摘要
在数字环境下,作品传播既可依靠实体形式发行,也可以通过网络销售数字作品。与传统作品不同的是,数字作品销售不再必然地依托于有形形式的物质载体,而是通过网络合法下载并取得以数字形式存在的作品复制件。那么,针对该数字作品的合法复制件,用户能否依照发行权穷竭原则,不经著作权人许可而转让该作品复制件。通过对美国Redigi案与欧盟Usedsoft案两个案件进行对比分析,进而深入探讨数字环境下的发行权、发行权的理论变迁以及目前所产生的适用争议问题,从而对我国现行著作权法提出相应立法建议。
Under the digital environment, the dissemination of works can be done both in physical forms and in digital forms. Unlike traditional works, the sale of digital works no longer depended on the material carrier in tangible forms, but it legally downloaded through the network and obtained copies of the works of digital form. Then based on the distribution rights of exhaustion principle do the users can transfer legal copies of the digital works without permission from copyright owner? Through comparing and analysing two cases between the Redigi ease of the United States and the Usedsoft case of the European Union, the theoretical changes of the distribution rights and distribution rights under the digital environment, as well as the application of current disputes are discussed, and the corresponding legislative proposals for the current copyright law of China are put forward.
作者
程洁
Cheng Jie(Law School,Guizhou University,Guiyang 550025,China)
出处
《六盘水师范学院学报》
2018年第5期75-80,共6页
Journal of Liupanshui Normal University
关键词
发行权穷竭原则
数字作品
数字发行权
the distribution rights of exhaustion principle
digital works
digital distribution right