저작권법 著作權法 의 그자체의 역사와 그자체의 법률. The Book of Copyright: Its History and Its Law By Richard Rogers Bowker

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저작권법 著作權法 의 그자체의 역사와 그자체의 법률. The Book of Copyright: Its History and Its Law By Richard Rogers Bowker

1909년1911년도 미국 저작권법 영국 저작권법 에 관련해서
저작권법의 원칙과 실행에 대해서 역사와 법을 요약 설명한 책.
자세한건 목차를 참조바람니다.


COPYRIGHT원칙과 실행에 대해서
ITS HISTORY AND ITS LAW
BEING A SUMMARY OF THE
PRINCIPLES AND PRACTICE OF COPYRIGHT
WITH SPECIAL REFERENCE TO
THE AMERICAN CODE OF 1909 AND
THE BRITISH ACT OF 1911



COPYRIGHT: ITS HISTORY AND ITS LAW.
The Book of Copyright: Its History and Its Law
By Richard Rogers Bowker
COPYRIGHT
: ITS HISTORY AND ITS LAW.
By Richard Rogers Bowker

THE ARTS OF LIFE.
OF BUSINESS.
OF POLITICS.
OF RELIGION.
OF EDUCATION.
HOUGHTON MIFFLIN COMPANY
BOSTON AND NEW YORK
COPYRIGHT
ITS HISTORY AND ITS LAW
BEING A SUMMARY OF THE
PRINCIPLES AND PRACTICE OF COPYRIGHT
WITH SPECIAL REFERENCE TO
THE AMERICAN CODE OF 1909 AND
THE BRITISH ACT OF 1911
BY
RICHARD ROGERS BOWKER
BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
The Riverside Press Cambridge
1912
COPYRIGHT, 1912, BY R. R. BOWKER
ALL RIGHTS RESERVED
FOR ALL COUNTRIES
Published March 1912

목차

저작권법 著作權法 의 그자체의 역사와 그자체의 법률. The Book of Copyright: Its History and Its Law By Richard Rogers Bowker

CONTENTS
PART I
NATURE AND DEVELOPMENT OF COPYRIGHT
I. THE NATURE AND ORIGIN OF COPYRIGHT 1-7
Copyright meaning, 1—Its two senses, 1—Blackstone, 2—Property by creation, 3—Property in unpublished works, 4—The question of publication, 5—Inherent right, 5—Statutory penalties, 6—Statute of Anne, 6—Supersedure of common law right, 7.

II. THE EARLY HISTORY OF COPYRIGHT 8-23
In classic times, 8—Roman law, 8—Monastic copyists, 8—St. Columba and Finnian, 9—University protection, 9—Invention of printing, 10—In Germany, 10—In Italy: Venice, 13—Florence, 17—Control of Church, 17—In France, 17—In England, 19—The Stationers' Company, 21—Statutory provisions, 22.

III. THE DEVELOPMENT OF STATUTORY COPYRIGHT IN ENGLAND 24-34
The Statute of Anne as foundation, 24—Its relations to common law, 24—The crucial case, 25—The Judges' opinions, 25—The Lords' decision, 26—Protests, 26—Supplementary legislation, 26—Georgian period, 27—Legislation under William IV, 28—Victorian act of 1842, 28—Protection of designs, 29—Subsequent acts, 29—Royal Commission report of 1878, 30—Later legislation, 31—International copyright, 31—Musical copyright, 31—Conference reports, 1909, 32—Act of 1911, 32—Design patents, 33—Common law rights, 34.

IV. THE HISTORY OF COPYRIGHT IN THE UNITED STATES 35-41
Constitutional provision, 35—Early state legislation, 35—Act of 1790, 35—1802-1867, 36—Revised act of 1870, 37—1874-1882, 37—International copyright legislation, 1891, 37—Private copyright acts, 38—American possessions, 38—American code of 1909, 39—State protection of playright, 39—Trade-Mark act, 40—Common law relations, 40.

PART II
LITERARY AND GENERAL COPYRIGHT
V. SCOPE OF COPYRIGHT: RIGHTS AND EXTENT 42-62
General scope, 42—American provisions, 42—Oral addresses, 42—Dramas, 42—Music, 43—Previous American law, 43—Unpublished works, 43—Common law scope, 44—Common law in U. S. practice, 44—Statutory limitations, 44—General rights, 45—Inferential rights, 46—Differentiated rights, 46—Court protection, 46—Division of rights, 46—Analysis of property rights, 47—Broad interpretation, 48—Limits of protection, 48—Differentiated contracts, 48—Enforcement in limited grants, 49—Copyright as monopoly, 50—Altered theory of copyright, 52—Publishing, 52—What constitutes publishing, 53—"Privately printed" works, 53—Copying, 53—Vending, 54—Control of sale, 54—Macy cases, 55—Bobbs-Merrill case, 56—Scribner case, 56—English underselling case, 57—Suits under state law, 57—Translating, 58—"Other version," 58—Translating term, 58—Oral delivery, 59—"Publicly and for profit," 59—Material and immaterial property, 60—Schemes not copyrightable, 61—New British code, 61—Foreign statutes, 62—International provisions, 62.

