X-Git-Url: https://pere.pagekite.me/gitweb/text-free-culture-lessig.git/blobdiff_plain/d7ef02de20b15cdd6c2065fe440d1c146fa28c77..e869f49bffd77b4bd07595b8a3a4fdf394d999c9:/freeculture.nb.po diff --git a/freeculture.nb.po b/freeculture.nb.po index 735ca4d..235cdef 100644 --- a/freeculture.nb.po +++ b/freeculture.nb.po @@ -6,7 +6,7 @@ msgid "" msgstr "" "Project-Id-Version: Free Culture by Lawrence Lessig\n" -"POT-Creation-Date: 2012-07-26 16:53+0300\n" +"POT-Creation-Date: 2012-07-27 20:12+0300\n" "PO-Revision-Date: 2012-07-13 21:50+0200\n" "Last-Translator: Petter Reinholdtsen \n" "Language-Team: Norwegian BokmÃ¥l \n" @@ -65,17 +65,19 @@ msgstr "" #. type: Content of: msgid "" -"This version of Free Culture is licensed under a Creative Commons license. " -"This license permits non-commercial use of this work, so long as attribution " -"is given. For more information about the license, click the icon above, or " -"visit http://" -"creativecommons.org/licenses/by-nc/1.0/" +"This version of Free Culture is licensed under a " +"Creative Commons license. This license permits non-commercial use of this " +"work, so long as attribution is given. For more information about the " +"license, click the icon above, or visit http://creativecommons.org/licenses/by-nc/1.0/" msgstr "" -"Denne versjonen av Fri Kultur er lisensert med en Creative Commons-lisens. " -"Denne lisensen tillater ikke-kommersiell utnyttelse av verket, hvis " -"opphavsinnehaveren er navngitt. For mer informasjon om lisensen, klikk pÃ¥ " -"ikonet over eller besøk http://creativecommons.org/licenses/by-nc/1.0/" +"Denne versjonen av Fri Kultur er lisensert med en " +"Creative Commons-lisens. Denne lisensen tillater ikke-kommersiell " +"utnyttelse av verket, hvis opphavsinnehaveren er navngitt. For mer " +"informasjon om lisensen, klikk pÃ¥ ikonet over eller besøk http://creativecommons." +"org/licenses/by-nc/1.0/" #. type: Content of: msgid "ABOUT THE AUTHOR" @@ -103,10 +105,10 @@ msgstr "" "Scholar ved Stanford Law School, er stifteren av Stanford Center for " "Internet and Society og styreleder i Creative Commons (<ulink url=\"http://" "creativecommons.org/\">http://creativecommons.org</ulink>). Forfatteren har " -"gitt ut av The Future of Ideas (Random House, 2001) og Code: And other Laws " -"of Cyberspace (Basic Books, 1999), og er medlem av styrene i Public Library " -"of Science, the Electronic Frontier Foundation, og Public Knowledge. Han " -"har vunnet Free Software Foundation's Award for the Advancement of Free " +"gitt ut The Future of Ideas (Random House, 2001) og Code: And other Laws of " +"Cyberspace (Basic Books, 1999), og er medlem av styrene i Public Library of " +"Science, the Electronic Frontier Foundation, og Public Knowledge. Han har " +"vunnet Free Software Foundation's Award for the Advancement of Free " "Software, to ganger vært oppført i BusinessWeek's \"e.biz 25,\" og omtalt " "som en av Scientific American's \"50 visjonærer\". Etter utdanning ved " "University of Pennsylvania, Cambridge University, og Yale Law School, " @@ -143,12 +145,8 @@ msgid "Code: And Other Laws of Cyberspace" msgstr "Code: And Other Laws of Cyberspace" #. type: Content of: <book><colophon><para> -msgid "THE PENGUIN PRESS" -msgstr "The Penguin Press" - -#. type: Content of: <book><colophon><para> -msgid "NEW YORK" -msgstr "New York" +msgid "THE PENGUIN PRESS, NEW YORK" +msgstr "The Penguin Press, New York" #. type: Content of: <book><colophon><para> msgid "FREE CULTURE" @@ -160,37 +158,32 @@ msgstr "Lawrence Lessig" #. type: Content of: <book><colophon><para> msgid "" -"a member of Penguin Group (USA) Inc. 375 Hudson Street New York, New York" +"THE PENGUIN PRESS, a member of Penguin Group (USA) Inc. 375 Hudson Street " +"New York, New York" msgstr "" #. type: Content of: <book><colophon><para> -msgid "Copyright © Lawrence Lessig," -msgstr "Opphavsrett © Lawrence Lessig," - -#. type: Content of: <book><colophon><para> -msgid "All rights reserved" -msgstr "Alle rettigheter reservert" - -#. type: Content of: <book><colophon><para> -msgid "" -"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" The " -"New York Times, January 16, 2003. Copyright © 2003 by The New York " -"Times Co. Reprinted with permission." +msgid "Copyright © Lawrence Lessig. All rights reserved." msgstr "" +"Opphavsrettbeskyttet © Lawrence Lessig. Alle rettigheter reservert." #. type: Content of: <book><colophon><para> msgid "" -"Cartoon by Paul Conrad on page 159. Copyright Tribune Media Services, Inc." +"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" " +"<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright " +"© 2003 by The New York Times Co. Reprinted with permission." msgstr "" #. type: Content of: <book><colophon><para> -msgid "All rights reserved. Reprinted with permission." +msgid "" +"Cartoon in <xref linkend=\"fig-1711\"/> by Paul Conrad, copyright Tribune " +"Media Services, Inc. All rights reserved. Reprinted with permission." msgstr "" #. type: Content of: <book><colophon><para> msgid "" -"Diagram on page 164 courtesy of the office of FCC Commissioner, Michael J. " -"Copps." +"Diagram in <xref linkend=\"fig-1761\"/> courtesy of the office of FCC " +"Commissioner, Michael J. Copps." msgstr "" #. type: Content of: <book><colophon><para> @@ -253,10 +246,11 @@ msgstr "" #. type: Content of: <book><colophon><para> msgid "&translationblock;" -msgstr "Oversatt til bokmÃ¥l av Petter Reinholdtsen og Anders Hagen Jarmund. " -"Kildefilene til oversetterprosjektet er <ulink " -"url=\"https://github.com/petterreinholdtsen/free-culture-lessig\">tilgjengelig " -"fra github</ulink>. Rapporter feil med oversettelsen via github." +msgstr "" +"Oversatt til bokmÃ¥l av Petter Reinholdtsen og Anders Hagen Jarmund. " +"Kildefilene til oversetterprosjektet er <ulink url=\"https://github.com/" +"petterreinholdtsen/free-culture-lessig\">tilgjengelig fra github</ulink>. " +"Rapporter feil med oversettelsen via github." #. type: Content of: <book><colophon><para> msgid "" @@ -306,21 +300,21 @@ msgstr "Pogue, David" #. type: Content of: <book><preface><para> msgid "" -"At the end of his review of my first book, Code: And Other Laws of " -"Cyberspace, David Pogue, a brilliant writer and author of countless " -"technical and computer-related texts, wrote this:" +"At the end of his review of my first book, <citetitle>Code: And Other Laws " +"of Cyberspace</citetitle>, David Pogue, a brilliant writer and author of " +"countless technical and computer-related texts, wrote this:" msgstr "" "David Pogue, en glimrende skribent og forfatter av utallige tekniske " "datarelaterte tekster, skrev dette pÃ¥ slutten av hans gjennomgang av min " -"første bok, Code: And Other Laws of Cyberspace:" +"første bok, <citetitle>Code: And Other Laws of Cyberspace</citetitle>:" #. type: Content of: <book><preface><blockquote><para><footnote><para> msgid "" -"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30 January " -"2000." +"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</" +"citetitle>, 30 January 2000." msgstr "" -"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30. januar " -"2000" +"David Pogue, \"Don't Just Chat, Do Something,\" <citetitle>New York Times</" +"citetitle>, 30. januar 2000" #. type: Content of: <book><preface><blockquote><para> msgid "" @@ -341,51 +335,54 @@ msgid "" "\"code,\" functioned as a kind of law—and his review suggested the " "happy thought that if life in cyberspace got bad, we could always \"drizzle, " "drazzle, druzzle, drome\"-like simply flip a switch and be back home. Turn " -"off the modem, unplug the computer, and any troubles that exist in that " -"space wouldn't \"affect\" us anymore." +"off the modem, unplug the computer, and any troubles that exist in " +"<emphasis>that</emphasis> space wouldn't \"affect\" us anymore." msgstr "" "Pogue var skeptisk til argumentet som er kjernen av boken — at " "programvaren, eller \"koden\", fungerte som en slags lov — og foreslo " "i sin anmeldelse den lykkelig tanken at hvis livet i cyberspace gikk dÃ¥rlig, " "sÃ¥ kan vi alltid som med en trylleformel slÃ¥ over en bryter og komme hjem " "igjen. SlÃ¥ av modemet, koble fra datamaskinen, og eventuelle problemer som " -"finnes der ville ikke \"pÃ¥virke\" oss mer." +"finnes <emphasis>den</emphasis> virkeligheten ville ikke \"pÃ¥virke\" oss mer." #. PAGE BREAK 12 #. type: Content of: <book><preface><para> msgid "" "Pogue might have been right in 1999—I'm skeptical, but maybe. But " -"even if he was right then, the point is not right now: Free Culture is about " -"the troubles the Internet causes even after the modem is turned off. It is " -"an argument about how the battles that now rage regarding life on-line have " -"fundamentally affected \"people who aren't online.\" There is no switch that " -"will insulate us from the Internet's effect." +"even if he was right then, the point is not right now: <citetitle>Free " +"Culture</citetitle> is about the troubles the Internet causes even after the " +"modem is turned off. It is an argument about how the battles that now rage " +"regarding life on-line have fundamentally affected \"people who aren't " +"online.