Source: https://www.profinfo.pl/sklep/zeszyty-naukowe-uniwersytetu-jagiellonskiego-prace-z-prawa-wlasnosci-intelektualnej,7436,r,2016,nr,1.html
Timestamp: 2020-07-13 20:58:02
Legal References Found: art. 1
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Zeszyty Naukowe Uniwersytetu Jagiellońskiego. Prace z Prawa Własności Intelektualnej - Zeszyt 1 (131) (Druk, PDF) - Profinfo.pl
Kod towaru: KAM-6003 2016131
Dopuszczalność posługiwania się cytatem w wytworach intelektualnych pozbawionych ochrony na tle prawa autorskiego str. 5
Zbigniew Pinkalski, Katarzyna Wiese Prawo pokrewne na
Dopuszczalność posługiwania się cytatem w wytworach intelektualnych pozbawionych ochrony na tle prawa autorskiego
Zbigniew Pinkalski, Katarzyna Wiese
Prawo pokrewne na rzecz wydawców - rozwiązanie konfliktu prawnoautorskiego na rynku prasowym?
Instytucja droit de suite w polskim i francuskim prawie autorskim
Radosław Radwan
Historia koncepcji autora i autorstwa do 1710 r.
Zmiany w polskim prawie patentowym po nowelach do ustawy - Prawo własności przemysłowej z 24.07.2015 r. i 11.09.2015 r.
Copyright law beyond borders? Evolution of the first sale doctrine in the copyright tradition legal systems - American and Canadian case study
Where is the three-step test heading for?
Prawo cytatu zostało ukształtowane przez polskiego ustawodawcę w taki sposób, że nierozerwalnie łączy się z możliwością włączenia urywka utworu lub całego drobnego dzieła do produktu intelektualnego stanowiącego utwór w rozumieniu art. 1 ust. 1 ustawy z 4.02.1994 r. o prawie autorskim i prawach pokrewnych. W praktyce jednak są one także przejmowane do wytworów ludzkiego intelektu pozbawionych ochrony przewidzianej w przepisach prawa autorskiego. W związku z tym powstaje pytanie, czy wykorzystujący w ten sposób cudzy dorobek twórczy dokonuje wówczas eksploatacji na podstawie przepisów statuujących tę czy inną postać dozwolonego użytku, a może to zachowanie w ogóle nie mieści się w granicach ustawowych licencji, które występują na tle polskiego porządku prawnego? Na te i podobne pytania autor usiłuje udzielić odpowiedzi w niniejszym opracowaniu.
Upowszechnienie dostępu do Internetu doprowadziło do istotnych zmian na rynku prasowym. Obecna sytuacja określana jest często mianem kryzysu. Wydawcy coraz częściej obarczają winą za ten stan rzeczy masowe, nieautoryzowane wykorzystywanie materiałów prasowych przez komercyjnych użytkowników Internetu, a w szczególności przez podmioty opierające swoje modele działalności na cudzych treściach. Szczególnym zagrożeniem, na które wskazują wydawcy, jest działalność przedsiębiorstw zajmujących się tzw. press-clippingiem, tj. dostarczaniem odbiorcom na ich zamówienie artykułów prasowych odnoszących się do konkretnego zagadnienia wraz np. z ich streszczeniami, jak i prowadzeniem serwisów internetowych "akumulujących" treści publikowane w innych serwisach. Takie formuły działania zastępują bowiem odbiorcom potrzebę korzystania bezpośrednio z poszczególnych serwisów wydawców prasowych. W tym stanie rzeczy pojawiają się różnorodne koncepcje szczególnej ochrony interesów wydawców prasowych. Najdalej idącą spośród nich jest ustanowienie w ramach reżimu ochrony praw autorskich i praw pokrewnych nowego prawa pokrewnego na rzecz wydawców. Takie prawo zostało już wprowadzone w Niemczech - gdzie spotkało się z krytyką wielu środowisk - a także na przełomie 2014 r. i 2015 r. do hiszpańskiej ustawy prawnoautorskiej. Co więcej, według deklaracji unijnego Komisarza ds. gospodarki cyfrowej i społeczeństwa Günthera Oettingera prawo pokrewne dla wydawców prasy, wzorowane na regulacji obowiązującej już w Niemczech, powinno zostać wprowadzone także na obszarze całej Unii Europejskiej. Ze względu na najbardziej rozpoznawalnego adresata powyższego prawa pokrewnego - tj. operatora serwisu Google News - regulacja ta bywa potocznie nazywana Lex Google (lub Google Tax)8. W zamierzeniu projektowane prawo miałoby zagwarantować stosowne wynagrodzenie na rzecz wydawców za wykorzystywanie przez wyszukiwarki internetowe i agregatory treści fragmentów artykułów prasowych publikowanych w sieci poprzez wyświetlanie ich w wynikach wyszukiwania (linki i podświetlenia) bądź w ramach listy wiadomości. Niniejszy artykuł jest próbą odpowiedzi na pytanie, czy wprowadzenie tego typu prawa byłoby zasadnym i właściwym rozwiązaniem, które może - zgodnie z oczekiwaniem wydawców - doprowadzić do odzyskania równowagi przez rynek prasowy.