VI. SUBJECT-MATTER OF COPYRIGHT: WHAT MAY BE COPYRIGHTED 63-94
Subject-matter in general, 63—Classification, 63—Prints and labels excluded, 64—All the writings of an author, 64—Component parts, 64—Compilations, new editions, etc., 64—Non-copyrightable works, 65—Government use, 65—"Author" and "writing" definitions, 66—Interpretation by Congress and courts, 66—Supreme Court decisions, 67—Originality and merit, 68—"Book" definitions, 68—Blank books, 72—Combinations and arrangements, 73—Advertisements, 73—New editions, 75—Copyright comprehensive, 76—Non-copyrightable parts excepted, 76—Book illustrations, 77—Translations, 77—Translator's rights, 78—English practice, 79—Translations in international relations, 79—Foreign translators, 79—Abridgments, 80—Compilations, 81—Collections, 81—Titles, 82—Changed titles, 82—Titles as trade-marks, 83—"Chatterbox" cases, 84—Projected titles, 85—Projected works not copyrightable, 86—Immoral works, 86—Periodicals, 87—Definition of periodicals, 87—Periodicals under manufacturing clause, 88—Periodicals copyrightable by numbers, 88—News, 89—British periodicals, 90—Oral works, 90—Newspaper reports, 91—Lectures in England, 91—Letters, 91—Designs patentable, 93—Foreign practice, 94—International definition, 94.

VII. OWNERSHIP OF COPYRIGHT: WHO MAY SECURE COPYRIGHT 95-113
Persons named, 95—The author primarily, 95—Claimant's right to register, 96—Employer as author, 97—Implied ownership, 98—Protection outside of copyright, 98—Work in cyclopædias, 99—Association of author's name, 100—Added material and alteration, 100—Separate registration of contributions, 100—Anonymous works, 101—Joint authorship, 101—Corporate bodies, 102—Posthumous works, 102—Peary cases, 102—Renewal rights, 104—Assignments, 104—Assignment record, 105—Substitution of name, 105—Witnesses, 106—"Outrights" and renewal, 106—Proof of proprietorship, 107—Foreign citizens, 107—Earlier provisions, 108—Residence, 108—Intending citizens, 109—Time of first publication, 109—Non-qualified authors, 110—Foreign ownership, 111—"Proclaimed" countries, 111—Buenos Aires convention, 113—New British code, 113—Foreign practice, 113.

VIII. DURATION OF COPYRIGHT: TERM AND RENEWAL 114-124
Historic precedent, 114—Previous American practice, 114—Term in code of 1909, 115—Renewal, 115—Extension of subsisting copyrights, 116—Assignee of unpublished manuscripts, 116—Extension of subsisting renewals, 117—Publishers' equities, 117—Estoppel of renewal, 118—Life term and beyond, 118—Unpublished works, 119—Publication as date of copyright, 119—Serial publication, 120—Joint authorship, 120—Forfeiture, 121—Abandonment, 121—In England, 121—New British code, 122—Perpetual copyright, 123—Other countries, 124—International standard term, 124—Special categories, 124.

IX. FORMALITIES OF COPYRIGHT: PUBLICATION, NOTICE, REGISTRATION AND DEPOSIT 125-152
General principles, 125—Previous American requirements, 125—Present American basis, 126—Provisions of 1909, 126—Publication, 126—Copyright notice, 127—Previous statutory form, 128—Exact phraseology required, 128—Name, 129—Date, 129—Accidental omission, 130—Place of notice, 131—One notice sufficient, 131—Separate volumes, 132—Different dates, 133—Extraterritorial notice, 133—Successive editions, 134—False copyright notice, 134—Ad interim protection, 135—Substitution of name, 135—Registration, 136—Rules and regulations, 136—Application, 136—Certificate, 136—Application requirements, 137—Illustrations, 138—Periodicals, 138—Application cards, 139—Certificate cards, 140—Fees, 141—Deposit, 142—Fragment not depositable, 143—Typewriting publication and deposit, 143—Legal provisions, 143—Failure to deposit, 144—Forfeiture by false affidavit, 144—Works not reproduced, 144—Second registration, 145—Free transportation in mail, 145—Loss in mail, 145—Foreign works, 146—Ad interim deposit, 146—Completion of ad interim copyright, 147—Omission of copyright notice, 148—Books only ad interim, 148—Exact conformity required, 149—Expunging from registry, 150—British formalities, 150—New British code, 151—Other countries, 151—International provisions, 152.

X. THE AMERICAN MANUFACTURING PROVISIONS 153-161
Manufacturing provision of 1891, 153—Text in 1909 code, 153—Scope and exceptions, 154—Changes, 1891-1909, 154—German-American instances, 155—Dramas excepted, 155—Exception of foreign original texts, 156—Exception of foreign illustrative subjects, 156—Affidavit requirement, 156—Avoidance of errors, 157—Forfeiture by false affidavit, 158—Exact compliance necessary, 158—Importation questions, 159—Foreign manufacturing provisions, 160—English patent proviso, 161.