\" There is no switch that will insulate us from the Internet's " +"effect." msgstr "" "Pogue kan ha hatt rett i 1999 — jeg er skeptisk, men det kan hende. " -"Men selv om han hadde rett da, sÃ¥ er ikke argumentet gyldig nÃ¥. Fri Kultur " -"er om problemene internett forÃ¥rsaker selv etter at modemet er slÃ¥tt av. " -"Den er et argument om hvordan slagene som nÃ¥ brer om seg i livet on-line har " -"fundamentalt pÃ¥virket \"folk som er ikke pÃ¥logget.\" Det finnes ingen " -"bryter som kan isolere oss fra internettets effekt." +"Men selv om han hadde rett da, sÃ¥ er ikke argumentet gyldig nÃ¥. " +"<citetitle>Fri Kultur</citetitle> er om problemene internett forÃ¥rsaker selv " +"etter at modemet er slÃ¥tt av. Den er et argument om hvordan slagene som nÃ¥ " +"brer om seg i livet on-line har fundamentalt pÃ¥virket \"folk som er ikke " +"pÃ¥logget.\" Det finnes ingen bryter som kan isolere oss fra internettets " +"effekt." #. type: Content of: <book><preface><para> msgid "" -"But unlike Code, the argument here is not much about the Internet itself. It " -"is instead about the consequence of the Internet to a part of our tradition " -"that is much more fundamental, and, as hard as this is for a geek-wanna-be " -"to admit, much more important." +"But unlike <citetitle>Code</citetitle>, the argument here is not much about " +"the Internet itself. It is instead about the consequence of the Internet to " +"a part of our tradition that is much more fundamental, and, as hard as this " +"is for a geek-wanna-be to admit, much more important." msgstr "" -"Men i motsetning til i boken Code, er argumentet her ikke sÃ¥ mye om " -"internett i seg selv. Istedet er det om konsekvensen av internett for en del " -"av vÃ¥r tradisjon som er mye mer grunnleggende, og uansett hvor hardt dette " -"er for en geek-wanna-be Ã¥ innrømme, mye viktigere." +"Men i motsetning til i boken <citetitle>Code</citetitle>, er argumentet her " +"ikke sÃ¥ mye om internett i seg selv. Istedet er det om konsekvensen av " +"internett for en del av vÃ¥r tradisjon som er mye mer grunnleggende, og " +"uansett hvor hardt dette er for en geek-wanna-be Ã¥ innrømme, mye viktigere." #. type: Content of: <book><preface><para><footnote><para> msgid "" -"Richard M. Stallman, Free Software, Free Societies 57 (Joshua Gay, ed. 2002)." +"Richard M. Stallman, <citetitle>Free Software, Free Societies</citetitle> 57 " +"(Joshua Gay, ed. 2002)." msgstr "" -"Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. " -"2002)." +"Richard M. Stallman, <citetitle>Fri programvare, Frie samfunn</citetitle> 57 " +"(Joshua Gay, red. 2002)." #. type: Content of: <book><preface><para> msgid "" @@ -397,12 +394,12 @@ msgid "" "\"free will,\" and \"free elections.\" A free culture supports and protects " "creators and innovators. It does this directly by granting intellectual " "property rights. But it does so indirectly by limiting the reach of those " -"rights, to guarantee that follow-on creators and innovators remain as free " -"as possible from the control of the past. A free culture is not a culture " -"without property, just as a free market is not a market in which everything " -"is free. The opposite of a free culture is a \"permission culture\"—a " -"culture in which creators get to create only with the permission of the " -"powerful, or of creators from the past." +"rights, to guarantee that follow-on creators and innovators remain " +"<emphasis>as free as possible</emphasis> from the control of the past. A " +"free culture is not a culture without property, just as a free market is not " +"a market in which everything is free. The opposite of a free culture is a " +"\"permission culture\"—a culture in which creators get to create only " +"with the permission of the powerful, or of creators from the past." msgstr "" "Den tradisjonen er mÃ¥ten vÃ¥r kultur blir laget pÃ¥. Som jeg vil forklare i " "sidene som følger, kommer vi fra en tradisjon av \"fri kultur\"—ikke " @@ -413,11 +410,11 @@ msgstr "" "og oppfinnere. Dette gjør den direkte ved Ã¥ tildele immaterielle " "rettigheter. Men det gjør den indirekte ved Ã¥ begrense rekkevidden for " "disse rettighetene, for Ã¥ garantere at neste generasjon skapere og " -"oppfinnere er sÃ¥ fri som mulig fra kontroll fra fortiden. En fri kultur er " -"ikke en kultur uten eierskap, like lite som et fritt marked er et marked der " -"alt er gratis. Det motsatte av fri kultur er \"tillatelseskultur\"—en " -"kultur der skapere kun kan skape med tillatelse fra de mektige, eller fra " -"skaperne fra fortiden." +"oppfinnere forblir <emphasis>sÃ¥ fri som mulig</emphasis> fra kontroll fra " +"fortiden. En fri kultur er ikke en kultur uten eierskap, like lite som et " +"fritt marked er et marked der alt er gratis. Det motsatte av fri kultur er " +"\"tillatelseskultur\"—en kultur der skapere kun kan skape med " +"tillatelse fra de mektige, eller fra skaperne fra fortiden." #. type: Content of: <book><preface><para> msgid "" @@ -468,11 +465,11 @@ msgstr "" #. type: Content of: <book><preface><blockquote><para><footnote><para> msgid "" -"William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</" +"citetitle>, 22 May 2003. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" -"William Safire, \"The Great Media Gulp,\" New York Times, 22. mai 2003. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"William Safire, \"The Great Media Gulp,\" <citetitle>New York Times</" +"citetitle>, 22. mai 2003. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><preface><blockquote><para> msgid "" @@ -491,33 +488,35 @@ msgstr "" #. type: Content of: <book><preface><para> msgid "" -"This idea is an element of the argument of Free Culture, though my focus is " -"not just on the concentration of power produced by concentrations in " -"ownership, but more importantly, if because less visibly, on the " -"concentration of power produced by a radical change in the effective scope " -"of the law. The law is changing; that change is altering the way our culture " -"gets made; that change should worry you—whether or not you care about " -"the Internet, and whether you're on Safire's left or on his right. The " -"inspiration for the title and for much of the argument of this book comes " -"from the work of Richard Stallman and the Free Software Foundation. Indeed, " -"as I reread Stallman's own work, especially the essays in Free Software, " -"Free Society, I realize that all of the theoretical insights I develop here " -"are insights Stallman described decades ago. One could thus well argue that " -"this work is \"merely\" derivative." -msgstr "" -"Denne idéen er et element i argumentet til Fri Kultur, selv om min fokus " -"ikke bare er pÃ¥ konsentrasjonen av makt som følger av konsentrasjonen i " -"eierskap, men mer viktig, og fordi det er mindre synlig, pÃ¥ konsentrasjonen " -"av makt som er resultat av en radikal endring i det effektive virkeomrÃ¥det " -"til loven. Loven er i endring, og endringen forandrer pÃ¥ hvordan vÃ¥r kultur " -"blir skapt. Den endringen bør bekymre deg—Uansett om du bryr deg om " -"internett eller ikke, og uansett om du er til venstre for Safires eller til " -"høyre. Inspirasjonen til tittelen og mye av argumentet i denne boken kommer " -"fra arbeidet til Richard Stallman og Free Software Foundation. Faktisk, da " -"jeg leste Stallmans egne tekster pÃ¥ nytt, spesielt essyene i Free Software, " -"Free Society, innser jeg at alle de teoretiske innsiktene jeg utvikler her " -"er innsikter som Stallman beskrev for tiÃ¥r siden. Man kan dermed godt " -"argumentere for at dette verket kun er et avledet verk." +"This idea is an element of the argument of <citetitle>Free Culture</" +"citetitle>, though my focus is not just on the concentration of power " +"produced by concentrations in ownership, but more importantly, if because " +"less visibly, on the concentration of power produced by a radical change in " +"the effective scope of the law. The law is changing; that change is altering " +"the way our culture gets made; that change should worry you—whether or " +"not you care about the Internet, and whether you're on Safire's left or on " +"his right. The inspiration for the title and for much of the argument of " +"this book comes from the work of Richard Stallman and the Free Software " +"Foundation. Indeed, as I reread Stallman's own work, especially the essays " +"in <citetitle>Free Software, Free Society</citetitle>, I realize that all of " +"the theoretical insights I develop here are insights Stallman described " +"decades ago. One could thus well argue that this work is \"merely\" " +"derivative." +msgstr "" +"Denne idéen er et element i argumentet til <citetitle>Fri Kultur</" +"citetitle>, selv om min fokus ikke bare er pÃ¥ konsentrasjonen av makt som " +"følger av konsentrasjonen i eierskap, men mer viktig, og fordi det er mindre " +"synlig, pÃ¥ konsentrasjonen av makt som er resultat av en radikal endring i " +"det effektive virkeomrÃ¥det til loven. Loven er i endring, og endringen " +"forandrer