Instytucja droit de suite stanowi jedno z praw własności intelektualnej o specyficznej naturze i zakresie zastosowania. Prawo to jest definiowane jako dodatkowe, majątkowe uprawnienie twórcy dzieła plastycznego lub fotograficznego, przysługujące mu z tytułu odsprzedaży oryginalnego egzemplarza dzieła. Dyrektywą Parlamentu Europejskiego i Rady 2001/84/WE z 21.09.2001 r. w sprawie prawa autora do wynagrodzenia z tytułu odsprzedaży oryginalnego egzemplarza dzieła sztuki kształt instytucji został ujednolicony we wszystkich państwach członkowskich UE. Niniejszy artykuł ma na celu omówienie praktycznych aspektów implementacji przepisów dyrektywy 2001/84/WE do polskiego porządku prawnego, a także przedstawienie ewentualnych zmian, które mogłyby usprawnić jej stosowanie. Zagadnienia związane z regulacją droit de suite zostaną opisane w perspektywie prawnoporównawczej prezentującej rozwiązania analogicznych kwestii w prawie francuskim. Odniesienie do modelu francuskiego jest związane przede wszystkim z faktem rzeczywistego i efektywnego stosowania przepisów o droit de suite przy dokonywaniu transakcji na tamtejszym rynku dzieł sztuki.
Koncepcja autora, którą znamy dzisiaj, nie jest czymś, co towarzyszyło naszemu kręgowi cywilizacyjnemu od zawsze. Wraz z postępem cywilizacyjnym i technologicznym postrzeganie autorstwa, funkcje społeczne autora, normy społeczne i prawne ulegały zmianie: inne normy społeczne dominowały w antycznej Grecji, a inne w renesansowych Włoszech. Właśnie te zmiany są przedmiotem poniższej pracy, której celem jest przede wszystkim ukazanie rozwoju konceptu autora przez wieki, odpowiedzenie na pytania, skąd się wziął współczesny autor, jak wyglądała jego ochrona, jaki rodzaj norm służył autorom w pierwszym okresie rozwoju prawa autorskiego, czyli zanim zaczęły się pojawiać pierwsze ustawy prawnoautorskie. Zdaniem autora tego artykułu, takie ujęcie może się przyczynić do głębszego zrozumienia współcześnie dominującej wizji autorstwa, w której autor jest "samotnym geniuszem" zasługującym na coraz to szerszą ochronę prawną, a także procesów i czynników, które kształtują normy (zarówno prawne, jak i społeczne) dotyczące autora i jego relacji w stosunku do dzieła.
1.12.2015 r. weszła w życie ustawa z 24.07.2015 r. nowelizująca prawo własności przemysłowej. Wraz z ustawą z 11.09.2015 r. (wchodzącą w życie 15.04.2016 r.) jest to pierwsza od wielu lat tak duża nowela prawa własności przemysłowej, porównywalna chyba jedynie z nowelizacjami z 2004 r. i z 2007 r. W artykule omawiane są (w szerokim, ale jednak wyborze) zmiany odnoszące się do zgłaszania wynalazków i prawa z patentu oraz zmiany wprowadzone nowelą (np. dopuszczenie orzekania przez ekspertów w zespołach orzekających czy uregulowanie zagadnienia tłumaczeń dokumentów), które praktycznego znaczenia nabierają przede wszystkim w odniesieniu do tego właśnie zakresu prawa własności przemysłowej.
