natgillin/translations-raw huggingface dataset:
The concept of distribution ‘by sale or otherwise’ for the purpose of Article 4(1) of Direct- ive 2001/29 must be interpreted in the light of the definitions given in the World Intellectual Property Organisation (WIPO) Copyright Treaty and the WIPO Performances and Phonograms Treaty, that directive being intended to implement at Community level the Community’s obligations under the those Treaties.
Pojem distribuiranja „s prodajo ali drugače“ je treba namreč v smislu člena 4(1) Direktive 2001/29 razlagati glede na opredelitve, ki izhajajo iz Pogodbe Svetovne organizacije za intelektualno lastnino o avtorski pravici (MSOILAP) in iz Pogodbe Svetovne organizacije za intelektualno lastnino o izvedbah in fonogramih (MSOILIF); navedena direktiva je namenjena izvajanju obveznosti, ki izhajajo za Skupnost iz navedenih pogodb, na ravni Skupnosti.
Those Treaties link the concept of distribution exclusively to that of transfer of ownership.
Vendar ti pogodbi pojem distribuiranja povezujeta izključno s prenosom lastni�tva.
(see paras 31-38, 41, operative part)
(Glej točke od 31 do 38, 41 in izrek.)
PEEK & CLOPPENBURG OPINION OF ADVOCATE GENERALSHARPSTON delivered on 17 January 2008 1 the exercise of that distribution right in the circumstances of the present case is compatible with Article 28 EC.
PEEK & CLOPPENBURG SKLEPNI PREDLOGI GENERALNE PRAVOBRANILKEELEANOR SHARPSTON, predstavljeni 17. januarja 2008 1 distribuiranje s prodajo ali drugače“ v smislu člena 4(1) Direktive o avtorskih pravicah.
In this reference from the Bundesgerichtshof (Federal Court of Justice) Germany, the Court has been asked for guidance on the interpretation of Article 4(1) of Direct- ive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society (‘the Copyright Directive’ or ‘the Directive’). 2
S tem predlogom Bundesgerichtshof (zvezno sodi�če), Nemčija, v bistvu prosi Sodi�če za pojasnila glede razlage člena 4(1) Direktive 2001/29/ES Evropskega parlamenta in Sveta z dne 22. maja 2001 o usklajevanju določenih vidikov avtorske in sorodnih pravic v informacijski družbi (v nadaljevanju: Direktiva o avtorskih pravicah ali Direktiva). 2
The Copyright Directive
Direktiva o avtorskih pravicah
The Copyright Directive, as its title indicates, aims to harmonise certain aspects of copyright and related rights, 3including the
Namen Direktive o avtorskih pravicah, kot izhaja iz njenega naslova, je usklajevanje določenih vidikov avtorske in sorodnih pravic, 3vključno s pravico do izdaje dovo-
The case concerns items of furniture which, at the relevant time, were not protected by copyright in the Member State where they were manufactured and where they were acquired by Peek & Cloppenburg KG (‘Peek & Cloppenburg’) but were so protected in the Member State where that party made them available for temporary use in the public rest areas of one of its shops and displayed them in the window of another. The Court is asked whether such use of the furniture constitutes a ‘distribution to the public by sale or otherwise’ within the meaning of Article 4(1) of the Copyright Directive. If so, the Court is asked whether 3 — In the context of EC law, copyright (‘droit d’auteur’) comprises the exclusive rights granted to authors, composers, artists etc while related rights (‘droits voisins’) cover the analogous rights granted to performers (musicians, actors etc.) and entrepreneurs (publishers, film producers etc.).
