The Shareholders’ Right to copy account records

2018 ◽  
Vol 12 (2) ◽  
pp. 169-192
Author(s):  
Zhongfa Ma ◽  
◽  
Chi Zhang
Keyword(s):  
2006 ◽  
Vol 13 (3) ◽  
pp. 438-455 ◽  
Author(s):  
Annabelle Littoz-Monnet
Keyword(s):  

Author(s):  
Connie Strittmatter

Emily Riha, Copyright Permissions Coordinator at the University of Minnesota, presented at the 2017 Kraemer Copyright Conference her experience when the process of securing copyright permissions moved from Printing Services to the University Libraries.


2016 ◽  
Vol 98 (03) ◽  
pp. 162-164
Author(s):  
P Smart

‘Talent is always conscious of its own abundance, and does not object to sharing.’ Aleksandr Solzhenitsyn, The First Circle When authors submit an article for publication, most publishers will ask for a signature from the author on a copyright form. The relationship between an author and the publisher is then a partnership but one that many authors are reluctant to enter into. After all, why should a publisher take copyright from an author of an article when the author had the idea and has done all the hard work for the content of the article? In response to this question, publishers will generally claim that copyright transfer agreements protect authors from copyright infringements such as plagiarism, libel and unauthorised uses as well as protecting the integrity of the article. Copyright in the UK was originally concerned with preventing the unlawful copying of printed material in the 17th century in response to the then new technology of book printing. The first copyright act in the UK, the Statute of Anne in 1710, was subtitled ‘An Act for the Encouragement of Learning’, and granted privileges and monopolies to book printers. Since then, copyright law has evolved to incorporate many forms of communication, including photography, film, music, computers, engraving, designs on t-shirts and digital technology among other forms of media. The most recent act in the UK is the Copyright, Designs and Patents Act 1988. While copyright covers an author’s right to copy, distribute and revise the work, it does not protect ideas – just their fixation or expression. The moment that an idea is fixed or expressed physically, copyright starts and does not have to be registered. In this article, Pippa Smart provides an overview of the legal framework that protects authors and publishers. Jyoti Shah, Commissioning Editor


Author(s):  
L. Bently ◽  
B. Sherman ◽  
D. Gangjee ◽  
P. Johnson

This chapter is about the rights conferred by the law on copyright owners, and the scope of what determines the types of activity that amounts to copyright infringement. It begins by considering the right to copy the work, focusing on the issue of reproduction with respect to literary, dramatic, musical, and artistic works as well as films, sound recordings, broadcasts, and typographical arrangements. It then looks at other rights granted to copyright owners, including distribution right; the right to rent and lend copies of the work; the right to perform the work in public; and the right to make an adaptation of the work.


1975 ◽  
Vol 14 (2) ◽  
pp. A40
Author(s):  
Richard R. Lingeman
Keyword(s):  

2021 ◽  
Vol 5 (1) ◽  
pp. 49
Author(s):  
Muchtar A H Labetubun

Copyright as an exclusive right for the creator or copyright holder to carry out the results of his ideas or ideas in the form of specific information or certain. Basically, copyright is the right to copy, adapt or produce a work, copyright is possible for the right holder to limit the copying or in any form without the illegitimate permission of a work, it can be realized by registration copyright, in its application, of course, there are obstacles that exist in the enforcement of copyright law itself. One example is the lack of awareness in registration copyright of songs by the creator. The research objective was to determine and analyze the legal awareness of regional pop songwriters to register their copyright. The research method uses normative research through a conceptual approach and a statue approach. The results show that the composers of regional pop songs know the importance of recording copyright because it is in accordance with the mandate of Act No. 28 of 2014 concerning Copyright and has also participated in the socialization carried out by the Ministry of Law and Human Rights, but songwriters do not record their work. Some songwriters consider that the registration is of no use because, from an economic standpoint, they cannot profit or lose personally, besides that their aspirations have not been fully channeled by the related institutions they shelter in this case the Collective Management Institute. Therefore to decide on the sale of the song's copyrighted work rather than registering it to the Ministry of Law and Human Rights in the Field of Intellectual Property.


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