pÃ¥ hvordan vÃ¥r kultur blir skapt. Den endringen bør bekymre " +"deg—Uansett om du bryr deg om internett eller ikke, og uansett om du " +"er til venstre for Safires eller til høyre. Inspirasjonen til tittelen og " +"mye av argumentet i denne boken kommer fra arbeidet til Richard Stallman og " +"Free Software Foundation. Faktisk, da jeg leste Stallmans egne tekster pÃ¥ " +"nytt, spesielt essyene i <citetitle>Free Software, Free Society</citetitle>, " +"innser jeg at alle de teoretiske innsiktene jeg utvikler her er innsikter " +"som Stallman beskrev for tiÃ¥r siden. Man kan dermed godt argumentere for at " +"dette verket kun er et avledet verk." #. PAGE BREAK 14 #. type: Content of: <book><preface><para> @@ -591,11 +590,11 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> msgid "" -"St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: " -"Rothman Reprints, 1969), 18." +"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." msgstr "" -"St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: " -"Rothman Reprints, 1969), 18." +"St. George Tucker, <citetitle>Blackstone's Commentaries</citetitle> 3 (South " +"Hackensack, N.J.: Rothman Reprints, 1969), 18." #. type: Content of: <book><chapter><para> msgid "" @@ -690,19 +689,21 @@ msgid "" "there could be a \"taking\" if the government's use of its land effectively " "destroyed the value of the Causbys' land. This example was suggested to me " "by Keith Aoki's wonderful piece, \"(Intellectual) Property and Sovereignty: " -"Notes Toward a Cultural Geography of Authorship,\" Stanford Law Review 48 " -"(1996): 1293, 1333. See also Paul Goldstein, Real Property (Mineola, N.Y.: " -"Foundation Press, 1984), 1112–13. <placeholder type=\"indexterm\" id=" -"\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +"Notes Toward a Cultural Geography of Authorship,\" <citetitle>Stanford Law " +"Review</citetitle> 48 (1996): 1293, 1333. See also Paul Goldstein, " +"<citetitle>Real Property</citetitle> (Mineola, N.Y.: Foundation Press, " +"1984), 1112–13. <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "USA mot Causby, U.S. 328 (1946): 256, 261. Domstolen fant at det kunne være " "Ã¥ \"ta\" hvis regjeringens bruk av sitt land reelt sett hadde ødelagt " "verdien av eiendomen til Causby. Dette eksemplet ble foreslÃ¥tt for meg i " "Keith Aokis flotte stykke, \"(intellectual) Property and Sovereignty: Notes " -"Toward a cultural Geography of Authorship\", Stanford Law Review 48 (1996): " -"1293, 1333. Se ogsÃ¥ Paul Goldstein, Real Property (Mineola, N.Y.: Foundation " -"Press (1984)), 1112–13. <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" +"Toward a cultural Geography of Authorship\", <citetitle>Stanford Law Review</" +"citetitle> 48 (1996): 1293, 1333. Se ogsÃ¥ Paul Goldstein, <citetitle>Real " +"Property</citetitle> (Mineola, N.Y.: Foundation Press (1984)), " +"1112–13. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"indexterm\" id=\"1\"/>" #. type: Content of: <book><chapter><blockquote><para> msgid "" @@ -866,11 +867,11 @@ msgstr "Publikum hørte noe ingen hadde trodd var mulig:" #. type: Content of: <book><chapter><blockquote><para><footnote><para> msgid "" -"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong " -"(Philadelphia: J. B. Lipincott Company, 1956), 209." +"Lawrence Lessing, <citetitle>Man of High Fidelity: Edwin Howard Armstrong</" +"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." msgstr "" -"Lawrence Lessing, Man of High Fidelity:: Edwin Howard Armstrong " -"(Philadelphia: J. B. Lipincott Company, 1956), 209." +"Lawrence Lessing, <citetitle>Man of High Fidelity:: Edwin Howard Armstrong</" +"citetitle> (Philadelphia: J. B. Lipincott Company, 1956), 209." #. type: Content of: <book><chapter><blockquote><para> msgid "" @@ -1251,11 +1252,11 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> msgid "" -"See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), " -"ch. 13." +"See Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " +"Prometheus Books, 2001), ch. 13." msgstr "" -"Se Jessica Litman, Digital Copyright (New York: Prometheus bøker, 2001), " -"kap. 13." +"Se Jessica Litman, <citetitle>Digital Copyright</citetitle> (New York: " +"Prometheus bøker, 2001), kap. 13." #. type: Content of: <book><chapter><para> msgid "" @@ -1362,12 +1363,12 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17 " -"January 2002." +"Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York " +"Times</citetitle>, 17 January 2002." msgstr "" "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New " -"Tools to Turn the Net into an Illicit Video Club,\" New York Times, 17. " -"januar 2002." +"Tools to Turn the Net into an Illicit Video Club,\" <citetitle>New York " +"Times</citetitle>, 17. januar 2002." #. type: Content of: <book><chapter><para> msgid "" @@ -1427,11 +1428,13 @@ msgstr "Netanel, Neil Weinstock" #. type: Content of: <book><chapter><para><footnote><para> msgid "" -"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law " -"Journal 106 (1996): 283. <placeholder type=\"indexterm\" id=\"0\"/>" +"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " +"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" +"\"indexterm\" id=\"0\"/>" msgstr "" -"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law " -"Journal 106 (1996): 283. <placeholder type=\"indexterm\" id=\"0\"/>" +"Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" " +"<citetitle>Yale Law Journal</citetitle> 106 (1996): 283. <placeholder type=" +"\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" @@ -1561,16 +1564,16 @@ msgid "" "importantly, its power to disable critical thought by policy makers and " "citizens. There has never been a time in our history when more of our " "\"culture\" was as \"owned\" as it is now. And yet there has never been a " -"time when the concentration of power to control the uses of culture has been " -"as unquestioningly accepted as it is now." +"time when the concentration of power to control the <emphasis>uses</" +"emphasis> of culture has been as unquestioningly accepted as it is now." msgstr "" "Mitt hÃ¥p er Ã¥ skyve denne sunne fornuften videre. Jeg har blitt stadig mer " "overrasket over kraften til denne idéen om immaterielle rettigheter og, mer " "viktig, dets evne til Ã¥ slÃ¥ av kritisk tanke hos lovmakere og innbyggere. " "Det har aldri før i vÃ¥r historie vært sÃ¥ mye av vÃ¥r \"kultur\" som har vært " "\"eid\" enn det er nÃ¥. Og likevel har aldri før konsentrasjonen av makt til " -"Ã¥ kontrollere bruken av kulturen vært mer akseptert uten spørsmÃ¥l enn det er " -"nÃ¥." +"Ã¥ kontrollere <emphasis>bruken</emphasis> av kulturen vært mer akseptert " +"uten spørsmÃ¥l enn det er nÃ¥." #. type: Content of: <book><chapter><para> msgid "" @@ -1725,8 +1728,12 @@ msgstr "" #. f1 #. type: Content of: <book><chapter><blockquote><para><footnote><para> -msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)." -msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)." +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." +msgstr "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777) (Mansfield)." #. type: Content of: <book><chapter><blockquote><para> msgid "" @@ -1776,13 +1783,13 @@ msgid "" "increasingly to technology to defend their \"property\" against this " "\"piracy.\" A generation of Americans, the warriors warn, is being raised to " "believe that \"property\" should be \"free.\" Forget tattoos, never mind " -"body piercing—our kids are becoming thieves!" +"body piercing—our kids are becoming <emphasis>thieves</emphasis>!" msgstr "" "Krigerne har snudd seg til domstolene, til lovgiverne, og i stadig større " "grad til teknologi for Ã¥ forsvare sin \"eiendom\" mot denne " "\"piratvirksomheten\". En generasjon amerikanere, advarer krigerne, blir " "oppdratt til Ã¥ tro at \"eiendom\" skal være \"gratis\". Glem tatoveringer, " -"ikke tenk pÃ¥ kroppspiercing—vÃ¥re barn blir tyver!" +"ikke tenk pÃ¥ kroppspiercing—vÃ¥re barn blir <emphasis>tyver</emphasis>!" #. type: Content of: <book><chapter><para> msgid "" @@ -1822,10 +1829,12 @@ msgstr "Dreyfuss, Rochelle" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in " -"the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397." +"the Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 " +"(1990): 397." msgstr "" "Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the " -"Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397." +"Pepsi Generation,\" <citetitle>Notre Dame Law Review</citetitle> 65 (1990): " +"397." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary> msgid "Zittrain, Jonathan" @@ -1834,16 +1843,18 @@ msgstr "Zittrain, Jonathan" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " -"Wall Street Journal, 21 August 1996, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling Off the " -"Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" Boston " -"Globe, 24 November 2002. <placeholder type=\"indexterm\" id=\"0\"/>" +"<citetitle>Wall Street Journal</citetitle>, 21 August 1996, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; Jonathan " +"Zittrain, \"Calling Off the Copyright War: In Battle of Property vs. Free " +"Speech, No One Wins,\" <citetitle>Boston Globe</citetitle>, 24 November " +"2002. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" " -"Wall Street Journal, 21. august 1996, tilgjengelig fra <ulink url=\"http://" -"free-culture.cc/notes/\">link #3</ulink>; Jonathan Zittrain, \"Calling Off " -"the Copyright War: In Battle of Property vs. Free Speech, No One Wins,\" " -"Boston Globe, 24. november 2002. <placeholder type=\"indexterm\" id=\"0\"/>" +"<citetitle>Wall Street Journal</citetitle>, 21. august 1996, tilgjengelig " +"fra <ulink url=\"http://free-culture.cc/notes/\">link #3</ulink>; Jonathan " +"Zittrain, \"Calling Off the Copyright War: In Battle of Property vs. Free " +"Speech, No One Wins,\" <citetitle>Boston Globe</citetitle>, 24. november " +"2002. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" @@ -1857,16 +1868,15 @@ msgid "" "\" (the songs) so there must have been a \"right\"—even against the " "Girl Scouts." msgstr "" -"Dette synet gÃ¥r dypt i de pÃ¥gÃ¥ende debattene. Det er hva " -"jussprofessor Rochelle Dreyfuss ved NYU kritiserer som \"hvis verdi, " -"sÃ¥ rettighet\"-teorien for kreative eierrettigheter <placeholder " -"type=\"footnote\" id=\"0\"/>—hvis det finnes verdi, sÃ¥ mÃ¥ noen " -"ha rettigheten til denne verdien. Det er perspektivet som fikk " -"komponistenes rettighetsorganisasjon, ASCAP, til Ã¥ saksøke " -"jentespeiderne for Ã¥ ikke betale for sangene som jentene sagt rundt " -"jentespeidernes leirbÃ¥l.<placeholder type=\"footnote\" id=\"1\"/> Det " -"fantes \"verdi\" (sangene), sÃ¥ det mÃ¥tte ha vært en " -"\"rettighet\"—til og med mot jentespeiderne." +"Dette synet gÃ¥r dypt i de pÃ¥gÃ¥ende debattene. Det er hva jussprofessor " +"Rochelle Dreyfuss ved NYU kritiserer som \"hvis verdi, sÃ¥ rettighet\"-" +"teorien for kreative eierrettigheter <placeholder type=\"footnote\" id=\"0\"/" +">—hvis det finnes verdi, sÃ¥ mÃ¥ noen ha rettigheten til denne verdien. " +"Det er perspektivet som fikk komponistenes rettighetsorganisasjon, ASCAP, " +"til Ã¥ saksøke jentespeiderne for Ã¥ ikke betale for sangene som jentene sagt " +"rundt jentespeidernes leirbÃ¥l.<placeholder type=\"footnote\" id=\"1\"/> Det " +"fantes \"verdi\" (sangene), sÃ¥ det mÃ¥tte ha vært en \"rettighet\"—til " +"og med mot jentespeiderne." #. type: Content of: <book><chapter><indexterm><primary> msgid "ASCAP" @@ -1934,21 +1944,21 @@ msgstr "Florida, Richard" #. type: Content of: <book><chapter><para><footnote><para> msgid "" -"In The Rise of the Creative Class (New York: Basic Books, 2002), Richard " -"Florida documents a shift in the nature of labor toward a labor of " -"creativity. His work, however, doesn't directly address the legal " -"conditions under which that creativity is enabled or stifled. I certainly " -"agree with him about the importance and significance of this change, but I " -"also believe the conditions under which it will be enabled are much more " -"tenuous. <placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "" -"I The Rise of the Creative Class (New York: Basic Books, 2002), dokumenterer " -"Richard Florida en endring i arbeidsstokken mot kreativitetsarbeide. Hans " -"tekst omhandler derimot ikke direkte de juridiske vilkÃ¥r som kreativiteten " -"blir muliggjort eller hindret under. Jeg er helt klart enig med ham i " -"viktigheten og betydningen av denne endringen, men jeg tror ogsÃ¥ at " -"vilkÃ¥rene som disse endringene blir aktivert under er mye vanskeligere. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"In <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " +"Books, 2002), Richard Florida documents a shift in the nature of labor " +"toward a labor of creativity. His work, however, doesn't directly address " +"the legal conditions under which that creativity is enabled or stifled. I " +"certainly agree with him about the importance and significance of this " +"change, but I also believe the conditions under which it will be enabled are " +"much more tenuous. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"I <citetitle>The Rise of the Creative Class</citetitle> (New York: Basic " +"Books, 2002), dokumenterer Richard Florida en endring i arbeidsstokken mot " +"kreativitetsarbeide. Hans tekst omhandler derimot ikke direkte de juridiske " +"vilkÃ¥r som kreativiteten blir muliggjort eller hindret under. Jeg er helt " +"klart enig med ham i viktigheten og betydningen av denne endringen, men jeg " +"tror ogsÃ¥ at vilkÃ¥rene som disse endringene blir aktivert under er mye " +"vanskeligere. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><para> msgid "" @@ -1988,32 +1998,33 @@ msgstr "Kapittel en: Skaperne" #. type: Content of: <book><chapter><sect1><para> msgid "" "In 1928, a cartoon character was born. An early Mickey Mouse made his debut " -"in May of that year, in a silent flop called Plane Crazy. In November, in " -"New York City's Colony Theater, in the first widely distributed cartoon " -"synchronized with sound, Steamboat Willie brought to life the character that " -"would become Mickey Mouse." +"in May of that year, in a silent flop called <citetitle>Plane Crazy</" +"citetitle>. In November, in New York City's Colony Theater, in the first " +"widely distributed cartoon synchronized with sound, <citetitle>Steamboat " +"Willie</citetitle> brought to life the character that would become Mickey " +"Mouse." msgstr "" "I 1928 ble en tegnefilmfigur født. En tidlig Mikke Mus debuterte i mai " -"dette Ã¥ret, i en stille flopp ved navn Plane Crazy. I november, i Colony " -"teateret i New York City, ble den første vidt distribuerte tegnefilmen med " -"synkronisert lyd, Steamboat Willy, vist frem med figuren som skulle bli til " -"Mikke Mus." +"dette Ã¥ret, i en stille flopp ved navn <citetitle>Plane Crazy</citetitle>. " +"I november, i Colony teateret i New York City, ble den første vidt " +"distribuerte tegnefilmen med synkronisert lyd, <citetitle>Steamboat Willy</" +"citetitle>, vist frem med figuren som skulle bli til Mikke Mus." #. type: Content of: <book><chapter><sect1><para> msgid "" "Synchronized sound had been introduced to film a year earlier in the movie " -"The Jazz Singer. That success led Walt Disney to copy the technique and mix " -"sound with cartoons. No one knew whether it would work or, if it did work, " -"whether it would win an audience. But when Disney ran a test in the summer " -"of 1928, the results were unambiguous. As Disney describes that first " -"experiment," +"<citetitle>The Jazz Singer</citetitle>. That success led Walt Disney to copy " +"the technique and mix sound with cartoons. No one knew whether it would work " +"or, if it did work, whether it would win an audience. But when Disney ran a " +"test in the summer of 1928, the results were unambiguous. As Disney " +"describes that first experiment," msgstr "" "Film med sykronisert lyd hadde blitt introdusert et Ã¥r tidligere i filmen " -"The Jazz Singer. Suksessen fikk Walt Disney til Ã¥ kopiere teknikken og " -"mikse lyd med tegnefilm. Ingen visste hvorvidt det ville virke eller ikke, " -"og om det fungere, hvorvidt publikum villa ha sans for det. Men da Disney " -"gjorde en test sommeren 1928, var resutlatet entydig. Som Disney beskriver " -"dette første eksperimentet," +"<citetitle>The Jazz Singer</citetitle>. Suksessen fikk Walt Disney til Ã¥ " +"kopiere teknikken og mikse lyd med tegnefilm. Ingen visste hvorvidt det " +"ville virke eller ikke, og om det fungere, hvorvidt publikum villa ha sans " +"for det. Men da Disney gjorde en test sommeren 1928, var resutlatet " +"entydig. Som Disney beskriver dette første eksperimentet," #. PAGE BREAK 35 #. type: Content of: <book><chapter><sect1><blockquote><para> @@ -2043,11 +2054,11 @@ msgstr "" #. f1 #. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> msgid "" -"Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons " -"(New York: Penguin Books, 1987), 34–35." +"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " +"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." msgstr "" -"Leonard Maltin, Of Mice and Magic: A History of American Animated Cartoons " -"(New York: Penguin Books, 1987), 34–35." +"Leonard Maltin, <citetitle>Of Mice and Magic: A History of American Animated " +"Cartoons</citetitle> (New York: Penguin Books, 1987), 34–35." #. type: Content of: <book><chapter><sect1><blockquote><para> msgid "" @@ -2089,40 +2100,40 @@ msgid "" "often, Disney's great genius, his spark of creativity, was built upon the " "work of others." msgstr "" -"Disney hadde laget noe helt nyt, basert pÃ¥ noe relativt nytt. " -"Synkronisert lyd ga liv til en form for kreativitet som sjeldent " -"hadde—unntatt fra Disneys hender—vært noe annet en " -"fyllstoff for andre filmer. Gjennom animasjonens tidligere historie " -"var det Disneys oppfinnelse som satte standarden som andre mÃ¥tte sloss " -"for Ã¥ oppfylle. Og ganske ofte var Disneys store geni, hans gnist av " -"kreativitet, bygget pÃ¥ arbeidet til andre." +"Disney hadde laget noe helt nyt, basert pÃ¥ noe relativt nytt. Synkronisert " +"lyd ga liv til en form for kreativitet som sjeldent hadde—unntatt fra " +"Disneys hender—vært noe annet en fyllstoff for andre filmer. Gjennom " +"animasjonens tidligere historie var det Disneys oppfinnelse som satte " +"standarden som andre mÃ¥tte sloss for Ã¥ oppfylle. Og ganske ofte var Disneys " +"store geni, hans gnist av kreativitet, bygget pÃ¥ arbeidet til andre." #. type: Content of: <book><chapter><sect1><para> msgid "" "This much is familiar. What you might not know is that 1928 also marks " "another important transition. In that year, a comic (as opposed to cartoon) " "genius created his last independently produced silent film. That genius was " -"Buster Keaton. The film was Steamboat Bill, Jr." +"Buster Keaton. The film was <citetitle>Steamboat Bill, Jr</citetitle>." msgstr "" -"Dette er kjent stoff. Det du kanskje ikke vet er at 1928 ogsÃ¥ " -"markerer en annen viktig overgang. I samme Ã¥r laget et komedie-geni " -"(i motsetning til tegnefilm-geni) sin siste uavhengig produserte stumfilm. " -"Dette geniet var Buster Keaton. Filmen var Steamboat Bill, Jr." +"Dette er kjent stoff. Det du kanskje ikke vet er at 1928 ogsÃ¥ markerer en " +"annen viktig overgang. I samme Ã¥r laget et komedie-geni (i motsetning til " +"tegnefilm-geni) sin siste uavhengig produserte stumfilm. Dette geniet var " +"Buster Keaton. Filmen var <citetitle>Steamboat Bill, Jr</citetitle>." #. type: Content of: <book><chapter><sect1><para> msgid "" "Keaton was born into a vaudeville family in 1895. In the era of silent film, " "he had mastered using broad physical comedy as a way to spark uncontrollable " -"laughter from his audience. Steamboat Bill, Jr. was a classic of this form, " -"famous among film buffs for its incredible stunts. The film was classic " -"Keaton—wildly popular and among the best of its genre." -msgstr "" -"Keaton ble født inn i en vauderville-familie i 1895. I " -"stumfilm-æraen hadde han mestret bruken av bredpenslet fysisk komedie " -"pÃ¥ en mÃ¥te som tente ukontrollerbar latter fra hans publikum. " -"Steamboat Bill, Jr. var en klassier av denne typen, berømt blant " -"film-elskere for sine utrolige stunts. Filmen var en klassisk " -"Keaton—fantastisk populær og blant de beste i sin sjanger." +"laughter from his audience. <citetitle>Steamboat Bill, Jr</citetitle>. was a " +"classic of this form, famous among film buffs for its incredible stunts. " +"The film was classic Keaton—wildly popular and among the best of its " +"genre." +msgstr "" +"Keaton ble født inn i en vauderville-familie i 1895. I stumfilm-æraen hadde " +"han mestret bruken av bredpenslet fysisk komedie pÃ¥ en mÃ¥te som tente " +"ukontrollerbar latter fra hans publikum. <citetitle>Steamboat Bill, Jr</" +"citetitle>. var en klassiker av denne typen, berømt blant film-elskere for " +"sine utrolige stunts. Filmen var en klassisk Keaton—fantastisk " +"populær og blant de beste i sin sjanger." #. f2 #. type: Content of: <book><chapter><sect1><para><footnote><para> @@ -2130,31 +2141,33 @@ msgid "" "I am grateful to David Gerstein and his careful history, described at <ulink " "url=\"http://free-culture.cc/notes/\">link #4</ulink>. According to Dave " "Smith of the Disney Archives, Disney paid royalties to use the music for " -"five songs in Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton" -"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. " -"1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in the " -"Straw,\" was already in the public domain. Letter from David Smith to Harry " -"Surden, 10 July 2003, on file with author." -msgstr "" -"Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, beskrevet " -"pÃ¥ <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. I følge Dave " -"Smith ved the Disney Archives, betalte Disney for Ã¥ bruke musikken til " -"fem sanger i Steamboat Willie: \"Steamboat Bill,\" \"The Simpleton" -"\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry No. " -"1\" (Baron), og \"Gawky Rube\" (Lakay). En sjette sang, \"The Turkey in the " -"Straw,\" var allerede allemannseie. Brev fra David Smith til Harry " -"Surden, 10. juli 2003, tilgjenglig i arkivet til forfatteren." - -#. type: Content of: <book><chapter><sect1><para> -msgid "" -"Steamboat Bill, Jr. appeared before Disney's cartoon Steamboat Willie. The " -"coincidence of titles is not coincidental. Steamboat Willie is a direct " -"cartoon parody of Steamboat Bill,<placeholder type=\"footnote\" id=\"0\"/> " -"and both are built upon a common song as a source. It is not just from the " -"invention of synchronized sound in The Jazz Singer that we get Steamboat " -"Willie. It is also from Buster Keaton's invention of Steamboat Bill, Jr., " -"itself inspired by the song \"Steamboat Bill,\" that we get Steamboat " -"Willie, and then from Steamboat Willie, Mickey Mouse." +"five songs in <citetitle>Steamboat Willie</citetitle>: \"Steamboat Bill,\" " +"\"The Simpleton\" (Delille), \"Mischief Makers\" (Carbonara), \"Joyful Hurry " +"No. 1\" (Baron), and \"Gawky Rube\" (Lakay). A sixth song, \"The Turkey in " +"the Straw,\" was already in the public domain. Letter from David Smith to " +"Harry Surden, 10 July 2003, on file with author." +msgstr "" +"Jeg er takknemlig overfor David Gerstein og hans nøyaktige historie, " +"beskrevet pÃ¥ <ulink url=\"http://free-culture.cc/notes/\">link #4</ulink>. " +"I følge Dave Smith ved the Disney Archives, betalte Disney for Ã¥ bruke " +"musikken til fem sanger i <citetitle>Steamboat Willie</citetitle>: " +"\"Steamboat Bill,\" \"The Simpleton\" (Delille), \"Mischief Makers" +"\" (Carbonara), \"Joyful Hurry No. 1\" (Baron), og \"Gawky Rube\" (Lakay). " +"En sjette sang, \"The Turkey in the Straw,\" var allerede allemannseie. " +"Brev fra David Smith til Harry Surden, 10. juli 2003, tilgjenglig i arkivet " +"til forfatteren." + +#. type: Content of: <book><chapter><sect1><para> +msgid "" +"<citetitle>Steamboat Bill, Jr</citetitle>. appeared before Disney's cartoon " +"Steamboat Willie. The coincidence of titles is not coincidental. Steamboat " +"Willie is a direct cartoon parody of Steamboat Bill,<placeholder type=" +"\"footnote\" id=\"0\"/> and both are built upon a common song as a source. " +"It is not just from the invention of synchronized sound in <citetitle>The " +"Jazz Singer</citetitle> that we get <citetitle>Steamboat Willie</citetitle>. " +"It is also from Buster Keaton's invention of Steamboat Bill, Jr., itself " +"inspired by the song \"Steamboat Bill,\" that we get Steamboat Willie, and " +"then from Steamboat Willie, Mickey Mouse." msgstr "" #. f3 @@ -2181,18 +2194,17 @@ msgid "" "that was borrowed. Disney added to the work of others before him, creating " "something new out of something just barely old." msgstr "" -"Denne \"lÃ¥ningen\" var ikke unik, hverken for Disney eller for " -"industrien. Disney apet alltid etter full-lengde massemarkedsfilmene " -"rundt ham.<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde " -"mange andre. Tidlige tegnefilmer er stappfulle av " -"etterapninger—smÃ¥ variasjoner over suksessfulle temaer, " -"gamle historier fortalt pÃ¥ nytt. Nøkkelen til suksess var brilliansen " -"i forskjellene. Med Disney var det lyden som ga gnisten til hans " -"animasjoner. Senere var det kvaliteten pÃ¥ hans arbeide relativt til " -"de masseproduserte tegnefilmene som han konkurrerte med. Likevel var " -"disse bidragene bygget pÃ¥ toppen av fundamentet som var lÃ¥nt. Disney " -"bygget pÃ¥ arbeidet til andre som kom før han, og skapte noe nytt ut av " -"noe som bare var litt gammelt." +"Denne \"lÃ¥ningen\" var ikke unik, hverken for Disney eller for industrien. " +"Disney apet alltid etter full-lengde massemarkedsfilmene rundt ham." +"<placeholder type=\"footnote\" id=\"0\"/> Det samme gjorde mange andre. " +"Tidlige tegnefilmer er stappfulle av etterapninger—smÃ¥ variasjoner " +"over suksessfulle temaer, gamle historier fortalt pÃ¥ nytt. Nøkkelen til " +"suksess var brilliansen i forskjellene. Med Disney var det lyden som ga " +"gnisten til hans animasjoner. Senere var det kvaliteten pÃ¥ hans arbeide " +"relativt til de masseproduserte tegnefilmene som han konkurrerte med. " +"Likevel var disse bidragene bygget pÃ¥ toppen av fundamentet som var lÃ¥nt. " +"Disney bygget pÃ¥ arbeidet til andre som kom før han, og skapte noe nytt ut " +"av noe som bare var litt gammelt." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -2204,14 +2216,13 @@ msgid "" "would dare to read these bloody, moralistic stories to his or her child, at " "bedtime or anytime." msgstr "" -"Noen ganger var lÃ¥ningen begrenset, og noen ganger var den betydelig. " -"Tenkt pÃ¥ eventurene til brødrene Grimm. Hvis du er like ubevisst som " -"jeg var, sÃ¥ tror du sannsynlighvis at disse fortellingene er glade, " -"søte historier som passer for ethvert barn ved leggetid. Realiteten " -"er at Grimm-eventyrene er, for oss, ganske dystre. Det er noen " -"sjeldne og kanskje spesielt ambisiøse foreldre som ville vÃ¥ge Ã¥ lese " -"disse blodige moralistiske historiene til sine barn, ved " -"leggetid eller hvilken som helst annet tidspunkt." +"Noen ganger var lÃ¥ningen begrenset, og noen ganger var den betydelig. Tenkt " +"pÃ¥ eventurene til brødrene Grimm. Hvis du er like ubevisst som jeg var, sÃ¥ " +"tror du sannsynlighvis at disse fortellingene er glade, søte historier som " +"passer for ethvert barn ved leggetid. Realiteten er at Grimm-eventyrene er, " +"for oss, ganske dystre. Det er noen sjeldne og kanskje spesielt ambisiøse " +"foreldre som ville vÃ¥ge Ã¥ lese disse blodige moralistiske historiene til " +"sine barn, ved leggetid eller hvilken som helst annet tidspunkt." #. PAGE BREAK 37 #. type: Content of: <book><chapter><sect1><para> @@ -2222,35 +2233,45 @@ msgid "" "dark and injected a genuine emotion of compassion where before there was " "fear. And not just with the work of the Brothers Grimm. Indeed, the catalog " "of Disney work drawing upon the work of others is astonishing when set " -"together: Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo " -"(1941), Bambi (1942), Song of the South (1946), Cinderella (1950), Alice in " -"Wonderland (1951), Robin Hood (1952), Peter Pan (1953), Lady and the Tramp " -"(1955), Mulan (1998), Sleeping Beauty (1959), 101 Dalmatians (1961), The " -"Sword in the Stone (1963), and The Jungle Book (1967)—not to mention a " -"recent example that we should perhaps quickly forget, Treasure Planet " -"(2003). In all of these cases, Disney (or Disney, Inc.) ripped creativity " -"from the culture around him, mixed that creativity with his own " -"extraordinary talent, and then burned that mix into the soul of his culture. " -"Rip, mix, and burn." +"together: <citetitle>Snow White</citetitle> (1937), <citetitle>Fantasia</" +"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " +"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " +"<citetitle>Song of the South</citetitle> (1946), <citetitle>Cinderella</" +"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " +"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " +"(1953), <citetitle>Lady and the Tramp</citetitle> (1955), <citetitle>Mulan</" +"citetitle> (1998), <citetitle>Sleeping Beauty</citetitle> (1959), " +"<citetitle>101 Dalmatians</citetitle> (1961), <citetitle>The Sword in the " +"Stone</citetitle> (1963), and <citetitle>The Jungle Book</citetitle> (1967)" +"—not to mention a recent example that we should perhaps quickly " +"forget, <citetitle>Treasure Planet</citetitle> (2003). In all of these " +"cases, Disney (or Disney, Inc.) ripped creativity from the culture around " +"him, mixed that creativity with his own extraordinary talent, and then " +"burned that mix into the soul of his culture. Rip, mix, and burn." msgstr "" "Disney tok disse historiene og fortalte dem pÃ¥ nytt pÃ¥ en mÃ¥te som førte dem " -"inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. Uten " -"Ã¥ fjerne bitene av frykt og fare helt, gjorde han morsomt det som var mørkt og " -"satte inn en ekte følelse av medfølelse der det før var frykt. Og ikke bare " -"med verkene av brødrene Grimm. Faktisk er katalogen over Disney-arbeid som " -"baserer seg pÃ¥ arbeidet til andre ganske forbløffende nÃ¥r den blir samlet: " -"Snøhvit (1937), Fantasia (1940), Pinocchio (1940), Dumbo (1941), Bambi (1942), " -"Song of the South (1946), Askepott (1950), Alice in Wonderland (1951), " -"Robin Hood (1952), Peter Pan (1953), Lady og landstrykeren (1955), Mulan (1998), " -"Tornerose (1959), 101 dalmatinere (1961), Sverdet i steinen (1963), og " -"Jungelboken (1967)—for ikke Ã¥ nevne et nylig eksempel som vi bør kanskje " -"glemme raskt, Treasure Planet (2003). I alle disse tilfellene, har Disney " -"(eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet med " -"kreativiteten fra sitt eget ekstraordinære talent, og deretter brent denne " -"blandingen inn i sjelen til sin kultur. Hente, blande og brenne." +"inn i en ny tidsalder. Han ga historiene liv, med bÃ¥de karakterer og lys. " +"Uten Ã¥ fjerne bitene av frykt og fare helt, gjorde han morsomt det som var " +"mørkt og satte inn en ekte følelse av medfølelse der det før var frykt. Og " +"ikke bare med verkene av brødrene Grimm. Faktisk er katalogen over Disney-" +"arbeid som baserer seg pÃ¥ arbeidet til andre ganske forbløffende nÃ¥r den " +"blir samlet: <citetitle>Snøhvit</citetitle> (1937), <citetitle>Fantasia</" +"citetitle> (1940), <citetitle>Pinocchio</citetitle> (1940), " +"<citetitle>Dumbo</citetitle> (1941), <citetitle>Bambi</citetitle> (1942), " +"<citetitle>Song of the South</citetitle> (1946), <citetitle>Askepott</" +"citetitle> (1950), <citetitle>Alice in Wonderland</citetitle> (1951), " +"<citetitle>Robin Hood</citetitle> (1952), <citetitle>Peter Pan</citetitle> " +"(1953), <citetitle>Lady og landstrykeren</citetitle> (1955), " +"<citetitle>Mulan</citetitle> (1998), <citetitle>Tornerose</citetitle> " +"(1959), <citetitle>101 dalmatinere</citetitle> (1961), <citetitle>Sverdet i " +"steinen</citetitle> (1963), og <citetitle>Jungelboken</citetitle> (1967)" +"—for ikke Ã¥ nevne et nylig eksempel som vi bør kanskje glemme raskt, " +"<citetitle>Treasure Planet</citetitle> (2003). I alle disse tilfellene, har " +"Disney (eller Disney, Inc.) hentet kreativitet fra kultur rundt ham, blandet " +"med kreativiteten fra sitt eget ekstraordinære talent, og deretter brent " +"denne blandingen inn i sjelen til sin kultur. Hente, blande og brenne." #. type: Content of: <book><chapter><sect1><para> -#, mtrans, fuzzy msgid "" "This is a kind of creativity. It is a creativity that we should remember and " "celebrate. There are some who would say that there is no creativity except " @@ -2260,12 +2281,13 @@ msgid "" "of expression and genius that builds upon the culture around us and makes it " "something different." msgstr "" -"Dette er en slags kreativitet. Det er en kreativitet som vi bør huske og " -"feire. Det er noen som vil si at det er ingen kreativitet bortsett fra denne " -"typen. Vi trenger ikke Ã¥ gÃ¥ sÃ¥ langt Ã¥ anerkjenne sin betydning. Vi kan " -"kalle denne \"disney kreativitet,\" selv om det ville være litt misvisende. " -"Det er mer presist, \"walt disney kreativitet\"—en form for uttrykk og " -"geni som bygger pÃ¥ kultur rundt oss, og som gjør det noe annet." +"Dette er en type kreativitet. Det er en kreativitet som vi bør huske pÃ¥ og " +"feire. Det er noen som vil si at det finnes ingen kreativitet bortsett fra " +"denne typen. Vi trenger ikke gÃ¥ sÃ¥ langt for Ã¥ anerkjenne dens betydning. " +"Vi kan kalle dette \"Disney-kreativitet\", selv om det vil være litt " +"misvisende. Det er mer presist \"Walt Disney-kreativitet\"—en " +"uttrykksform og genialitet som bygger pÃ¥ kulturen rundt oss og omformer den " +"til noe annet." #. f4 #. type: Content of: <book><chapter><sect1><para><footnote><para> @@ -2293,7 +2315,6 @@ msgid "" msgstr "" #. type: Content of: <book><chapter><sect1><para> -#, mtrans, fuzzy msgid "" "At the end of a copyright term, a work passes into the public domain. No " "permission is then needed to draw upon or use that work. No permission and, " @@ -2302,13 +2323,14 @@ msgid "" "build upon in 1928. It was free for anyone— whether connected or not, " "whether rich or not, whether approved or not—to use and build upon." msgstr "" -"pÃ¥ slutten av en opphavsrett sikt sender et arbeid i public domain. Ingen " -"tillatelse kreves for deretter Ã¥ trekke pÃ¥, eller bruke som fungerer. Ingen " -"tillatelse og derfor ingen jurister. public domain er en \"advokat-free zone." -"\" dermed, det meste av innholdet fra det nittende Ã¥rhundre var gratis for " -"disney du bruker, og bygger pÃ¥ i 1928. Det var gratis for alle—enten " -"tilkoblet eller ikke, om det er rik eller ikke, om godkjente eller " -"ikke—hvis du vil bruke, og bygge pÃ¥." +"NÃ¥r opphavsrettens vernetid er over, faller et verk i det fri og blir " +"allemannseie. Ingen tillatelse trengs da for Ã¥ bygge pÃ¥ eller bruke " +"dette verket. Ingen tillatelse og dermed, ingen advokater. " +"Allemannseie er en \"advokat-fri sone\". Det meste av innhold fra det " +"nittende Ã¥rhundre var dermed fritt tilgjengelig for Disney Ã¥ bruke " +"eller bygge pÃ¥ i 1928. Det var tilgjengelig for enhver—uansett " +"om de hadde forbindelser eller ikke, om de var rik eller ikke, om de " +"var akseptert eller ikke—til Ã¥ bruke og bygge videre pÃ¥." #. PAGE BREAK 38 #. type: Content of: <book><chapter><sect1><para> @@ -2333,26 +2355,26 @@ msgstr "" "sfæren presumptive bare for innhold fra før den store depresjonen." #. type: Content of: <book><chapter><sect1><para> -#, mtrans, fuzzy msgid "" "Of course, Walt Disney had no monopoly on \"Walt Disney creativity.