Gre za pohi�tvo, ki v upo�tevnem obdobju ni bilo za�čiteno z avtorsko pravico v državi članici, v kateri je bilo izdelano in v kateri ga je pridobil Peek & Cloppenburg KG (v nadaljevanju: Peek & Cloppenburg), temveč je bilo tako varovano v državi članici, v kateri ga je ta stranka dala na voljo za začasno uporabo v javnih prostorih za počitek ene od svojih trgovin ter ga predstavila v izložbi druge trgovine. Sodi�ču je bilo zastavljeno vpra�anje, ali je taka uporaba pohi�tva „javno 3 – V okviru prava ES avtorska pravica („droit d’auteur“) zajema izključne pravice, podeljene avtorjem, skladateljem, umetnikom itd., medtem ko sorodne pravice („droits voisins“) zajemajo podobne pravice, podeljene izvajalcem (glasbeniki, igralci itd.) in podjetnikom (založniki, filmski producenti itd.).
the maintenance and development of creativity in the interests of authors, performers, producers, consumers, culture, industry and the public at large.
v interesu avtorjev, izvajalcev, producentov, potro�nikov, kulture, industrije in javnosti nasploh.
Intellectual property has therefore been recognised as an integral part of property.
Intelektualna lastnina se torej prizna kot sestavni del lastnine.
The preamble to the Directive includes the following recitals:
Direktiva vsebuje te uvodne izjave:
‘(3) The proposed harmonisation will help to implement the four freedoms of the internal market and relates to compliance with the fundamental principles of law and especially of property, including intellectual property, and freedom of expression and the public interest.
„(3) Predlagano usklajevanje bo pomagalo uresničevati �tiri svobo�čine notranjega trga in je povezano s spo�tovanjem temeljnih pravnih načel, zlasti lastnine, vključno z intelektualno lastnino, ter s svobodo izražanja in javnim interesom.
(10) If authors or performers are to continue their creative and artistic work, they have to receive an appropriate reward for the use of their work, as must producers in order to be able to finance this work.
(10) Če naj avtorji ali izvajalci nadaljujejo z ustvarjalnim in umetni�kim delom, morajo za uporabo svojega dela prejeti primerno nagrado, prav tako pa tudi producenti, da lahko to delo financirajo.
The investment required to produce products such as phonograms, films or multimedia products, and services such as “on-demand” services, is considerable.
V proizvodnjo proizvodov, kot so fonogrami, filmi ali multimedijski izdelki, ter opravljanje storitev, kot so storitve ‚na zahtevo‘, je treba precej investirati.
Adequate legal protection of intellectual property rights is necessary in order to guarantee the availability of such a reward and provide the opportunity for satisfactory returns on this investment.
Zadostno pravno varstvo pravic intelektualne lastnine je nujno, če se želi zagotoviti tak�no nagrajevanje in zagotoviti možnost za zadovoljive donose na te investicije.
(4) A harmonised legal framework on copyright and related rights, through increased legal certainty and while providing for a high level of protection of intellectual property, will foster substantial investment in creativity and innovation …
(4) Usklajena pravna ureditev avtorske in sorodnih pravic bo zaradi večje pravne varnosti in hkrati z zagotavljanjem visoke stopnje varstva intelektualne lastnine omogočala naložbe v ustvarjalnost in inovacije […]
(11) A rigorous, effective system for the protection of copyright and related rights is one of the main ways of ensuring that European cultural creativity and production receive the necessary resources and of safeguarding the independence and dignity of artistic creators and performers.
(11) Strog, dejanski sistem varstva avtorske in sorodnih pravic je eden glavnih načinov za zagotavljanje, da evropska kulturna ustvarjalnost in proizvodnja prejmeta nujna sredstva, ter za varovanje neodvisnosti in dostojanstva umetni�kih ustvarjalcev in izvajalcev.
(9) Any harmonisation of copyright and related rights must take as a basis a high level of protection, since such rights are crucial to intellectual creation.
(9) Vsakr�no usklajevanje avtorske in sorodnih pravic mora temeljiti na visoki stopnji varstva, kajti tak�ne pravice so za intelektualno ustvarjanje bistvenega pomena.
(23) This Directive should harmonise further the author’s right of communication to the public. This right should be understood in a broad sense covering all communication to the public not present at the place where the communication originates.
(15) Diplomatska konferenca, ki se je odvijala pod pokroviteljstvom Svetovne organizacije za intelektualno lastnino (WIPO) decembra 1996, je vodila k sprejetju dveh novih pogodb, ‚Pogodbe WIPO o avtorski pravici‘ in ‚Pogodbe WIPO o izvedbah in fonogramih‘, ki pokrivata varstvo avtorjev oziroma izvajalcev in proizvajalcev fonogramov.