PART III
DRAMATIC, MUSICAL AND ARTISTIC COPYRIGHT
XI. DRAMATIC AND MUSICAL COPYRIGHT, INCLUDING PLAYRIGHT 162-201
Dramatists' and composers' rights, 162—American provisions, 162—Rights assured, 163—Dramatic rights, 163—Musical rights, 164—Excepted performance, 164—Performance "for profit," 165—Works not reproduced, 166—Copyright notice, 166—Dramatico-musical works protected from mechanical reproduction, 166—Dramatic and musical works excepted from manufacturing provisions, 167—British colonial practice, 168—Entry under proper class, 168—Application and certificates, 168—Right of dramatization, 169—Dramatization term, 169—Musical arrangements, 169—Transposition, 170—Works in the public domain, 170—Dramatization right protected, 170—English law and practice, 171—Infringement cases, 172—Substantial quotations, 173—Specific scenes or situations, 174—What is a dramatic composition, 174—Judge Blatchford's opinion, 175—Judicial definitions, 175—Moving pictures, 176—Literary merit not requisite, 177—What is a dramatico-musical composition, 177—Protection of playright, 178—Protection of unpublished work, 179—Indeterminate protection, 180—Printing and performance, 180—Specific English provisions, 182—Publication prior to performance, 183—British international protection, 184—What is public performance, 185—Manuscript rights, 186—Unpublished orchestral score, 187—Dramatic work by employee, 188—Copyright term, 188—Registration, 189—Assignment, 189—Parody, 190—Infringement by single situation, 191—Protection of title, 191—Names of characters, 192—Persons liable for infringement, 193—Protection against "fly by night" companies, 194—State legislation, 194—Remedies under present law, 195—Musical protection in England, 195—Acts of 1902-1906, 196—Playright in other countries, 197—International provisions, 197—Foreign protection of arrangements, 197—International definitions, 198—National formalities, 199—Specific reservations and conditions, 200—Pan American Union, 201.

XII. MECHANICAL MUSIC PROVISIONS 202-221
"Canned music" contest, 202—Mechanical music provisos, 202—Compulsory license, 203—Damages, 203—Public performance, 204—The compromise result, 204—Judicial construction, 205—Punishment of infringement, 206—Notice of intention to use, 206—Constitutional question, 207—English law, 208—Berne situation, 1886, 209—Paris, 1896, 209—Berlin provision, 1908, 209—German precedents, 210—Law of 1910, 211—Germany and the United States, 212—French precedents, 212—Belgian precedents, 213—Italian precedents, 213—Other countries, 214—Argument for inclusion, 214—Inscribed writings, 215—Direct sound-writings, 216—Music transmissal, 216—Music notation, 217—The law prior to 1909, 218—Manuscript and copies, 218—Protection of the inventor, 219—The counter argument, 220—Complete protection, 221.

XIII. ARTISTIC COPYRIGHT 222-250
Threefold value in art works, 222—American provisions, 223—Copyright Office classification definitions, 223—The question of exhibition, 224—Protection of unpublished work, 225—Copyright notice, 225—Deposit, 226—Summary of requirements, 227—Material and immaterial properties distinct, 228—Manufacturing clause, 228—German post cards, 229—Artistic merit, unimportant, 229—Application forms, 229—Certificates, 230—Term in unpublished work, 230—Date not required, 230—Re-copyright objectionable, 231—Exhibition right transfer, 231—Early English decision, 232—The Werckmeister leading case, 233—Unrestricted exhibition hazardous, 234—Reservation on sale, 234—Publication construed, 234—Danger of forfeiture, 235—Limited use and license, 236—Character, not method of use, 237—Illustration, 237—Description of artistic work, 238—Portraits, 238—Right of employer, 239—Photographs, 240—Tableaux vivants and moving pictures, 241—Architectural works, 242—Copy of a copy, 243—Alterations, 243, 244—Remedies, 245—Artistic copyright term, 245—British practice, 246—Sculpture provisions, 247—Engraving provisions, 247—New British code, 247—Foreign countries, 248—Berne convention, 1886, 248—Paris declaration, 1896, 249—Berlin convention, 1908, 250—Exhibition not publication, 250—Pan American Union, 250.

PART IV
COPYRIGHT PROTECTION AND PROCEDURE
XIV. INFRINGEMENT OF COPYRIGHT: PIRACY, "FAIR USE" AND "UNFAIR COMPETITION" 251-264
Piracy, 251—Test of piracy, 251—Infringement in specific meaning, 252—Questions of fact and intent, 253—"Fair use," 253—Principle of infringement, 254—Infringement by indirect copying, 254—Exceptions from infringement, 255—Infringement by abridgment and compilation, 255—Abridged compilations, 256—Separation of infringing parts, 256—Law digests, 257—Proof from common errors, 257—Infringement in part, 258—No infringement of piracies or frauds, 258—Quotation, 259—Private use, 259—"Unfair competition," 260—Deceptive intent, 260—"Chatterbox" cases, 261—Encyclopædia Britannica cases, 261—Webster Dictionary cases, 261—"Old Sleuth" cases, 262—Other title decisions, 262—Rebound copies, 263—Kipling case, 263—Burlesqued title, 264—Drummond case, 264—New British code, 264.

XV. REMEDIES AND PROCEDURE 265-277
Protection and procedure, 265—Injunction, 265—Damages, 265—One suit sufficing, 266—Deposit of infringing articles, 266—Remedies specified, 267—Impounding, 268—Supreme court rules, 268—Court jurisdiction, 268—Limitation, 269—Text of procedure provisions, 270—Proceedings united in one action, 270—Jurisdiction, 270—Injunction provisions, 270—Appeal, 271—No criminal proceedings, after three years, 271—Strict compliance requisite, 271—Damage not penalty, 272—Other procedure decisions, 273—Preventive action, 274—Party in suit, 274—Willful case, 275—Penal provisions, 275—False notice of copyright, 276—Allowance of costs, 276—New British code, 277.

