法學(xué)專業(yè)外文翻譯--版權(quán)和民間文藝(存儲版)
【正文】 pertaining to the application of copyright on folklore and produced by several Intergovernmental Expert Committees, in which I had the privilege of participating during 198289, was the Remendation on the Safeguarding of Traditional Culture and Folklore, adopted by Unesco39。na are attributed to the great poets Vyaasa and Vaalmiiki, respectively, even though the historical knowledge about the creation processes in question is scanty. The scholarly understanding is, however, that the poetic materials of both epics largely existed in oral forms before the idea of a truly long and wellintegrated superstory was conceived by some individual sage or poet and before the narrative was codified into a written form. Orality never fully conceded its role to literacy and literature. Performance traditions are a case in point: they have remained oral in a variety of ways. The story of Raama has been recited, sung, danced and orally enacted in dozens of languages in about 20 South and Southeast Asian countries over the centuries. The result is that we have today hundreds of Raamaaya她的報(bào)告 1975 年出版于瑞典。 西蒙發(fā)表的新歌“尼爾尼諾婆娑禿鷹”，迅速被認(rèn)為是玻利維亞民歌。我在后來的過程中寫了兩份工作文件，并于 1987年 5月在巴黎主持了通過建議文本的會議。一些學(xué)者在這里看到的只有類似的傳統(tǒng)，而不是出于一個(gè)和相同的故事。在印度，例如，早期經(jīng)典史詩《 Mahaabhaarata》和《 Raamaaya 口述從未承認(rèn)它文學(xué)和藝術(shù)的作用。 換句話講，口述和文字，民間文學(xué)和古典文學(xué)在過去不斷地進(jìn)行對話，到現(xiàn)在仍在繼續(xù)。 3 背景 首先談?wù)勅绾伍_始。術(shù)語“傳統(tǒng)文化”首選是“民俗”，因?yàn)楹笳咴g毀西方色彩。然而，民間藝術(shù)的個(gè)人所有權(quán)在關(guān)于傳統(tǒng)社會解釋和維護(hù)民間文藝的主導(dǎo)作用的問題上是有爭議的。s General Assembly in November 1989. I wrote two working documents for the latter process and presided over the meeting in Paris in May 1987 which finalised the Remendation text. About 80 Member States of Unesco were represented and dozens of NonGovernmental Organizations sent their observers to the meetings. Let
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