\" Nor " "does America. The norm of free culture has, until recently, and except " "within totalitarian nations, been broadly exploited and quite universal." msgstr "" -"Selvfølgelig, walt disney hadde ingen monopol pÃ¥ \"walt disney kreativitet." -"\" heller ikke Amerika. norm for fri kultur har, inntil nylig, og unntatt i " -"totalitære nasjoner, vært forstand utnyttede og ganske universell." +"Walt Disney hadde selvfølgelig ikke monopol pÃ¥ \"Walt " +"Disney-kreativitet\". Det har heller ikke USA. Normen med fri kultur " +"har, inntil nylig, og unntatt i totalitære nasjoner, vært bredt " +"utnyttet og svært universell." #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" "Consider, for example, a form of creativity that seems strange to many " -"Americans but that is inescapable within Japanese culture: manga, or comics. " -"The Japanese are fanatics about comics. Some 40 percent of publications are " -"comics, and 30 percent of publication revenue derives from comics. They are " -"everywhere in Japanese society, at every magazine stand, carried by a large " -"proportion of commuters on Japan's extraordinary system of public " -"transportation." +"Americans but that is inescapable within Japanese culture: <citetitle>manga</" +"citetitle>, or comics. The Japanese are fanatics about comics. Some 40 " +"percent of publications are comics, and 30 percent of publication revenue " +"derives from comics. They are everywhere in Japanese society, at every " +"magazine stand, carried by a large proportion of commuters on Japan's " +"extraordinary system of public transportation." msgstr "" "Tenk deg for eksempel en form av kreativitet som synes underlig for mange " "amerikanere, men det er uunngÃ¥elig i japansk kultur: manga, eller " @@ -2389,25 +2411,26 @@ msgid "" "on manga that from a lawyer's perspective is quite odd, but from a Disney " "perspective is quite familiar." msgstr "" -"Men mitt formÃ¥l her er ikke Ã¥ forstÃ¥ manga. Det er a beskrive en " -"variant av manga som fra en avokats perspektiv er ganske merkelig, men " -"som fra en Disneys perspektiv er ganske godt kjent." +"Men mitt formÃ¥l her er ikke Ã¥ forstÃ¥ manga. Det er a beskrive en variant av " +"manga som fra en avokats perspektiv er ganske merkelig, men som fra en " +"Disneys perspektiv er ganske godt kjent." #. PAGE BREAK 39 #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"This is the phenomenon of doujinshi. Doujinshi are also comics, but they are " -"a kind of copycat comic. A rich ethic governs the creation of doujinshi. It " -"is not doujinshi if it is just a copy; the artist must make a contribution " -"to the art he copies, by transforming it either subtly or significantly. A " -"doujinshi comic can thus take a mainstream comic and develop it " -"differently—with a different story line. Or the comic can keep the " -"character in character but change its look slightly. There is no formula for " -"what makes the doujinshi sufficiently \"different.\" But they must be " -"different if they are to be considered true doujinshi. Indeed, there are " -"committees that review doujinshi for inclusion within shows and reject any " -"copycat comic that is merely a copy." +"This is the phenomenon of <citetitle>doujinshi</citetitle>. Doujinshi are " +"also comics, but they are a kind of copycat comic. A rich ethic governs the " +"creation of doujinshi. It is not doujinshi if it is <emphasis>just</" +"emphasis> a copy; the artist must make a contribution to the art he copies, " +"by transforming it either subtly or significantly. A doujinshi comic can " +"thus take a mainstream comic and develop it differently—with a " +"different story line. Or the comic can keep the character in character but " +"change its look slightly. There is no formula for what makes the doujinshi " +"sufficiently \"different.\" But they must be different if they are to be " +"considered true doujinshi. Indeed, there are committees that review " +"doujinshi for inclusion within shows and reject any copycat comic that is " +"merely a copy." msgstr "" "Dette er fenomenet doujinshi. doujinshi er ogsÃ¥ tegneserier, men de er en " "slags copycat tegneserie. en rik ethic styrer opprettingen av doujinshi. Det " @@ -2454,10 +2477,10 @@ msgid "" "\"derivative works.\" There is no general practice by doujinshi artists of " "securing the permission of the manga creators. Instead, the practice is " "simply to take and modify the creations of others, as Walt Disney did with " -"Steamboat Bill, Jr. Under both Japanese and American law, that \"taking\" " -"without the permission of the original copyright owner is illegal. It is an " -"infringement of the original copyright to make a copy or a derivative work " -"without the original copyright owner's permission." +"<citetitle>Steamboat Bill, Jr</citetitle>. Under both Japanese and American " +"law, that \"taking\" without the permission of the original copyright owner " +"is illegal. It is an infringement of the original copyright to make a copy " +"or a derivative work without the original copyright owner's permission." msgstr "" "funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er at " "det er tillatt Ã¥ eksistere i det hele tatt. under japansk lov om " @@ -2477,9 +2500,13 @@ msgstr "Winick, Judd" #. f5 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "For an excellent history, see Scott McCloud, Reinventing Comics (New " +#| "York: Perennial, 2000)." msgid "" -"For an excellent history, see Scott McCloud, Reinventing Comics (New York: " -"Perennial, 2000)." +"For an excellent history, see Scott McCloud, <citetitle>Reinventing Comics</" +"citetitle> (New York: Perennial, 2000)." msgstr "" "For en utmerket historie, se Scott McCloud, Reinventing Comics (New York: " "Perennial, 2000)." @@ -2518,13 +2545,13 @@ msgstr "" #, mtrans, fuzzy msgid "" "See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why " -"All the Comics My Kid Watches Are Japanese Imports?\" Rutgers Law Review 55 " -"(2002): 155, 182. \"[T]here might be a collective economic rationality that " -"would lead manga and anime artists to forgo bringing legal actions for " -"infringement. One hypothesis is that all manga artists may be better off " -"collectively if they set aside their individual self-interest and decide not " -"to press their legal rights. This is essentially a prisoner's dilemma solved." -"\"" +"All the Comics My Kid Watches Are Japanese Imports?\" <citetitle>Rutgers Law " +"Review</citetitle> 55 (2002): 155, 182. \"[T]here might be a collective " +"economic rationality that would lead manga and anime artists to forgo " +"bringing legal actions for infringement. One hypothesis is that all manga " +"artists may be better off collectively if they set aside their individual " +"self-interest and decide not to press their legal rights. This is " +"essentially a prisoner's dilemma solved.\"" msgstr "" "se salil k. mehra, \"copyright og tegneserier i japan: gjør loven forklare " "hvorfor alle tegneseriene min gutt klokker er japanske import?\" rutgers lov " @@ -2624,9 +2651,10 @@ msgstr "Vaidhyanathan, Siva" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"The term intellectual property is of relatively recent origin. See Siva " -"Vaidhyanathan, Copyrights and Copywrongs, 11 (New York: New York University " -"Press, 2001). See also Lawrence Lessig, The Future of Ideas (New York: " +"The term <citetitle>intellectual property</citetitle> is of relatively " +"recent origin. See Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 11 (New York: New York University Press, 2001). See also " +"Lawrence Lessig, <citetitle>The Future of Ideas</citetitle> (New York: " "Random House, 2001), 293 n. 26. The term accurately describes a set of " "\"property\" rights—copyright, patents, trademark, and trade-" "secret—but the nature of those rights is very different. <placeholder " @@ -2716,12 +2744,12 @@ msgid "" "or paying for the privilege. (\"Excuse me, Professor Einstein, but may I " "have permission to use your theory of relativity to show that you were wrong " "about quantum physics?\") Acting companies perform adaptations of the works " -"of Shakespeare without securing permission from anyone. (Does anyone believe " -"Shakespeare would be better spread within our culture if there were a " -"central Shakespeare rights clearinghouse that all productions of Shakespeare " -"must appeal to first?) And Hollywood goes through cycles with a certain kind " -"of movie: five asteroid films in the late 1990s; two volcano disaster films " -"in 1997." +"of Shakespeare without securing permission from anyone. (Does " +"<emphasis>anyone</emphasis> believe Shakespeare would be better spread " +"within our culture if there were a central Shakespeare rights clearinghouse " +"that all productions of Shakespeare must appeal to first?) And Hollywood " +"goes through cycles with a certain kind of movie: five asteroid films in the " +"late 1990s; two volcano disaster films in 1997." msgstr "" "Det er det samme med tusen eksempler som vises overalt nÃ¥r du begynner Ã¥ se. " "forskere bygge pÃ¥ arbeidet til andre forskere uten Ã¥ be om eller betale for " @@ -2759,21 +2787,23 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"The hard question is therefore not whether a culture is free. All cultures " -"are free to some degree. The hard question instead is \"How free is this " -"culture?