XVI. IMPORTATION OF COPYRIGHTED WORKS 278-296
Copyright and importation, 278—Fundamental right of exclusion, 278—General prohibitions, 279—Exceptions permitted, 279—Text provisions, 280—Prohibition of piratical copies, 280—Permitted importations, 280—Library importations, 281—Seizure, 282—Return of importations, 282—Rules against unlawful importation, 282—Supersedure of previous provisions, 283—Manufacturing clause affects earlier copyrights, 283—Importation of foreign texts, 284—Printing within country, 285—Innocent importation, 286—Books not claiming copyright, 286—Periodicals, 286—Composite books, 286—Rebinding abroad, 287—Importation of non-copyright translation, 288—Books dutiable, 288—Books on free list, 289—Library free importation, 290—Copyrights and the free list, 291—The duty on books, 291—British prohibition of importation, 292—Foreign reprints, 293—Divided market, 293—New British code, 293—Canadian practice, 294—Australian provision, 295—Foreign practice, 295—International practice, 296.

XVII. COPYRIGHT OFFICE: METHODS AND PRACTICE 297-310
History of Copyright Office, 297—Routine of registration, 297—Treatment of deposits, 298—Destruction of useless material, 299—Register of Copyrights, 299—Catalogues and indexes, 300—Entry cards, 301—Text provisions, 302—Copyright records, 302—Register and assistant register, 302—Deposit and report of fees, 302—Bond, 303—Annual report, 303—Seal, 303—Rules, 303—Record books, 303—Certificate, 303—Receipt for deposits, 304—Catalogue and index provision, 304—Distribution and subscriptions, 305—Records open to inspection, 305—Preservation of deposits, 305—Disposal of deposits, 306—Fees, 307—Only one registration required, 307—Present organization, 308—Efficiency of methods, 308—Registration, 1909-1910, 309—Certificates for court use, 309—Searches, 309—Patent Office registry for labels, 309—Foreign practice, 310.

PART V
INTERNATIONAL AND FOREIGN COPYRIGHT
XVIII. INTERNATIONAL COPYRIGHT CONVENTIONS AND ARRANGEMENTS 311-340
International protection of property, 311—Early copyright protection, 311—English protection, 311—Effect of Berne convention, 313—International literary congresses, 314—Fundamental proposition, 314—Preliminary official conference, 1883, 314—Propositions of 1883, 315—First official conference, 1884, 316—Second official conference, 1885, 317—Third official conference, 1886, 318—Berne convention, 1886, 318—Authors and terms, 318—"Literary and artistic works" defined, 318—Performing rights, 319—Other provisions, 319—Final protocol, 320—Ratification in 1887, 320—Paris conference, 1896, 321—Paris Additional Act, 321—Paris Interpretative Declaration, 322—Ratification in 1897, 322—Berlin conference, 1908, 323—United States' position, 324—Welcome of non-unionist countries, 325—Death of Sir Henry Bergne, 325—Berlin convention, 1908, 326—"Literary and artistic works" defined, 326—Authors' rights, 326—"Country of origin," 327—Broadened international protection, 327—Term, 328—Performing rights, 328—Other provisions, 329—National powers reserved, 329—Organization provisions, 329—Ratification in 1910, 330—Official organ, 330—Montevideo congress, 1889, 331—Pan American conferences, 331—Mexico City conference, 1902, 332—Mexico convention, 1902, 332—Indispensable condition, 333—Special provisions, 333—Ratification, 334—Rio de Janeiro conference, 1906, 334—Rio provisions, 335—Ratification, 336—Buenos Aires conference and convention, 1910, 336—Attorney General's opinion on ratification, 337—Relation with importation provisions, 338—United States international relations, 339—"Proclaimed" countries, 339—Mechanical music reciprocity, 340.

XIX. THE INTERNATIONAL COPYRIGHT MOVEMENT IN AMERICA 341-372
Initial endeavor in America, 1837, 341—The British address, 341—Henry Clay report, 1837, 344—Prophecy of world union, 344—Clay bills, 1837-42, 346—Palmerston invitation, 1838, 346—Efforts, 1840-48, 346—Everett treaty, 1853, 347—Morris bills, 1858-60, 348—International Copyright Association, 1868, 348—Baldwin bill and report, 1868, 348—Clarendon treaty, 1870, 349—Cox bill and resolution, 1871, 349—The Appleton proposal, 1872, 350—Philadelphia protest, 1872, 351—The Bristed proposal, 1872, 351—Kelley resolution, 1872, 352—Congressional hearings, 352—Beck-Sherman bill, 1872, 352—Morrill report, 1873, 353—Banning Bill, 1874, 353—The Harper proposal and draft, 1878, 353—Granville negotiations, 1880, 355—Robinson and Collins bills, 1882-83, 356—American Copyright League, 356—Dorsheimer bill, 1884, 356—American publishers' sentiment, 357—Hawley bill, 1885, 358—Chace bill, 1886, 358—Congressional hearings, 1886, 359—Mr. Lowell's epigram, 359—President Cleveland's second message, 1886, 360—Campaign of 1887, 360—Senate passage of Chace bill, 1888, 361,—Bryce bill, 1888, 361—President Harrison's message, 1889, 361—Simonds bill and report, 1890, 362—Senate debate, 1891, 363—Act of March 4, 1891, 363—Review of the publishing situation, 364—Lack of unified policy, 365—Compromise of 1891, 365—Need of general revision, 366—Ad interim copyright act, 1905, 366—Copyright conferences, 1905-06, 367—President Roosevelt's message, 1905, 368—Congressional hearings, 1906-08, 369—Kittredge-Currier reports, 1907, 369—Smoot-Currier Kittredge-Barchfeld bills, 1907-08, 370—Washburn, Sulzer, McCall, Currier bills, 1908, 370—Fourth Congressional hearing, 1909, 371—Act of March 4, 1909, 371—Hopes of future progress, 372.

