民间文学艺术著作权归属问题研究

发布时间：2018-08-30 09:30

【摘要】：民间文学艺术是传统文化的重要组成部分,它源远流长,是千百年来我国各民族人民重要的精神食粮。时至今日,民间文学艺术仍然具有巨大的社会价值,故急需国家出台法律、政策对其加以保护。然而,我国自90年代初出台《著作权法》,原则上规定保护民间文学艺术后,就再未制定出任何关于民间文艺的条例,直至2014年版权局起草了民间文艺的保护条例,但尚在征求各界意见。三十多年来,学界热烈讨论关于民间文艺的各种问题,但因民间文艺的特殊性,它的著作权归属问题始终得不到彻底解决,学者们的观点也是五花八门,并不统一。因此,想要为民间文艺找到最合理的保护途径,首先就要解决民间文艺的权利归属问题,只有将这一问题解决了,才能结合权利主体的具体情况,提出更加科学、也更适合我国国情的建议。要确认民间文艺的权利归属,我们可以借鉴著作权主体制度的演变经历。在现代意义上的版权制度还未诞生时,国家最先保护的是出版商的利益,作者被视为普通工匠,除了少量的报酬,享受不到任何精神的、财产的权利。资产阶级革命大爆发的年代孕育出了浪漫主义思潮,精神的价值被重视,人的主观创造力被肯定。作者不再是普通工匠,他们的创作活动带来了巨大的经济利益,社会地位大大提升。20世纪中期,结构主义思潮盛行,越来越多的作品由集体创作完成,理论与实践的发展共同推动着个人主义与集体主义并存的著作权主体制度取代了个人主义主体制度。虽然现行著作权制度与民间文学艺术之间存在各种矛盾,但这并不妨碍我们以个人主义与集体主义并存的著作权主体制度为思路,构建适合民间文学艺术的二元权利主体结构。学者们曾提出多种针对民间文艺权利主体的模式,但都存在或多或少的问题,二元权利主体结构则吸取了各种模式的精华之处。所谓的二元权利主体结构即民间文艺的著作权主要归属于创作及保有它的来源群体,传承人创作的符合条件的新民间文艺作品的著作权则归属于传承人,以群体权利主义为主同时辅之以个人权利主义。只有在极少数的情况下,针对极特殊的民间文学艺术,国家可以作为权利主体行使权利,并负责传承与发展民间文艺。来源群体基于相同的自然因素或社会因素聚居在一起进而形成,他们长期共同生产生活,具有相同的历史文化、相同的生产生活习惯、相同的社会习俗、相对一致的价值观。来源群体以地域和种族为标准,可以划分为单一民族、跨民族、特定区域、跨区域,其中跨民族、跨区域的情况比较复杂,来源群体之间可以成立共有关系,共同拥有民间文艺的著作权。来源群体主要享有公开权、表明来源权、反丑化、侮辱权、许可使用权与获得报酬权等人身权利与财产权利。由于人数众多、能力有限等因素的影响,来源群体想要充分地维护自己的权益,应对侵权诉讼、商业谈判等专业问题,就需要建立权利代理机构,代表来源群体行使有关权利,维护自身权益。比之国家管理、信托公司管理,比照著作权集体管理制度,建立民间文学艺术著作权集体管理机构是一种较为合理的选择。个人是民间文学艺术的另一类著作权归属者,传承人基本上就是该类主体的代名词。可以成为民间文艺著作权主体的传承人是狭义概念上符合一定条件的传承人,即来自于来源群体内部,以民间文艺母型为基础,继承了母型的基本特征与表现形式,并注入了自己的想法、添加了新颖性的内容,创作出了水平较高又不同于母型、具有自己独创风格的新民间文艺作品的人。传承人主要拥有表明传承人身份权、新民间文艺作品著作权与获得资助与报酬权,对应地,他也负有传授民间文艺以保障其传承的义务。在实践中,会出现改编者、采风者、整理者等其他利益相关者,他们的工作与传承人有交叉重叠之处,却并不享有与传承人相同的法律地位。出于保存、保护民间文艺的考虑,他们的相关权益也应受到关注。
[Abstract]:Folk literature and art is an important part of traditional culture. It has a long history and is an important spiritual food for the people of all nationalities in China for thousands of years. However, the Copyright Bureau drafted the regulations on the protection of folk literature and art in 2014, but it still solicited opinions from all walks of life. For more than 30 years, the academic circles have heatedly discussed various issues concerning folk literature and art. However, due to the particularity of folk literature and art, the copyright ownership of folk literature and art is still under discussion. Therefore, if we want to find the most reasonable way to protect folk literature and art, we must first solve the problem of the ownership of the rights of folk literature and art. Only by solving this problem, we can combine the specific situation of the subject of rights, put forward more scientific and more suitable. To confirm the ownership of the rights of folk literature and art, we can learn from the evolution of the copyright system. In the modern sense, the copyright system has not yet been born, the state first protected the interests of publishers, the author is regarded as an ordinary craftsman, in addition to a small amount of compensation, can not enjoy any spiritual, property rights. In the mid-20th century, structuralism prevailed and more and more works were written collectively. The completion of creation and the development of theory and practice jointly promote the coexistence of individualism and collectivism in the copyright subject system to replace the individualism subject system. Although there are various contradictions between the current copyright system and folk literature and art, this does not prevent us from the coexistence of individualism and collectivism in the copyright subject system. Scholars have put forward a variety of models for the subject of folk literature and art, but there are more or less problems. The structure of the subject of dual rights absorbs the essence of various models. The so-called structure of the subject of dual rights is the main copyright of folk literature and art. The copyright of the new folk literary and artistic works created by the inheritors belongs to the inheritors, with the group rights doctrine as the main part and the individual rights doctrine as the supplement. Origin groups are formed on the basis of the same natural or social factors. They have the same long-term production and life, the same historical culture, the same production and living habits, the same social customs, and relatively consistent values. It can be divided into single ethnic group, cross-ethnic group, specific region and cross-regional group, in which cross-ethnic and cross-regional situation is more complex, the source groups can establish a common relationship and jointly own the copyright of folk literature and art. Due to the large number of people, limited capacity and other factors, the source groups want to fully protect their rights and interests, to deal with infringement litigation, commercial negotiations and other professional issues, it is necessary to establish a rights agency, on behalf of the source groups to exercise the relevant rights and safeguard their rights and interests. According to the copyright collective management system, it is a reasonable choice to set up the collective management organization of folk literature and art copyright.Individual is another kind of copyright owner of folk literature and art, and the inheritor is basically a synonym of this kind of subject.The inheritor who can become the subject of folk literature and art copyright conforms to the narrow concept. Inheritors of certain conditions, that is, those who come from within the source group, inherit the basic characteristics and forms of expression of the mother type on the basis of folk literature and art, and inject their own ideas, add new content, create new folk literature and art works of higher level and different from the mother type, with their own original style. In practice, there will be other stakeholders, such as adapters, collectors and collators, whose work overlaps with the successors but does not enjoy them. They have the same legal status as the inheritors. For the sake of preservation and protection of folk literature and art, their related rights and interests should also be concerned.
【学位授予单位】：安徽大学
【学位级别】：硕士
【学位授予年份】：2015
【分类号】：D923.41

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