【摘要】：近年來追續(xù)權(quán)立法已然成為藝術(shù)領(lǐng)域和立法界的熱點(diǎn)話題,2014年6月6日中華人民共和國著作權(quán)法(修訂草案送審稿)①中追續(xù)權(quán)條款的增加飽受各界人士的爭(zhēng)議;美國國會(huì)立法委員在2014年2月26日順利地頒布了《美國版權(quán)非常法案》(American Royalties Too act),規(guī)定了美國藝術(shù)市場(chǎng)的轉(zhuǎn)售提成稅(追續(xù)權(quán));追續(xù)權(quán)制度起源于1920年的法國,這一制度的設(shè)置主要是為了避免藝術(shù)領(lǐng)域中“米勒式的悲哀”,縮小藝術(shù)家們生前逝后生活上的巨大差距,平衡藝術(shù)作品創(chuàng)作者與普通作品創(chuàng)作者及藝術(shù)商之間的利益差距,它作為藝術(shù)創(chuàng)作領(lǐng)域中的一次產(chǎn)權(quán)界定,其引進(jìn)必然是大勢(shì)所趨,這篇文章主要運(yùn)用比較研究方法、文獻(xiàn)分析方法和理論分析方法,從如下幾個(gè)層面進(jìn)行寫作:首先,文章開篇對(duì)追續(xù)權(quán)的基礎(chǔ)理論知識(shí)進(jìn)行闡述,從追續(xù)權(quán)的概念、法律屬性以及特征出發(fā),追溯追續(xù)權(quán)的歷史淵源,同時(shí)也為后文的論述奠定理論基礎(chǔ);第二部分,針對(duì)各國有關(guān)追續(xù)權(quán)的規(guī)定及追續(xù)權(quán)制度的實(shí)施狀況進(jìn)行闡述,深入對(duì)比追續(xù)權(quán)制度的在兩大法系、各個(gè)國家的不同,為我國引進(jìn)此制度提供借鑒。第三部分主要是試圖從著作權(quán)激勵(lì)機(jī)制的法律構(gòu)造、功利主義的正當(dāng)性、法經(jīng)濟(jì)學(xué)和社會(huì)性實(shí)證材料等各個(gè)層面來分析論證我國著作權(quán)領(lǐng)域引入追續(xù)權(quán)的必要性和可行性。第四部分主要是從我國的具體國情出發(fā),思考追續(xù)權(quán)制度如何入法,并針對(duì)性地提出相應(yīng)的立法設(shè)計(jì)、追續(xù)權(quán)相關(guān)制度如何進(jìn)行完善的見解。
[Abstract]:In recent years, the legislation of follow-up power has become a hot topic in the field of art and legislation. On June 6, 2014, the increase in the provisions of the copyright Law of the people's Republic of China (revised draft) 1 was controversial by people from all walks of life. On February 26, 2014, lawmakers of the United States Congress successfully promulgated the United States copyright Special Act (American Royalties Too act), which provides for a resale tax on the art market in the United States. The system of power of pursuit originated in France in 1920. This system was set up mainly to avoid "Hans Muller-style sadness" in the field of art, and to narrow the huge gap in the lives of artists after their death. Balancing the benefit gap between the creators of artistic works and the creators of ordinary works and art merchants, as a definition of property rights in the field of artistic creation, the introduction of which is bound to be the trend of the times. This article mainly uses comparative research methods. The literature analysis method and the theory analysis method, carry on the writing from the following several levels: first, the article carries on the elaboration to the basic theory knowledge of the pursuit right, from the follow-up power concept, the legal attribute and the characteristic, embarks from the follow-up right the concept, the law attribute and the characteristic, Tracing back the historical origin of the right of follow-up, but also laying a theoretical foundation for the later discussion; In the second part, according to the stipulations about the right of pursuit and the implementation of the system of the right to pursue, the author makes a deep contrast between the two legal systems and the differences of each country, and provides reference for the introduction of the system in our country. The third part mainly attempts to analyze and demonstrate the necessity and feasibility of introducing the right of follow-up in the copyright field of our country from the aspects of the legal structure of copyright incentive mechanism, the legitimacy of utilitarianism, legal economics and social empirical materials. The fourth part is mainly from the specific national conditions of our country, thinking about how to enter the law, and put forward the corresponding legislative design, how to perfect the relevant system of follow-up power.
【學(xué)位授予單位】：河北大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：D923.41

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本文編號(hào)：2447959