XX. COPYRIGHT THROUGHOUT THE BRITISH EMPIRE 373-397
English and American systems, 373—First publication and residence, 373—Variations in copyright terms, 374—New British code, 374—Scope and extent, 375—Publication, 376—Definition of copyright, 376—Infringement, 376—Term, 377—Ownership, 377—Deposit copies, 378—Importation, 378—Remedies, 378—General relations, 379—Acts repealed, 379—Changes from original bill, 379—Isle of Man, 380—Channel Islands, 381—International relations, 381—Colonial relations, 381—Local legislation, 382—Canadian copyright history, 383—Dominion of Canada: early acts, 383—Acts of 1875, 384—License acts disallowed, 385—Fisher Act, 1900, 385—Minor acts, 386—Short form of notice, 386—Proposed Canadian copyright code, 1911, 386—Imperial and Canadian copyright, 388—Requisites for domestic copyright, 388—Imperial and local protection, 388—Additional local protection, 389—Application for copyright, 389—Newfoundland, 390—British West Indies, etc., 391—Australian code of 1905, 391—General provisions, 392—Dramatic and musical works, 393—Performing right, 393—Registration and license, 394—New Zealand, 394—Australasia otherwise, 395—British India, 395—South Africa, 396—West coast colonies, 397—Mediterranean islands, 397.

XXI. COPYRIGHT IN OTHER COUNTRIES 398-429
France, 398—Belgium, 400—Luxemburg, 400—Holland, 401—Germany, 402—Austria-Hungary, 405—Switzerland, 406—Scandinavian countries, 407—Russia, 409—Finland, 409—Spain, 410—Portugal, 411—Italy, 412—San Marino, 413—Monaco, 413—Greece, 414—Montenegro, 414—Balkan states, 414—Turkey, 415—Japan, 415—Korea, 416—China, 417—Siam, 417—Asia otherwise, 418—Tunis, etc., 418—Egypt, 418—Liberia, 419—Africa otherwise, 419—Latin America, 419—Mexico, 420—Central American states, 421—Interstate and international relations, 422—Panama, 423—Cuba, 423—Haiti, 424—Dominican Republic, 424—West Indian colonies, 425—Brazil, 425—Argentina, 425—Paraguay and Uruguay, 426—Chile, 427—Peru, 427—Bolivia, 427—Ecuador, 428—Colombia, 429—Venezuela, 429.

PART VI
BUSINESS RELATIONS AND LITERATURE
XXII. BUSINESS RELATIONS OF COPYRIGHT: AUTHOR AND PUBLISHER 430-452
Copyrights in business relations, 430—German publishing law of 1901, 430—The publisher as merchant, 434—"Outright" transfer, 434—"Joint adventure," 435—Risk and profit, 435—Long price and "net" price, 436—Equities, 436—The literary agent, 436—Usual American contract, 437—Publishers' obligations, 437—Reversion of contract, 438—Scope of contract, 438—Other works of author, 439—Standard contract, 439—Serial rights, 439—Republication of periodical articles, 440—Foreign markets, 440—Contract to do work, 440—Contract not to write, 441—Implied obligations, 442—Contract personal and mutual, 442—Author's transfer to other publishers, 445—Proprietary name, 445—Copies remaining unsold, 446—Renewal term, 447—License not assignment, 447—Author's and publisher's profits, 447—The publisher's share, 448—"Author's editions," 449—Printer's lien, 449—Compulsory license system, 449—License payments, 450—Saving through single publisher, 451—Copyrights in bankruptcy, 451—Copyrights in taxation, 452.

XXIII. THE LITERATURE OF COPYRIGHT 453-462
Bibliographical materials, 453—Early history, 453—Early American contributions, 454—Later American pamphleteers, 454—American treatises, 455—Copyright Office publications, 455—Labor report, 456—English contributions about 1840, 456—Later English contributions, 457—English legal treatises, 457—Birrell's lectures, 458—MacGillivray's works, 458—English special treatises, 459—Parliamentary and Commission reports, 459—Cyclopædias and digests, 460—French works, 460—German works, 460—Italian works, 461—Spanish compendium, 461—International compilations, 462.

APPENDIX
I. UNITED STATES OF AMERICA: COPYRIGHT PROVISIONS 465-516
1. United States Copyright Code of 1909, 465.

2. President's Proclamations, 489.

3. United States Supreme Court Rules, 491.

4. United States Copyright Office Regulations, 495.

Application for copyright, with affidavit form, 511.

5. U. S. Treasury and Post Office Regulations, 513.

II. BRITISH EMPIRE: COPYRIGHT PROVISIONS 517-602
6. British Copyright Act, 1911, 517.

6a. Fine Arts Copyright Act, 1862, 548.

6b. Musical (Summary Proceedings) Copyright Act, 1902, 550.

6c. Musical Copyright Act, 1906, 552.