Recent years have experienced growth of public and judicature's interest in the two market-oriented twin institutions of intellectual property law, namely, the first sale doctrine and the exhaustion principle, that were born almost respectively in the United States of America and Germany around the turn of 19th and 20th centuries. Intellectual property rights, including copyrights, equip their holders with a bundle of exclusive negative rights, the rights which allow holders to prevent third parties from taking up particular actions or behaviours. One of such exclusive rights is the right of distribution which entitles the holder to interdict any third party vending copies of their works in the marketplace. Both institutions - the first sale doctrine and the exhaustion principle - constitute a foundation of parallel importation as they define borders of the exclusive distribution right, and, at the same time, the scope of users' authorization to resell copies of works. The first sale doctrine is an institution typical for copyright tradition legal systems, so it can be encountered in copyright law of the United States (§ 109 (a) of the U.S. Copyright Act), Canada (sect. 3(1)(j) of the Canadian Copyright Act), or Australia (section 31 of the Copyright Act of 1968). The crux of the institution is that once a copyright holder transfers ownership of a copy of his or her work onto a third party, their right to control the distribution of that particular copy has exhausted. The doctrine was first formulated in the beginning of the 20th century in Bobbs-Merrill v. Straus precedent case. Soon, the consecutive judgments followed and there were legal provisions on the first sale doctrine introduced into domestic legislation. In view of uneven character of the distribution right which was originally supposed to be an umbrella right encompassing all acts of distribution, including quick on-demand online services, and ended up as one of the exclusive rights alongside communication to the public right, justifies questioning of our today's understanding of the concept of the copyrights exhaustion, and the first sale doctrine.
Almost fifty years have passed by since the enactment of the three-step test. From that time on, the three-step test has been incorporated into the most important international treaties on copyright, European Union regulations, national legislations and has been used by both European and national courts. As a result, it has become the centerpiece of all copyright limitations. Vague and susceptible to varying interpretations wording of the test is now resulting in the fact that depending on the region and country the same or almost the same wording of the three-step test is being used for different purposes. This paper surveys various jurisdictions and compares distinct applications of the three-step test in legislation and judiciary in order to show global trends and prove that the three-step test is less and less monolithic.
Constitutional grounds for copyright protection p. 5
Krzysztof Kurosz Artistic performance as the object of protection. Remarks against the background of the
Constitutional grounds for copyright protection
Artistic performance as the object of protection. Remarks against the background of the latest case law
Reimbursement of private copying levy
Second tier patent system. Origin and model in selected legal orders
Piotr Kostański, Tomasz Marek
Selected aspects of amendments to European trademark law
Prohibition of pharmacy advertising versus pharmaceutical care and loyalty programmes
Legal aspects of dietary supplement advertising in Poland against the backdrop of EU solutions
This article aims to outline the main issues relating to the problem of determining the relevant provision of the Polish Constitution for examining the constitutional aspects of copyright protection. In the introduction, the author describes the problems with interpreting Articles 21 and Article 64 of the Polish Constitution. In the subsequent analysis she refers to the case law of the Polish Constitutional Court on interpretation of the terms used in those provisions. The problem of finding the constitutional grounds for the copyright protection also appears in the European Union instruments, therefore the analysis covers, in the third part of the article, also the question of whether the copyright protection is derived from the Charter of Fundamental Rights of the European Union (and how it is understood). Referring to the recent discussion about how intellectual property relates to the notion of ownership used in Art. 17 of the Charter, the author also presents various judgments of the Court of Justice of the European Union.
Conclusions and questions from the analysis are the background for the most recent judgment of the Polish Constitutional Court, which examines the constitutionality of Art. 79(1)(3)(b) of the Polish Act on Copyright and Neighbouring Rights of 1994 (claim for triple remuneration in case of author's economic rights infringement). The Court held this provision inconsistent with the constitutional guarantees, however in a way which might give rise to some dogmatic and constitutional doubts. The author analyses the Court's arguments and juxtaposes them with the conclusions from earlier judgments, showing a certain inconsistency in thinking about copyright law at the constitutional level and the resulting problems.
The notion of a performance of a work is hard to define, especially to the extent of the feature of 'artistic' character of the performance. The definition in Art. 85(1) of the Act on Copyright and Neighbouring Rights actually sheds little light on the issue. Various views are presented in the legal literature. In recent years, there has been growing support for the standpoint which links the artistic character of the performance with the performer's personal efforts in the sphere of artistic activity. The courts should have the final say in resolving the problem with the definition. But part of the problem is that the published decisions are few and far between, usually laconic on the issue in point and, in a certain sense, equivocal.
