SUMMARY AND CONCLUSION: VOLUME II 8.1.3 OVERALL CONCLUSIONS 8.1.4 THE CASES-SPECIFIC CONCLUSIONS 8.1.5 THEORETICAL CONCLUSIONS 8.1.5.1 THE DELEUZE/HABERMAS – AXIS 8.1.5.2 THE DELEUZE/LUHMANN – AXIS 8.2 THE FUTURE OF RHIZOMATIC JURISPRUDENCE 8.2.1 DELEUZE AND DELEUZE/GUATTARI BY WAY OF LAW
Asiasana - Kontrolloimaton
Elektronisen aineiston sijainti ja käyttö (URI)
  • https://gupea.ub.gu.se/bitstream/2077/35600/1/gupea_2077_35600_1.pdf Linkki verkkoaineistoon
ISBN
  • 978-91-87869-01-3
 
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*505  $aTABLE OF CONTENTS  VOLUME I: BEYOND THE ONTOLOGICAL QUESTION  Part 1: The Law  INTRODUCTION 1.1 ACCESS AND NOT OWNERSHIP 1.2 THE DARK SIDE 1.3 PROBLEM AND PURPOSE  1.4 DELIMITATIONS 1.5 INTELLECTUAL PROPERTY RIGHTS AND THE CONCEPT OF THE CULTURAL COMMONS IN INTERNATIONAL LAW 1.6 CULTURAL HERITAGE AND CULTURAL COMMONS  1.7 METHODOLOGICAL CONSIDERATIONS  1.7.1 THE DELEUZIAN ENCOUNTER 1.8 SITUATING THE THESIS WITHIN ITS CANONICAL HEIMAT(S)  1.9 STRUCTURE OF THE THESIS: A RHIZOMATIC JOURNEY  1.9.1 SUMMARY OF THE EIGHT CHAPTERS  1.9.2 HOW THE CHAPTERS MIRROR EACH OTHER AND THE PURPOSE OF THE VOLUMES 1.9.3 THE NOMADIC STRUCTURE AND ITS METHODOLOGICAL TOOLS  2 A RHIZOMATIC JURISPRUDENCE  2.1 INTRODUCTION TO DELEUZE  2.1.1 DELEUZE AND GUATTARI 2.1.2 DELEUZE, DELEUZE/GUATTARI AND POSTMODERNISM  2.1.3 DELEUZE AND LAW  2.2 DETERRITORIALISING JURISPRUDENCE  2.3 RHIZOMATIC NOMOS  2.3.1 THE SIGNIFICANCE OF “ASSEMBLAGES” AND “BODIES WITHOUT ORGANS” FOR THE RHIZOME 2.4 THE LEGAL THEORY OF THE RHIZOME: DELEUZE IN LAW 2.4.1 THE SIX PRINCIPLES OF THE RHIZOME  2.5 NOMADIC NOMOS  2.5.1 LUFTMENSCH: ON THE LEGAL PERSON AND THE LEGAL SUBJECT 2.5.2 LEGAL GROUNDLESSNESS: SANS FOND   Part 2: The artwork  3 THE RHIZOMATIC ARTWORK  3.1 THE ORIGINAL FISSURE? HOW ART ALWAYS REACHED BEYOND THE “WHAT IS” QUESTION 3.2 RHIZOME 1: INDUSTRIALISM – THE FRANKFURT SCHOOL 3.2.1 PLATEAU 1: THE CULTURE INDUSTRY 3.2.2 PLATEAU 2: THE DICHOTOMY BASED LOGIC, AND BEYOND  3.3 RHIZOME 2: POST INDUSTRIALISM – ECONOMIC, SOCIAL AND CULTURAL CAPITAL  3.3.1 PLATEAU 3: THE FORMS OF CAPITAL  3.4 RHIZOME 3: KNOWLEDGE SOCIETY – RHETORIC BASED AND SEMIOTIC/NETWORK BASED ART  3.4.1 PLATEAU 4: RHETORIC-BASED ART 3.4.2 PLATEAU 5: SEMIOTIC/NETWORK-BASED ART 3.4.3 PLATEAU 6: A MIXTURE OF THEM ALL 3.5 RHIZOME 4: THE ASSUMPTIONS ENTRENCHED IN LAW 3.5.1 PLATEAU: DELEUZE AND ART  3.5.2 PLATEAU: ACCESS 2.0 3.5.3 PLATEAU: ORIGINALITY AND FIXATION  3.5.4 PLATEAU: ART AS BEING   4 CASE STUDIES (PART 1): ENCOUNTERS AND LINES OF FLIGHT157 4.1 ENCOUNTER 1: THE LOST MURAL OF BRUNO SCHULZ  4.1.1 LINE OF FLIGHT: IDENTITY  4.1.2 LINE OF FLIGHT: FRAGMENTED AND AURA OF THE WORK 4.1.3 LINE OF FLIGHT: (COLLECTIVE?) MORAL RIGHTS  4.1.4 LINE OF FLIGHT: DIGITAL REPRODUCTION OF THE WORK, A MOVABLE PIECE, NOT MERELY CHATTEL 4.1.5 LINE OF FLIGHT: THROUGH TIME AND SPACE, JOURNEYS TO THE UNKNOWN  4.2 ENCOUNTER 2: DARFURNICA 4.2.1 LINE OF FLIGHT: DERIVATIVE WORKS  4.2.2 LINE OF FLIGHT: POSSESSION AND EXPRESSION 4.3 ENCOUNTER 3: DEAD POETS 4.3.1 