7. Canadian Copyright Measure, 1911, 555.

8. Australian Copyright Act, 1905, 580.

III. INTERNATIONAL COPYRIGHT UNION: CONVENTIONS 603-632
9. Berne-Paris Conventions, 1886, 1896, 603.

10. Berlin Convention, 1908, 603.

IV. PAN AMERICAN UNION: CONVENTIONS 633-652
11. Montevideo Convention, 1889, 633.

12. Mexico City Convention, 1902, 637.

13. Rio de Janeiro Convention, 1906, 642.

14. Buenos Aires Convention, 1910, 649.

CHRONOLOGICAL TABLE OF LAWS AND CASES, ENGLISH AND AMERICAN 653-675

INDEX 677-709

CONSPECTUS OF COPYRIGHT BY COUNTRIES precedes CONTENTS

책 속으로

저작권법 著作權法 의 그자체의 역사와 그자체의 법률. The Book of Copyright: Its History and Its Law By Richard Rogers Bowker

FOREWORD
Copyright progress
The American copyright code of 1909, comprehensively replacing all previous laws, a gratifying advance in legislation despite its serious restrictions and minor defects, places American copyright practice on a new basis. The new British code, brought before Parliament in 1910, and finally adopted in December, 1911, to be effective July 1, 1912, marks a like forward step for the British Empire, enabling the mother country and its colonies to participate in the Berlin convention. Among the self-governing Dominions made free to accept the British code or legislate independently, Australia had already adopted in 1905 a complete new code, and Canada is following its example in the measure proposed in 1911, which will probably be conformed to the new British code for passage in 1912. Portugal has already in 1911 joined the family of nations by adherence to the Berlin convention, Russia has shaped and Holland is shaping domestic legislation to the same end, and even China in 1910 decreed copyright protection throughout its vast empire of ancient and reviving letters. The Berlin convention of 1908 strengthened and broadened the bond of the International Copyright Union, and the Buenos Aires convention of 1910, which the United States has already ratified, made a new basis for copyright protection throughout the Pan American Union, both freeing authors from formalities beyond those required in the country of origin. Thus the American dream of 1838 of "a universal republic of letters whose foundation shall be one just law" is well on the way toward realization.
Field for the present treatise
In this new stage of copyright development, a comprehensive work on copyright seemed desirable, especially with reference to the new American code. Neither Eaton S. Drone nor George Haven Putnam were disposed to enter upon the task, which has therefore fallen to the present writer. He hopes that his participation for the last twenty-five years in copyright development,—during which, as editor of the Publishers' Weekly and of the Library Journal, he has had occasion to keep watch of copyright progress, and as vice-president of the American (Authors) Copyright League, he has taken part in the copyright conferences and hearings and in the drafting of the new code,—will serve to make the present volume of use to his fellow members of the Authors Club and to like craftsmen, as well as to publishers and others, and aid in clarifying relations and preventing the waste and cost of litigation among the coördinating factors in the making of books and other forms of intellectual property.
Authorities and acknowledgments
The present work includes some of the historical material of the Bowker-Solberg volume of 1886, "Copyright, its law and its literature." This material has been verified, extended and brought up to date, especially in the somewhat detailed sketch of the copyright discussions and legislation resulting in the "international copyright amendment" of 1891 and the code of 1909. The volume is in this respect practically, and in other respects entirely new. It has had the advantage of the cordial co-operation of the copyright authorities at Washington, especially the Librarian of Congress, Herbert Putnam, and the Register of Copyrights, Thorvald Solberg; also of helpful courtesy from the Canadian Minister of Agriculture in the recent Laurier administration, Sidney Fisher, and the Canadian Registrar of Copyrights, P. E. Ritchie, and of Prof. Ernest Röthlisberger, editor of the Droit d'Auteur, and one of the best authorities on international copyright. This acknowledgment of obligation is not to be taken as assuming for the work official sanction and authority, though so far as practicable, it reflects the opinions of the best authorities. The writer has also consulted freely—but it is hoped always within the limits of "fair use"—the best law book writers, especially Drone, Copinger, Colles and Hardy, and MacGillivray, to whom acknowledgment is made in the several chapters. Acknowledgment is also made for the courtesies of Sir Frederick Macmillan, G. Herbert Thring, secretary of the British Society of Authors, and others numerous beyond naming. But most of all the writer is indebted to the intelligent and capable helpfulness of Carl L. Jellinghaus, who as private secretary, has been both right hand and eyes to the writer, and besides participating in the work of research, is largely responsible for the index and other "equipment" of the volume.
Method and form
Copyright law is exceptionally confused and confusing, and even the new American and British codes are not without such defects. Specific subjects are so interdependent that it has been difficult to make clear lines of division among the several chapters, and there is necessarily repetition; it has been the endeavor to concentrate the main discussion in one place, designated in the index by black face figures, with subordinate references in other chapters. Ambiguities in the text of this volume often reflect ambiguities in the laws, particularly of foreign countries. Where acts, decisions, etc., are quoted in the text or given in the appendix, spelling, capitalization, punctuation, headings, etc., follow usually the respective forms, thus involving apparent inconsistencies. Side-headings in the appendix follow usually the official form, unless shortened to prevent displacement. Translations of foreign conventions follow usually the official text of the translation, but have been corrected or conformed in case of evident error or variance. Citation of cases is confined for the most part to ruling or recent cases or those of historic importance or interest. Though it has not been practicable to verify statements from the copyright laws of so many countries in divers languages, a fairly comprehensive and accurate statement of the status of copyright throughout the world is here presented. The present work, originally planned for publication in 1910, has been held back and alterations and insertions made to bring the record of legislation to the close of 1911. For those who wish to keep their copyright knowledge up to date, the Publishers' Weekly will endeavor to present information as to the English speaking world, and the monthly issues of the Droit d'Auteur of Berne, under the editorship of Prof. Röthlisberger, will be found a comprehensive and adequate guide.
Advocates of authors' rights
The preparation of this work brings a recurring sense of the losses which the copyright cause has suffered during the long campaign for copyright reform, beginning in the American Copyright League, under the presidency of James Russell Lowell, and continued under that of Edmund Clarence Stedman, both of whom have passed over to the majority. Bronson Howard, always active in the counsels of the League as a vice-president, and the foremost advocate of dramatic copyright as president of the American Dramatists Club, failed, like Stedman, to see the fulfillment of his labors in the passage of the act of 1909. George Parsons Lathrop, Edward Eggleston, Richard Watson Gilder, "Mark Twain" and other ardent advocates of the rights of the author, gave large share of enthusiasm and effort to the cause. Happily the two men who for the last twenty years and more have labored at the working oar for the Authors League and for the Publishers League, are still active in the good work, ready to defend the code against attack and eager to forward every betterment that can be made; to Robert Underwood Johnson, the successor of the lamented Gilder as editor of the Century, and to George Haven Putnam, the head of the firm which still bears the name of his honored father, authors the world over owe in great measure the progress which has been made in America toward a higher ideal for the protection of authors' rights.
Copyright evolution
It may be noted that while throughout the British Empire English precedent is naturally followed, the more restrictive American copyright system has unfortunately influenced legislation in Canada and Newfoundland, and in Australia. France, open-handed to authors of other countries, has afforded precedent for the widest international protection and for the international term; while Spain, with the longest term and most liberal arrangements otherwise, has been followed largely by Latin American countries. The International Copyright Union has reached in the Berlin convention almost the ideal of copyright legislation, and this has been closely followed in the Buenos Aires convention of the Pan American Union. The world over, there seems to have been a general evolution of copyright protection from the rude and imperfect recognition of intellectual property as cognate to other property, for a term indefinite and in a sense perpetual, almost impossible of enforcement in the lack of statutory protection and penalties. Systems of legislation, at first of very limited term and of restricted scope, have led up to the comprehensive codes giving wide and definite protection for all classes of intellectual property for a term of years extending beyond life, with the least possible formalities compatible with the necessities of legal procedure. Unfortunately in the United States of America the forward movement which produced the "international copyright amendment" of 1891 and the code of 1909, conspicuously excellent despite defects of detail, was in some measure offset by retrogression, as in the manufacturing restrictions. Until this policy, which still remains a blot on the 'scutcheon, is abandoned, as the friends of copyright hope may ultimately be the case, the United States of America cannot enter on even terms the family of nations and become part of the United States of the world.
R. R. BOWKER.