The aim of this article is taking a look at the opinions expressed in the latest case law on the issue and showing the theoretical-law consequences of the adopted solutions. In one of judgments it was assumed that it was unnecessary to determine, with the help of an expert witness' opinion, whether a professional musician recording the part of a musical instrument amounts to an artistic performance. This simply follows from life experience. According to this writer, this judgment is in the vein of the theoretical-law concept linking the artistic character of a performance with efforts in the sphere of artistic activity. In order to assess whether we are dealing with an artistic performance, it is necessary to refer to the contextual understanding of the situation which is being assessed. On the other hand, in the second judgment presented here the court examined the claims of a professional actress who entered into a contract for the use of her image and artistic performance in advertisements of a store network. Against the background of this judgment, we can see clearly that classifying the subject-matter of a contract as an image or a fragment of artistic performance determines whether the actor has advantageous financial claims which serve the protection of an artistic performance or just 'ordinary' claims for financial redress or damages. It might help to resolve this dilemma if we refer to the concept of protection of a fragment of artistic performance, which is in opposition to the concept of protecting the so-called 'artistic mask'. Among the recent case law it is worthwhile to point out the Supreme Court judgment concerning the collision between the freedom of artistic expression and the protection of religious feelings. Although the reflections about artistic performances were an aside to the main reflections, the Supreme Court clearly separated the issue of civil-law protection of the artistic performance from the artists possible criminal responsibility for a performance which infringes the law.
The general conclusion which follows from the discussed judgments is that, even though some judgments have appeared, there is still a shortage of decisions which would enable resolving the theoreticallaw doubts in a comprehensive and exhaustive manner. These doubts in turn have ramifications for many other issues, such as a party's duty to identify the legal grounds for the claim if different grounds for protection can be referred to (artistic performance vs. image as a personal interest). This conclusion does not, however, equal criticism of the case law. Even partial attempts at explaining those complex issue in case law are valuable guidelines for legal literature.
This article discusses the issue of reimbursing the so-called private copying levy, regulated in Art. 20 of the Act of 4 February 1994 on Copyright and Neighbouring Rights, in the light of e.g. CoJ judgment of 5 March 2015 in case C-463/12, Copydan Bĺndkopi v Nokia Danmark A/S. Referring to the right to reimbursement of the private copying levy, the CoJ expresses the opinion that the right has to be effective and the system cannot make it excessively difficult to repay the levy paid in cases falling outside that covered by the hypothesis of Art. 5(2)(b) of Directive 2001/29/EC. It is permissible that the reimbursement be made only to the final purchaser of the medium who submits an appropriate application to the organization responsible for administering the levy.
In Poland, private copying levy is considered as special kind of remuneration resulting from a civillaw relationship, whose direct source is the provisions of statutory law. As the Act on Copyright and Neighbouring Rights (ACNR) does not regulate the issue of reimbursement of the levy, it is reasonable to look for the relevant solutions in the Civil Code. The solution which involves using the construction of an unjustified enrichment, in particular the condition specified in Art. 410(2) CC as the grounds for the performance becoming inoperative (condictio causa finita), may be considered a workable, accessible, commonly known and easy to use, but at the same time excessively difficult die to the particularities of the Polish system of private copying levy, delimited by the contents of Art. 20 ACNR and the implementing regulation of 2 June 2003. The salient feature is the complex mosaic of entities that are potentially obligated to refund the levy, which is combined with the 'dispersion' of the private copying levy that progresses with time.
In case of any amendments to the Act on Copyright and Neighbouring Rights the preferred solutions should be the ones that eliminate the payment by the beholden entities of levies that do not meet the statutory conditions specified in Art. 20(1) ACNR, which would be consistent with the European Parliament resolution of 27 February 2014 on private copying levies.
The subject-matter of this article is the presentation of the origin and characteristic features of the second tier patent protection model. The first part presents the essence of the concept in point, its origin and the factors which influence the formation in a given legal order of second tier patent protection. The most important of these factors is noticing the need for protection of technical solutions which - although they fail to satisfy the necessary requirements for the grant of a classical patent - may stimulate an improvement of the given state's technological level, while contributing to the growth of its economy. In this context, the author mentions e.g. the problem of shorter product life cycles and the fact that classical patent protection is not fit for the particularities of developing countries. The latter issue is exemplified by the Australian small and innovation patents, which are often modified depending on how useful they are for the local inventors.
In view of the lack of international protection standards for second tier patents, the solutions adopted in individual legal orders are very different in terms of the object of protection, the scope of protection, conditions necessary for obtaining it, as well as different models of application proceedings. Consequently, in individual patent systems the relationships between first and second tier patents vary. The most characteristic features of the exclusive right in question are presented, mainly using the examples of the Australian, Irish, Malaysian and French models.