AWAY-FROM-HERE  4.3.1.1 THE KAFKA CASE  4.3.1.2 THE JOYCE CASE 4.3.2 LINE OF FLIGHT: DEAD AUTHORS AND ART 27 UDHR 4.3.3 LINE OF FLIGHT: DEBRIS  4.3.4 LINE OF FLIGHT: RECLUSES AND PRIVACY 4.3.5 LINE OF FLIGHT: MEMORY-MAKING AND PRODUCTION OF HISTORY 4.3.6 LINE OF FLIGHT: BEYOND THE CLASHES OF HUMAN RIGHTS AND IP RIGHTS  4.4 ENCOUNTER 4: ORPHAN WORKS 4.4.1 ORPHAN WORKS UNDER THE MICROSCOPE  4.4.2 THE RAISON D×ÊTRE OF THE CONCEPT ORPHAN WORKS  4.4.3 LINE OF FLIGHT: ORPHANED? THE PLAY WITH METAPHORS 4.4.4 LINE OF FLIGHT: GOOGLE BOOKS AND HATHITRUST 4.4.5 LINE OF FLIGHT: THE LOST MURAL OF BANKSY  4.4.6 LINE OF FLIGHT: ORPHANED ANTIQUITIES  VOLUME II: THE PERFORMATIVITY OF THE COMMONS  Part 3: The Common  5 PROPERTY, SPACE AND COMMONS: FROM ROMAN LAW TO THE BEING-IN-COMMON 5.1 PROPERTY AND COMMONS  5.1.1 IMMOVABLE PROPERTY AND LAND LAW 5.1.1.1 RIGHT OF WAY AND RIGHT OF PUBLIC ACCESS  5.1.2 MOVABLE PROPERTY AND PROPERTY LAW  5.1.3 IMMATERIAL PROPERTY AND INTELLECTUAL PROPERTY LAW 5.2 SPACE 5.2.1 PUBLIC SPHERES: HABERMAS  5.3 THE COMMONS  5.3.1 THE NATURAL COMMONS  5.3.2 THE ARTIFICIAL COMMONS  5.4 COMMON NOT PUBLIC 5.5 THE BEING-IN-COMMON(S) NOT COMMUNITY  6 COMMONS V. INTELLECTUAL PROPERTY LAW 6.1 STINTED COPYRIGHT V. DETERRITORIALISING CAPITALISM 6.2 THE BALANCING ACT: LEARNING V. OWNING 6.3 THE TYPE OF OWNERSHIP: PRIVILEGE V. RIGHT  6.3.1 PRIVILEGE 6.3.2 RIGHT  6.3.3 RIGHT AND PRIVILEGE 6.4 CONTENT V. CARRIER 6.4.1 DIGITAL RIGHTS MANAGEMENT  Part 4: Commons and communication – Fixing the shadows  7 COMMONS IN THE DIGITAL ERA (CASE STUDY PART 2) 7.1 THE COMMONS INSIDE THE DELEUZIAN FORMS OF POSSESSION 7.1.1 THE SEDENTARY AND NOMADIC FORMS OF POSSESSION 7.2 THE RES ISSUE  7.3 COMMONS (1): INITIATIVE BASED CREATIVE COMMONS  7.3.1 CREATIVE COMMONS  7.3.2 THE PROBLEM WITH THE CREATIVE COMMONS  7.4 COMMONS (2): CONTRACT BASED CULTURAL COMMONS – GOING BACK TO THE CASES  7.4.1 SCHULZ – THE LONG TERM AGREEMENT 7.4.2 THE YAD VASHEM AGREEMENT – A SEDENTARY MODEL OF POSSESSION? 7.4.3 KAFKA – THE WILL VS. THE JUDICIAL DECISION  7.4.4 GALUT – THE KAFKA DECISION AND THE NOMADIC FORMS OF POSSESSION 7.4.5 SHLOSS – THE SETTLEMENT AGREEMENT  7.4.6 CONTRACT BASED ACCESS TO KNOWLEDGE – SEDENTARY AND NOMADIC MODELS PUT TOGETHER  7.5 THE PROBLEM WITH THE CONTRACT BASED SOLUTIONS. 7.5.1 PRIVATE ORDERING – ENCLOSURE 2.0 7.5.2 BARGAINING POWER (INCLUDING FINANCIAL POWER) 7.5.3 LAW AND POLITICS  7.6 COMMONS (3): THE LEGAL CONCEPT OF CULTURAL COMMONS 7.6.1 NOMADOLOGY: SMOOTH AND STRIATED SPACES AND THE LEGAL CONCEPT OF THE CULTURAL COMMONS  7.6.2 THE NO-LACK   8 CONCLUSION – FIXING THE CONCEPT OF THE CULTURAL COMMONS IN LAW  8.1 SUMMARIES AND CONCLUSIONS  8.1.1 SUMMARY AND CONCLUSION: VOLUME I 8.1.2 SUMMARY AND CONCLUSION: VOLUME II  8.1.3 OVERALL CONCLUSIONS 8.1.4 THE CASES-SPECIFIC CONCLUSIONS  8.1.5 THEORETICAL CONCLUSIONS  8.1.5.1 THE DELEUZE/HABERMAS – AXIS  8.1.5.2 THE DELEUZE/LUHMANN – AXIS  8.2 THE FUTURE OF RHIZOMATIC JURISPRUDENCE 8.2.1 DELEUZE AND DELEUZE/GUATTARI BY WAY OF LAW
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