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Bøger, skrifter og andre tryksager i
førmoderne ophavsret
World IP Day Symposium
IPR Nord, AAU
23 April 2014
Stina Teilmann-Lock, lektor, ph.d.
Institut for Design og Kommunikation, SDU
Over 300 år med ophavsret…
Statute of Anne, London (1710), Primary Sources on Copyright (1450-1900), eds L. Bently & M. Kretschmer,
www.copyrighthistory.org. Scan af pergamenteksemplar i UK Parliamentary Archives
Beskyttelsens genstand og omfang
ifølge Statute of Anne:
‘A sole Right and Liberty of Printing such Book
and Books for the Term of One and twenty
Years’ til Stationers som allerede havde
privilegier til publicerede bøger
Samt 14+14 år til ‘the Author of Any Book or
Books already Composed and not Printed and
Published, or that shall hereafter be
Composed, and his Assignee, or Assigns’
Det var en krænkelse ‘to print, reprint, or import,
or cause to be printed, reprinted, or imported
such Book or Books without the Consent of
the Proprietor.’
Brev af 20. december 1740 fra Missionskollegiet til Christian VI: ’eftertryk af bøger’, ’Bogtrykker Berling’,
’nyttige skrifter.’
Forordning af 7. Januar 1741 ’Ingen må oplægge, eftertrykke eller eftertrykt indføre eller falholde nogen Bog eller Skrift, som
en anden herinden justo Titulo sig haver forhvervet, saasom enten ved frivillig Gave, Donation eller ved at tilhandle sig
Samme.’
Karakteristisk for tidlig (litterær) ophavsret -
Forlæggernes initiativ
-
’Bøger’ (og ’skrifter’) genstand for beskyttelse mod eftertryk: ophavsret
som en regulering af fysiske eksemplarer
-
Forlægger-terminologi: fx ’copy’
1) i UK: ’Right in copies’ dvs retten til at lave eftertryk af
’copy’ = forlægget/’originalen’ (’matter prepared for printing’)
2) i DK: ligeledes eneretten til at trykke bestemt bog eller skrift
Til forskel fra moderne ophavsret: ikke
beskyttelse af et immaterielt ’værk.’
Dermed begrænset beskyttelsesomfang
Især: oversættelser og abridgements
(gengivelser)
Burnet v. Chetwood (1721)
’Which being intended to encourage learning by giving the
advantage of the book to the author, could be intended only
to restrain the mechanical art of printing, and that others
should not pirate the copy and gain an advantage to
themselves by reprinting it; but not to hinder a translation
of the book into another language, which in some respects
may be called a different book, and the translator may be
said to be the author, in as much as some skill in language is
requisite thereto, and not barely a mechanic art, as in the
case of reprinting in the same language; that the translator
dresses it up and clothes the sense in his own style and
expressions, and at least puts it into a different form from
the original ... and therefore should rather seem to be within
the encouragement than the prohibition of the act.’
(at 441. Citeret fra Deazley, R. (2008) ‘Commentary on Burnet v. Chetwood (1721)', in Primary Sources
on Copyright (1450-1900), eds L. Bently & M. Kretschmer, www.copyrighthistory.org )
Ophavsrettens potentiale blev først indløst i slutningen af det
19. århundrede da man definerede beskyttelsens genstand
som det immaterielle ’værk’ (der kunne optræde i hel eller
delvis form og i forskellige medier)
Men forløber for moderne ophavsret i ’visuelle’ ophavsret:
Engravers’ Copyright Act, 1735.
(An Act for the encouragement of the arts of designing,
engraving, and etching historical and other prints, by
vesting the properties thereof in the inventors and
engravers, during the time therein mentioned, 1735, 8 Geo.
II, c.13)
Engravers’ Copyright Act, 1735
’Every person who shall invent and design, engrave, etch, or work in
Mezzotinto or Chiaro Oscuro, or, from his own works and invention, shall
cause to be designed and engraved, etched, or worked in Mezzotinto or
Chiaro Oscuro, any historical or other print or prints shall have the sole
right and liberty of printing and reprinting the same for the term of
fourteen years, to commence from the day of first publishing’
’if any printseller, or other person whatsoever […] shall engrave, etch, or
work as aforesaid, or in any other manner copy and sell, or cause to be
engraved, etched, or copied and sold, in the whole or in part, by varying,
adding to, or diminishing from the main design, or shall print, reprint, or
import for sale, or cause to be printed, reprinted, or imported for sale,
any such print or prints, or any parts thereof without consent of the
proprietor or proprietors…..’
Særligt ved Engravers’ Copyright Act:
- Initiativ fra kunstnerne selv
(William Hogarth m.fl. som
solgte kobberstik af deres
malerier)
- Genstand for ophavsret var
’the design’= det
indgraverede billede
- Terminologi: kunstnertermer
(fx ’chiaroscuro’ = stærk
kontrast i kompositionen)
William Hogarth, 'The Painter and his Pug', 1745, Tate Britain
Ophavsrettens historie……
Aktørernes rolle i definitionen af ophavsretten (1700-tallet:
bog som produkt, kobberstik som kunstnerisk udtryk)
Ophavsrettens elasticitet: fra 1710 til i dag nye genstande for
beskyttelse (fx fotografier, brugskunst, software) har alle
været med til at forme ophavsrettens karakter og omfang.
Og det var Hogarth og øvrige engravers der var de første til
klart at skelne ophavsretten fra retten til fysiske
eksemplarer: ’whatever Value it has above another common
Piece of Paper.’ (The Case of Designers, Engravers, Etchers, &c., London (1735), Primary Sources on
Copyright (1450-1900), eds L. Bently & M. Kretschmer, www.copyrighthistory.org )