The article also touches upon the question of the practical role that second tier patent plays in the economies of selected states, both in terms of the number of applications and the fields of technology which applications concern, as well as the share of applications from non-residents.
This article discusses the proposed amendments to selected provisions of trademark law contained in the new proposal for Directive 2008/95/EC to approximate the laws of the Member States relating to trademarks. These amendments are to be introduced along with amendments to the Regulation on the Community trademark. This text does not aim at a comprehensive presentation of any proposed changes, but only those changes that materially change the existing trademark law. The authors decided to discuss two amendments to the Directive which, in their opinion, are of vital importance. The first part of the article discusses the definition of trademark, which (according to the proposed amendment) no longer contains the requirement of graphical presentation of the trademark. The purpose of this amendment is to boost the innovativeness of applicants. A thorough analysis of the aforementioned proposal leads to the conclusion that the lack of the requirement of trademark graphic presentation (depictivity requirement) can significantly increase the efficiency of the procedure of obtaining protection for trademarks which cannot be easily presented in a graphic form (in particular non-traditional trademarks like scents). Furthermore, the abovementioned amendment can better adjust the possibility of gaining trademark protection to technical progress. It should be also mentioned that the digitization of trademark register creates new possibilities for recording and presenting trademarks with greater precision, consequently facilitating the perception of non-traditional trademarks by consumers.
Subsequently, this article presents changes relating to the scope of the examination of obstacles, conducted by the relevant national offices. The European Commission suggests that national offices should not ex officio examine the relative grounds for refusal to register a trademark. Such a procedure (without examining the relative grounds) aims above all at making the registration procedure faster. In the authors' view, the abovementioned proposal might undoubtedly speed up the procedure, however, the lack of an ex officio examination of the relative grounds for refusal carries also a significant risk. Since the relative grounds will be examined only in the (potential) opposition proceedings, it seems inevitable that numerous trademarks owners (licensors) will be (in fact) obliged to regularly examine whether the relevant national office has registered a trademark which collides with their prior exclusive rights and such examination entails additional costs. Moreover, the authors point out that despite the risk of trademark collision, in many cases the opposition proceedings may not commence for various reasons. Such situations will involve the risk of the consumer being confused about the origin of a particular good.
The amendment to Art. 94a of the Act of 6 September 2001 - Pharmaceutical Law, inserted as of 1 January 2012 by Art. 60(7) of the Act of 12 May 2011 on Refunding Medicines, Foods for Special Nutritional Purposes and Medical Products, introduced an absolute prohibition of advertising of pharmacies and their operations. Art. 94a(1) of the Pharmaceutical Law in its current version provides that advertising of pharmacies and limited-service pharmacies and their operations is prohibited, however, information about the address and opening hours of a pharmacy and limited-service pharmacy does not constitute advertising. One of the numerous objections raised by opponents of this new regulation, which from the very start aroused strong emotions and controversies, was that the ban on pharmacy advertising in its current shape prevents pharmacies from providing pharmaceutical care, defined in Art. 2a(1)(7) of the Act of 19 April 1991 on Pharmacists' Chambers. The provision of pharmaceutical care in pharmacies is part of pharmaceutical services, hence pharmacies' duty. This article tries to answer the question whether the above concerns are legitimate, mainly in the light of recent case law of the Supreme Administrative Court. Moreover, since pharmaceutical care started to be frequently used as an element of loyalty programmes, in order to adjust the existing marketing strategies to the new legal reality, this article also classifies one of marketing communication tools, namely the loyalty programme, from the point of view of the regulation prohibiting advertising of pharmacies and their operations.
The aim of this article is to analyse legal regulations concerning dietary supplement advertising in force in Poland and the European Union. It presents the definition and general characteristics of dietary supplements in the light of Polish and EU law. In this context reference is made to the notion of 'borderline' product, which is of key importance for interpreting provisions in the scope in question. This enables detailed reflections concerning the particular problems with the differentiation between dietary supplements and another category of goods, namely medicinal products, and the selection of adequate legal regime governing their advertising.
This analysis contains an explanation of Polish and EU legal regulations concerning dietary supplement advertising, with references to the view expressed by legal academics, case law and decisions of the Polish Chief Pharmaceutical Inspector. Attention is drawn to the existing legal lacunas and problems in applying the provisions on dietary supplement advertising. The need for legislative amendments is pointed out. They are needed to ensure an adequate level of safety in trading in dietary supplements, so that the principle of protection of human health is efficiently implemented.