法學專業(yè)外文翻譯--版權和民間文藝-閱讀頁
2025-06-05 22:28本頁面
【正文】 onymous oral singers and storytellers. In India, for example, the early classical epics Mahaabhaarata and Raamaayanas which show so few mon features that it is doubtful whether these narratives stem from a mon root. Some scholars see here only parallel traditions, not derivations from one and the same story. To plicate the matter further, there are hundreds of antiRaamaayas 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 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 countr
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