출판사 서평

저작권법 著作權法 의 그자체의 역사와 그자체의 법률. The Book of Copyright: Its History and Its Law By Richard Rogers Bowker

FOREWORD
Copyright progress
The American copyright code of 1909, comprehensively replacing all previous laws, a gratifying advance in legislation despite its serious restrictions and minor defects, places American copyright practice on a new basis. The new British code, brought before Parliament in 1910, and finally adopted in December, 1911, to be effective July 1, 1912, marks a like forward step for the British Empire, enabling the mother country and its colonies to participate in the Berlin convention. Among the self-governing Dominions made free to accept the British code or legislate independently, Australia had already adopted in 1905 a complete new code, and Canada is following its example in the measure proposed in 1911, which will probably be conformed to the new British code for passage in 1912. Portugal has already in 1911 joined the family of nations by adherence to the Berlin convention, Russia has shaped and Holland is shaping domestic legislation to the same end, and even China in 1910 decreed copyright protection throughout its vast empire of ancient and reviving letters. The Berlin convention of 1908 strengthened and broadened the bond of the International Copyright Union, and the Buenos Aires convention of 1910, which the United States has already ratified, made a new basis for copyright protection throughout the Pan American Union, both freeing authors from formalities beyond those required in the country of origin. Thus the American dream of 1838 of "a universal republic of letters whose foundation shall be one just law" is well on the way toward realization.
Field for the present treatise
In this new stage of copyright development, a comprehensive work on copyright seemed desirable, especially with reference to the new American code. Neither Eaton S. Drone nor George Haven Putnam were disposed to enter upon the task, which has therefore fallen to the present writer. He hopes that his participation for the last twenty-five years in copyright development,—during which, as editor of the Publishers' Weekly and of the Library Journal, he has had occasion to keep watch of copyright progress, and as vice-president of the American (Authors) Copyright League, he has taken part in the copyright conferences and hearings and in the drafting of the new code,—will serve to make the present volume of use to his fellow members of the Authors Club and to like craftsmen, as well as to publishers and others, and aid in clarifying relations and preventing the waste and cost of litigation among the coördinating factors in the making of books and other forms of intellectual property.
Authorities and acknowledgments
The present work includes some of the historical material of the Bowker-Solberg volume of 1886, "Copyright, its law and its literature." This material has been verified, extended and brought up to date, especially in the somewhat detailed sketch of the copyright discussions and legislation resulting in the "international copyright amendment" of 1891 and the code of 1909. The volume is in this respect practically, and in other respects entirely new. It has had the advantage of the cordial co-operation of the copyright authorities at Washington, especially the Librarian of Congress, Herbert Putnam, and the Register of Copyrights, Thorvald Solberg; also of helpful courtesy from the Canadian Minister of Agriculture in the recent Laurier administration, Sidney Fisher, and the Canadian Registrar of Copyrights, P. E. Ritchie, and of Prof. Ernest Röthlisberger, editor of the Droit d'Auteur, and one of the best authorities on international copyright. This acknowledgment of obligation is not to be taken as assuming for the work official sanction and authority, though so far as practicable, it reflects the opinions of the best authorities. The writer has also consulted freely—but it is hoped always within the limits of "fair use"—the best law book writers, especially Drone, Copinger, Colles and Hardy, and MacGillivray, to whom acknowledgment is made in the several chapters. Acknowledgment is also made for the courtesies of Sir Frederick Macmillan, G. Herbert Thring, secretary of the British Society of Authors, and others numerous beyond naming. But most of all the writer is indebted to the intelligent and capable helpfulness of Carl L. Jellinghaus, who as private secretary, has been both right hand and eyes to the writer, and besides participating in the work of research, is largely responsible for the index and other "equipment" of the volume.
Method and form