This right should cover any such transmission or retransmission of a work to the public by wire or wireless means, including broadcasting.
Ta direktiva je namenjena tudi uresničevanju �tevilnih novih mednarodnih obveznosti.
(15) The Diplomatic Conference held under the auspices of the World Intellectual Property Organisation (WIPO) in December 1996 led to the adoption of two new Treaties, the “WIPO Copyright Treaty” and the “WIPO Performances and Phonograms Treaty”, dealing respectively with the protection of authors and the protection of performers and phonogram producers.
(23) S to direktivo naj se nadalje uskladi avtorjeva pravica do priobčitve javnosti.
Those Treaties update the international protection for copyright and related rights significantly, not least with regard to the so-called “digital agenda”, and improve the means to fight piracy worldwide.
To pravico je treba razumeti v �irokem pomenu, ki zajema vsakr�no priobčitev javnosti, ki ni prisotna na kraju izvora priobčitve.
The Community and a majority of Member States have already signed the Treaties and the process of making arrangements for the ratification of the Treaties by the Community and the Member States is under way.
Ta pravica naj zajema vsako tovrstno oddajanje ali retransmisijo dela v javnost po žici ali na brezžični način, vključno z radiodifuznim oddajanjem.
This Directive also serves to implement a number of the new international obligations.
Ta pravica naj ne zajema nobenih drugih dejanj.
(28) Copyright protection under this Direct - ive includes the exclusive right to control distribution of the work incorporated in a tangible article.
(28) Avtorsko-pravno varstvo pravic po tej direktivi vključuje izključno pravico nadzora distribuiranja dela, utele�enega v materialnem predmetu.
The first sale in the Community of the original of a work or copies thereof by the rightholder or with his consent exhausts the right to control resale of that object in the Community.
Prva prodaja izvirnika ali primerkov dela s strani imetnika pravice ali z njegovim privoljenjem v Skupnosti izčrpa pravico do nadzora ponovne prodaje tega predmeta v Skupnosti.
This right should not be exhausted in respect of the original or of copies thereof sold by the rightholder or with his consent outside the Community.
Ta pravica se ne sme izčrpati za izvirnik ali primerek, ki ga proda zunaj Skupnosti imetnik pravic ali z njegovim privoljenjem.
(21) This Directive should define the scope of the acts covered by the reproduction right with regard to the different beneficiaries.
(21) Ta direktiva naj določi obseg dejanj, ki jih zajema pravica reproduciranja za različne upravičence.
This should be done in conformity with the acquis communautaire.
To naj poteka v skladu s pravnim redom Skupnosti.
A broad definition of these acts is needed to ensure legal certainty within the internal market.
Potrebna je �iroka opredelitev teh
for authors have been established in Directive 92/100/EEC.
pravico in pravico posojanja za avtorje vzpostavlja Direktiva 92/100/ES.
The distribution right provided for in this Directive is without prejudice to the provisions relating to the rental and lending rights contained in Chapter I of that Directive.
Pravica distribuiranja, ki jo zagotavlja ta direktiva, ne vpliva na določbe v zvezi z najemno pravico in pravico posojanja, ki ju vsebuje Poglavje I navedene direktive.
The distribution right shall not be exhausted within the Community in respect of the original or copies of the work, except where the first sale or other transfer of ownership in the Community of that object is made by the rightholder or with his consent.’
Pravica distribuiranja se v Skupnosti ne izčrpa v zvezi z izvirnikom ali primerki dela, razen kadar se prva prodaja ali drug prenos lastni�tva tega predmeta v Skupnosti izvr�i s strani imetnika pravic ali z njegovim privoljenjem.“
(60) The protection provided under this Directive should be without prejudice to national or Community legal provisions in other areas, such as industrial property, data protection, conditional access, access to public documents, and the rule of media exploitation chron -ology, which may affect the protection of copyright or related rights.’
