法學(xué)專業(yè)外文翻譯--版權(quán)和民間文藝-文庫吧在線文庫
【正文】 me briefly sketch the relevance of these two authoritative statements as regards copyright and folklore. The background First a few words about how it all began. The idea that folklore could be copyrighted was obviously in the air in the early 1970s, since it emerged independently in two contexts at least. In 1973, the Government of Bolivia submitted to the DirectorGeneral of Unesco the request that Unesco begin to examine the state of folklore and make a proposal for an addition to the Universal Copyright Convention. The background to this action may be illustrated by an anecdote which may or may not be true. It was at about that time that the pop singer Paul Simon published his song El Condor Pasa, which was soon identified as a Bolivian folk song. Since the record brought the author considerable revenue, it was felt that at least some of it should be channelled back to Bolivia. At any rate, the initiative to copyright folklore reflects the more widely felt need in the developing countries to draw new intellectual strength from the country39。 4 外文文獻(xiàn)翻譯原文 Copyright and folklore by Dr Lauri Honko, Kalevala Institute Paper read at the National Seminar on Copyright Law and Matters, Mangalore University, Mangalore, Karnataka, India, on February 9, 2020 Oral traditions constitute a powerful cultural force and an inexhaustible spiritual resource in the history of mankind. Many a venerated literary work has its origins in the songs and narratives of anonymous oral singers and storytellers. In India, for example, the early classical epics Mahaabhaarata and Raamaaya在北歐民間文藝研究所擔(dān)任主任期間，并從芬蘭的律師那里調(diào)查到版權(quán)和民間文藝之間的關(guān)系。在這個時候，流行歌手保羅 這些會議的一個產(chǎn)物是“保護(hù)民間文學(xué)表達(dá)形式、防止不正當(dāng)利用及其他侵害行為的國內(nèi)法示范法條”，在 1983年制定的，但從未正式通過科教文組織。
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