Copyright law is exceptionally confused and confusing, and even the new American and British codes are not without such defects. Specific subjects are so interdependent that it has been difficult to make clear lines of division among the several chapters, and there is necessarily repetition; it has been the endeavor to concentrate the main discussion in one place, designated in the index by black face figures, with subordinate references in other chapters. Ambiguities in the text of this volume often reflect ambiguities in the laws, particularly of foreign countries. Where acts, decisions, etc., are quoted in the text or given in the appendix, spelling, capitalization, punctuation, headings, etc., follow usually the respective forms, thus involving apparent inconsistencies. Side-headings in the appendix follow usually the official form, unless shortened to prevent displacement. Translations of foreign conventions follow usually the official text of the translation, but have been corrected or conformed in case of evident error or variance. Citation of cases is confined for the most part to ruling or recent cases or those of historic importance or interest. Though it has not been practicable to verify statements from the copyright laws of so many countries in divers languages, a fairly comprehensive and accurate statement of the status of copyright throughout the world is here presented. The present work, originally planned for publication in 1910, has been held back and alterations and insertions made to bring the record of legislation to the close of 1911. For those who wish to keep their copyright knowledge up to date, the Publishers' Weekly will endeavor to present information as to the English speaking world, and the monthly issues of the Droit d'Auteur of Berne, under the editorship of Prof. Röthlisberger, will be found a comprehensive and adequate guide.
Advocates of authors' rights
The preparation of this work brings a recurring sense of the losses which the copyright cause has suffered during the long campaign for copyright reform, beginning in the American Copyright League, under the presidency of James Russell Lowell, and continued under that of Edmund Clarence Stedman, both of whom have passed over to the majority. Bronson Howard, always active in the counsels of the League as a vice-president, and the foremost advocate of dramatic copyright as president of the American Dramatists Club, failed, like Stedman, to see the fulfillment of his labors in the passage of the act of 1909. George Parsons Lathrop, Edward Eggleston, Richard Watson Gilder, "Mark Twain" and other ardent advocates of the rights of the author, gave large share of enthusiasm and effort to the cause. Happily the two men who for the last twenty years and more have labored at the working oar for the Authors League and for the Publishers League, are still active in the good work, ready to defend the code against attack and eager to forward every betterment that can be made; to Robert Underwood Johnson, the successor of the lamented Gilder as editor of the Century, and to George Haven Putnam, the head of the firm which still bears the name of his honored father, authors the world over owe in great measure the progress which has been made in America toward a higher ideal for the protection of authors' rights.
Copyright evolution
It may be noted that while throughout the British Empire English precedent is naturally followed, the more restrictive American copyright system has unfortunately influenced legislation in Canada and Newfoundland, and in Australia. France, open-handed to authors of other countries, has afforded precedent for the widest international protection and for the international term; while Spain, with the longest term and most liberal arrangements otherwise, has been followed largely by Latin American countries. The International Copyright Union has reached in the Berlin convention almost the ideal of copyright legislation, and this has been closely followed in the Buenos Aires convention of the Pan American Union. The world over, there seems to have been a general evolution of copyright protection from the rude and imperfect recognition of intellectual property as cognate to other property, for a term indefinite and in a sense perpetual, almost impossible of enforcement in the lack of statutory protection and penalties. Systems of legislation, at first of very limited term and of restricted scope, have led up to the comprehensive codes giving wide and definite protection for all classes of intellectual property for a term of years extending beyond life, with the least possible formalities compatible with the necessities of legal procedure. Unfortunately in the United States of America the forward movement which produced the "international copyright amendment" of 1891 and the code of 1909, conspicuously excellent despite defects of detail, was in some measure offset by retrogression, as in the manufacturing restrictions. Until this policy, which still remains a blot on the 'scutcheon, is abandoned, as the friends of copyright hope may ultimately be the case, the United States of America cannot enter on even terms the family of nations and become part of the United States of the world.
R. R. BOWKER.

인물정보

저자(글) Richard Rogers Bowker

미국저술가
Richard Rogers Bowker
COPYRIGHT: ITS HISTORY AND ITS LAW.
The Book of Copyright: Its History and Its Law
By Richard Rogers Bowker
COPYRIGHT
: ITS HISTORY AND ITS LAW.
By Richard Rogers Bowker

THE ARTS OF LIFE.
OF BUSINESS.
OF POLITICS.
OF RELIGION.
OF EDUCATION.
HOUGHTON MIFFLIN COMPANY
BOSTON AND NEW YORK
COPYRIGHT
ITS HISTORY AND ITS LAW
BEING A SUMMARY OF THE
PRINCIPLES AND PRACTICE OF COPYRIGHT
WITH SPECIAL REFERENCE TO
THE AMERICAN CODE OF 1909 AND
THE BRITISH ACT OF 1911
BY
RICHARD ROGERS BOWKER
BOSTON AND NEW YORK
HOUGHTON MIFFLIN COMPANY
The Riverside Press Cambridge
1912
COPYRIGHT, 1912, BY R. R. BOWKER
ALL RIGHTS RESERVED
FOR ALL COUNTRIES
Published March 1912