(60) Varstvo, ki ga predvideva ta direktiva, naj ne vpliva na nacionalne predpise ali predpise Skupnosti na drugih področjih, na primer industrijski lastnini, varstvu podatkov, pogojnem dostopu, dostopu do javnih dokumentov ter pravilu kronologije uporabe v medijih, ki lahko vplivajo na varstvo avtorske ali sorodnih pravic.“
Article 4 provides as follows:
Člen 4 določa:
Article 9 provides that the Directive is to be without prejudice to provisions concerning, inter alia, design rights.
Člen 9 določa, da ta direktiva ne vpliva na predpise, ki med drugim zadevajo pravice iz modela.
Histor-ically, in some Member States such rights were included within the scope of copyright, in others they were protected by specific national legislation and in others they had no protection at all. 4
Zgodovinsko so bile te pravice v nekaterih državah članicah vključene na področje avtorske pravice, v drugih so bile varovane s posebno nacionalno ureditvijo, v ostalih pa sploh niso bile varovane. 4
4 — At the international level, the Berne Convention for the Protection of Literary and Artistic Works of 9 September 1886 permitted contracting parties ‘to determine the extent of the application of their laws to works of applied art and industrial designs and models, as well as the conditions under which such works, designs and models shall be protected’: Article 2(7).
4 – Na mednarodni ravni je s členom 2(7) Bernske konvencije za varstvo književnih in umetni�kih del z dne 9. septembra 1886 pogodbenim strankam omogočeno, „da določijo v svojih zakonih področje uporabe zakona, ki se nana�a na dela uporabne umetnosti ter na industrijske risbe in modele, kakor tudi na pogoje, pod katerimi bodo tak�na dela, risbe in modeli zavarovani […]“.
At the Community level, Directive 98/71/EC of the European Parliament and of the Council of 13 October 1998 on the legal protection of designs (OJ 1998 L 289, p.
Na ravni Skupnosti je bila delna uskladitev pravic iz modela uvedena z Direktivo 98/71/ES Evropskega parlamenta in Sveta z dne 13. oktobra 1998 o pravnem varstvu modelov (UL L 289, str. 28).
Member States shall provide for authors, in respect of the original of their works
Države članice predvidijo za avtorje v zvezi z izvirnikom ali primerki del izključno
Article 6 of the WCT, headed ‘Right of Distribution’, reads as follows:
Člen 6 WTC z naslovom Pravica do distribuiranja določa:
‘(1) Authors of literary and artistic works shall enjoy the exclusive right of authorising the making available to the public of the original and copies of their works through sale or other transfer of ownership.
„(1) Avtorji književnih in umetni�kih del uživajo izključno pravico dovoljevati, da izvirnik in primerki njihovih del postanejo dostopni javnosti s prodajo ali drugačnim prenosom lastninske pravice.
Article 4(1) of the Copyright Directive is similar to Article 6(1) of the WIPO 5 Copyright Treaty (‘the WCT’).
Člen 4(1) Direktive o avtorski pravici je podoben členu 6(1) Pogodbe WIPO 5o avtorski pravici (WCT).
6It is settled case- law that provisions of secondary Community legislation must, so far as is possible, be interpreted in a manner that is consistent with international agreements concluded by the Community. 7
6Iz ustaljene sodne prakse izhaja, da je treba sekundarno zakonodajo Skupnosti, kolikor je to mogoče, razlagati na način, ki je skladen z mednarodnimi sporazumi, ki jih je sklenila Skupnost. 7
(2) Nothing in this Treaty shall affect the freedom of Contracting Parties to determine the conditions, if any, under which the exhaustion of the right in paragraph (1) applies after the first sale or other transfer of ownership of the original or a copy of the work with the authorisation of the author.’
(2) Nič v tej pogodbi ne vpliva na svobodo pogodbenic, da določijo morebitne pogoje, pod katerimi se �teje, da je po prvi prodaji ali drugačnem prenosu lastninske pravice izvirnika ali primerka dela z dovoljenjem avtorja pravica iz odstavka 1 izčrpana.“
WCT entered into force on
Nacionalna zakonodaja
The Community, although a signatory, has not yet ratified the WCT. 8
Skupnost je, čeprav je podpisnica, �e ni ratificirala.
That treaty is none the less of relevance in interpreting the Copyright Directive since recital 15 in the preamble to the Directive states that the Directive ‘serves to implement a number of the new international obligations’ deriving from the WCT.
8 Ta pogodba je kljub temu pomembna za razlago Direktive o avtorski pravici, ker uvodna izjava 15 Direktive določa, da je Direktiva „namenjena tudi uresničevanju �tevilnih novih mednarodnih obveznosti“, ki izhajajo iz WCT.
5 — World Intellectual Property Organisation.6 — Adopted in Geneva on 20 December 1996.
5 – Svetovna organizacija za intelektualno lastnino.6 – Sklenjena v Ženevi 20. decembra 1996.
7 — Case C-61/94 Commission v Germany [1996] ECR I-3989, paragraph 52.
7 – Sodba z dne 10. septembra 1996 v zadevi Komisija proti Nemčiji (C-61/94, Recueil, str. I-3989, točka 52).
8 — It appears that ratification by the Community is to take place only when, after implementing the Copyright Directive, all the Member States have ratified the WCT.
8 – Zdi se, da jo bo Skupnost ratificirala �ele potem, ko bodo po prenosu Direktive o avtorski pravici vse države članice ratificirale WCT.
The Community and the then Member States indicated their intention at the end of the Diplomatic Conference on certain copyright and neighbouring rights questions, Geneva, 2 to 20 December 1996, to deposit their instruments of ratification simultaneously.
Skupnost in takratne države članice so ob koncu Diplomatske konference v zvezi z vpra�anji o določenih avtorski in sorodnih pravicah v Ženevi, od 2. do 20. decembra 1996, izrazile namen, da bodo sočasno deponirale listine o ratifikaciji. Glej M. Ficsor, The Law of Copyright and the Internet (2002), str.
68, point 2.41.
68, točka 2.41.
9 — Law of 9 September 1965 (BGBl. I, p.
9 – Zakon z dne 9. septembra 1965 (BGBl. I, str.
1273), as last amended by the law of 10 November 2006 (BGBl. I, p. 2587).
1273), kot je bil nazadnje spremenjen z zakonom z dne 10. novembra 2006 (BGBl. I, p. 2587).
Paragraph 15(1) provides that the author’s exclusive right includes the distribution right as defined in Paragraph 17.
Člen 15(1) določa, da avtorjeva izključna pravica zajema pravico distribuiranja, določeno v členu 17.
has the exclusive right to manufacture and sell Le Corbusier-design furniture by virtue of a licensing agreement between it and the holder of the copyright in such furniture and that that right corresponds to the right of distribution conferred by Paragraph 17 of the UrhG.
izključno pravico, da proizvaja in prodaja oblikovalsko pohi�tvo Le Corbusier na podlagi licenčne pogodbe med to družbo in imetnikom avtorske pravice za to pohi�tvo in da je ta pravica v skladu s pravico do distribuiranja, podeljeno s členom 17 UrhG.
Paragraph 17(1) defines the distribution right as ‘the right to offer to the public or to put into circulation the original work or copies thereof’.
Člen 17(1) določa pravico do distribuiranja kot „pravico ponuditi javnosti ali dati v promet izvirno delo ali njegovo kopijo“.
Peek & Cloppenburg, a limited partnership established in Germany, sells clothes in outlets throughout Germany. In its store in Frankfurt-am-Main it has set up rest areas for customers that are fitted out with Le Corbusier-design armchairs and sofas and with a table system. It has also placed an armchair in a display window of its outlet in Düsseldorf for decorative purposes. 13.
Družba Peek & Cloppenburg, komanditna družba s sedežem v Nemčiji, prodaja oblačila v industrijskih prodajalnah po vsej Nemčiji. V svoji trgovini v Frankfurtu na Majni je uredila prostore za počitek strank, ki so opremljeni z naslanjači in kavči ter dizajnersko mizico Le Corbusier. Za dekoracijo je v izložbeno okno svoje industrijske prodajalne v Düsseldorfu postavila tudi naslanjač. 13.
The following account of the facts is taken from the order for reference except where otherwise indicated.
Spodaj navedena dejstva so vzeta iz predložitvene odločbe, razen kjer je navedeno drugače.
Cassina SpA (‘Cassina’), a company established in Italy, manufactures furniture, including items designed by Charles Edouard Jeanneret (Le Corbusier).
Cassina SpA (v nadaljevanju: Cassina), družba s sedežem v Italiji, proizvaja pohi�tvo, vključno s pohi�tvom, ki ga je oblikoval Charles Edouard Jeanneret (Le
Peek & Cloppenburg acquired those items from an Italian undertaking, ‘Dimensione’, which had manufactured them. According to Cassina, in order for a work to be protected by Italian copyright law its artistic value had, until recently, to be distinguishable from its commercial character. As a result, industrial designs, such as Le Corbusier-design furniture, were not protected by copyright. The law was changed in 2001 in order to implement Directive 98/71 on the legal protection of designs, 12so as to encompass works of 10 — Ultimately to be verified by the national court.
Družba Peek & Cloppenburg je to pohi�tvo pridobila od italijanskega podjetja Dimensione, ki ga je izdelalo. Družba Cassina je navedla, da se je morala umetni�ka vrednost dela do nedavno razlikovati od njegovega tržnega značaja, da je bilo delo za�čiteno z italijanskim zakonom o avtorski pravici. Zato modeli, kot je oblikovalsko pohi�tvo Le Corbusier, niso bili varovani z avtorsko pravico. Zakon je bil leta 2001 spremenjen zaradi prenosa Direktive 98/71/ES o pravnem varstvu modelov 12, tako da je vključeval dela 10 – Dokončno mora to preveriti nacionalno sodi�če.
11 — According to Cassina, which has not been contradicted by Peek & Cloppenburg on this point, it is settled caselaw in Germany that Le Corbusier-design furniture is protected by copyright. 12 — Cited in footnote 4.
11 – Po mnenju družbe Cassina, ki ji družba Peek & Cloppenburg glede tega ne nasprotuje, iz ustaljene sodne prakse v Nemčiji izhaja, da je dizajnersko pohi�tvo Le Corbusier varovano z avtorsko pravico. 12 – Navedena v opombi 4.
Cassina brought proceedings against Peek & Cloppenburg before the Landgericht (Regional Court) seeking damages, an injunction and information concerning the source of the items of furniture. The Landgericht ruled in favour of Cassina. Peek & Cloppenburg’s appeal on a point of law is now before the Bundesgerichtshof. Proceedings before the Court of Justice
Družba Cassina je proti družbi Peek & Cloppenburg pri Landgericht (deželno sodi�če) vložila tožbo, s katero je zahtevala povrnitev �kode, izdajo začasne odredbe in podatke v zvezi s poreklom kosov pohi�tva. Landgericht je tožbi družbe Cassina ugodilo. O reviziji družbe Peek & Cloppenburg zdaj odloča Bundesgerichtshof. Postopek pred Sodiščem
Against that background, the Bundesgerichtshof has referred the following questions to the Court for a preliminary ruling:
V teh okoli�činah je Bundesgerichtshof prekinilo odločanje in Sodi�ču v predhodno odločanje predložilo ti vpra�anji:
That court notes that (on the basis that the facts are as it assumes) the decision in the dispute will depend on whether, by installing the furniture in its publicly accessible sales areas and in display windows of its sales areas in Germany, Peek & Cloppenburg has interfered with Cassina’s distribution right. Paragraph 17(1) of the UrhG is to be construed in a manner consistent with the Copyright Directive. Thus the question is whether such ‘1. (a)
Navedeno sodi�če ugotavlja (na podlagi predpostavke, da so dejstva taka, kot domneva), da bo odločitev o sporu odvisna od tega, ali je družba Peek & Cloppenburg s postavitvijo pohi�tva v svoje javno dostopne prodajne prostore in v izložbena okna svojih prodajnih prostorov v Nemčiji posegla v pravico družbe Cassina do distribuiranja. Člen 17(1) UrhG je treba razlagati na način, ki je v skladu z Direktivo o avtorski pravici. Gre torej za vpra�anje, ali ta dejanja pomenijo „1. (a)