\" How much, and how broadly, is the culture free for others to take " -"and build upon? Is that freedom limited to party members? To members of the " -"royal family? To the top ten corporations on the New York Stock Exchange? Or " -"is that freedom spread broadly? To artists generally, whether affiliated " -"with the Met or not? To musicians generally, whether white or not? To " -"filmmakers generally, whether affiliated with a studio or not?" +"The hard question is therefore not <emphasis>whether</emphasis> a culture is " +"free. All cultures are free to some degree. The hard question instead is " +"\"<emphasis>How</emphasis> free is this culture?\" How much, and how " +"broadly, is the culture free for others to take and build upon? Is that " +"freedom limited to party members? To members of the royal family? To the top " +"ten corporations on the New York Stock Exchange? Or is that freedom spread " +"broadly? To artists generally, whether affiliated with the Met or not? To " +"musicians generally, whether white or not? To filmmakers generally, whether " +"affiliated with a studio or not?" msgstr "" -"Det vanskelige spørsmÃ¥let er derfor ikke om en kultur er fri. Alle kulturer " -"er frie til en viss grad. Det vanskelige spørsmÃ¥let er i stedet \"hvor " -"gratis er denne kulturen?\" hvor mye og hvordan forstand, er kultur som er " -"gratis for andre Ã¥ ta, og bygge pÃ¥? er den friheten begrenset til partiets " -"medlemmer? til medlemmer av kongefamilien? til topp ti selskaper pÃ¥ new york " -"stock exchange? eller er at frihet spredt bredt? til kunstnere vanligvis " +"Det vanskelige spørsmÃ¥let er derfor ikke <emphasis>om</emphasis> en kultur er " +"fri. Alle kulturer er frie til en viss grad. Det vanskelige spørsmÃ¥let er i " +"stedet \"<emphasis>hvor</emphasis> fri er denne kulturen?\" hvor mye og " +"hvordan forstand, er kultur som er gratis for andre Ã¥ ta, og bygge pÃ¥? er den " +"hvordan forstand, er kultur som er friheten begrenset til partiets medlemmer? " +"til medlemmer av kongefamilien? til topp ti selskaper pÃ¥ new york stock " +"exchange? eller er at frihet spredt bredt? til kunstnere vanligvis " "enten tilknyttet av the met eller ikke? til musikere vanligvis om hvit eller " "ikke? til filmskapere vanligvis enten tilknyttet et studio eller ikke?" @@ -2863,9 +2893,13 @@ msgstr "" #. f1 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins " +#| "University Press, 1975), 112." msgid "" -"Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University " -"Press, 1975), 112." +"Reese V. Jenkins, <citetitle>Images and Enterprise</citetitle> (Baltimore: " +"Johns Hopkins University Press, 1975), 112." msgstr "" "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University " "Press, 1975), 112." @@ -2875,7 +2909,8 @@ msgid "" "Eastman developed flexible, emulsion-coated paper film and placed rolls of " "it in small, simple cameras: the Kodak. The device was marketed on the basis " "of its simplicity. \"You press the button and we do the rest.\"<placeholder " -"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:" +"type=\"footnote\" id=\"0\"/> As he described in <citetitle>The Kodak Primer</" +"citetitle>:" msgstr "" #. type: Content of: <book><chapter><sect1><indexterm><primary> @@ -2885,8 +2920,8 @@ msgstr "Coe, Brian" #. type: Content of: <book><chapter><sect1><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" -"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), " -"53. <placeholder type=\"indexterm\" id=\"0\"/>" +"Brian Coe, <citetitle>The Birth of Photography</citetitle> (New York: " +"Taplinger Publishing, 1977), 53. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Brian coe, fødselen av fotografering (new york: taplinger publiserer, 1977), " "53." @@ -2974,13 +3009,13 @@ msgstr "" #. f6 #. type: Content of: <book><chapter><sect1><para><footnote><para> -#, mtrans, fuzzy msgid "" -"For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., 50 " -"S.E." +"For illustrative cases, see, for example, <citetitle>Pavesich</citetitle> v. " +"<citetitle>N.E. Life Ins. Co</citetitle>., 50 S.E. 68 (Ga. 1905); " +"<citetitle>Foster-Milburn Co</citetitle>. v. <citetitle>Chinn</citetitle>, " +"123090 S.W. 364, 366 (Ky. 1909); <citetitle>Corliss</citetitle> v. " +"<citetitle>Walker</citetitle>, 64 F. 280 (Mass. Dist. Ct. 1894)." msgstr "" -"for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. co, " -"50 se" #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -3019,9 +3054,9 @@ msgstr "Warren, Samuel D." #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" Harvard " -"Law Review 4 (1890): 193. <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" +"Samuel D. Warren and Louis D. Brandeis, \"The Right to Privacy,\" " +"<citetitle>Harvard Law Review</citetitle> 4 (1890): 193. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "Samuel d. warren og louis d. brandeis, \"rett til personvern,\" harvard law " "gÃ¥ gjennom 4 (1890): 193." @@ -3034,19 +3069,21 @@ msgid "" "Brandeis, who would become a Supreme Court Justice, thought the rule should " "be different for images from private spaces.<placeholder type=\"footnote\" " "id=\"0\"/>) It may be that this means that the photographer gets something " -"for nothing. Just as Disney could take inspiration from Steamboat Bill, Jr. " -"or the Brothers Grimm, the photographer should be free to capture an image " -"without compensating the source." +"for nothing. Just as Disney could take inspiration from <citetitle>Steamboat " +"Bill, Jr</citetitle>. or the Brothers Grimm, the photographer should be free " +"to capture an image without compensating the source." msgstr "" #. f8 #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Melville B. Nimmer, \"The Right of Publicity,\" Law and Contemporary " -"Problems 19 (1954): 203; William L. Prosser, \"Privacy,\" California Law " -"Review 48 (1960) 398–407; White v. Samsung Electronics America, Inc., " -"971 F. 2d 1395 (9th Cir. 1992), cert. denied, 508 U.S. 951 (1993)." +"See Melville B. Nimmer, \"The Right of Publicity,\" <citetitle>Law and " +"Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, " +"\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) " +"398–407; <citetitle>White</citetitle> v. <citetitle>Samsung " +"Electronics America, Inc</citetitle>., 971 F. 2d 1395 (9th Cir. 1992), " +"cert. denied, 508 U.S. 951 (1993)." msgstr "" "se melville b. nimmer, \"rett publisitet,\" lov og moderne problemer 19 " "(1954): 203; William l. prosser, \"personvern\", california lov gÃ¥ gjennom " @@ -3200,9 +3237,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence " -"Erlbaum Associates, 1990); \"Findings on Family and TV Study,\" Denver Post, " -"25 May 1997, B6." +"Judith Van Evra, <citetitle>Television and Child Development</citetitle> " +"(Hillsdale, N.J.: Lawrence Erlbaum Associates, 1990); \"Findings on Family " +"and TV Study,\" <citetitle>Denver Post</citetitle>, 25 May 1997, B6." msgstr "" "Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum " "associates, 1990); \"funn pÃ¥ familie og tv studie,\" denver innlegg, 25 mai " @@ -3442,9 +3479,9 @@ msgid "" "students, `you have to do it in text,' they would've just thrown their hands " "up and gone and done something else,\" Barish described, in part, no doubt, " "because expressing themselves in text is not something these students can do " -"well. Yet neither is text a form in which these ideas can be expressed well. " -"The power of this message depended upon its connection to this form of " -"expression." +"well. Yet neither is text a form in which <emphasis>these</emphasis> ideas " +"can be expressed well. The power of this message depended upon its " +"connection to this form of expression." msgstr "" "bruker noe \"gratis web ting de kunne finne\", og relativt enkle verktøy til " "Ã¥ aktivere barna Ã¥ blande \"bilde, lyd og tekst\", sa barish denne klassen " @@ -3599,9 +3636,9 @@ msgid "" "shows with text. Some offered open letters. There were sound recordings. " "There was anger and frustration. There were attempts to provide context. " "There was, in short, an extraordinary worldwide barn raising, in the sense " -"Mike Godwin uses the term in his book Cyber Rights, around a news event that " -"had captured the attention of the world. There was ABC and CBS, but there " -"was also the Internet." +"Mike Godwin uses the term in his book <citetitle>Cyber Rights</citetitle>, " +"around a news event that had captured the attention of the world. There was " +"ABC and CBS, but there was also the Internet." msgstr "" "men i tillegg til denne produsert nyheter om \"tragedie av 11 september\", " "de av oss knyttet til Internett kom Ã¥ se en svært forskjellige produksjon " @@ -3658,8 +3695,8 @@ msgid "" "to come into public consciousness: the Web-log, or blog. The blog is a kind " "of public diary, and within some cultures, such as in Japan, it functions " "very much like a diary. In those cultures, it records private facts in a " -"public way—it's a kind of electronic Jerry Springer, available " -"anywhere in the world." +"public way—it's a kind of electronic <citetitle>Jerry Springer</" +"citetitle>, available anywhere in the world." msgstr "" "11 september var ikke en villfarelse. Det var en begynnelse. rundt samme " "tid, en form for kommunikasjon som har vokst dramatisk var bare begynnelsen " @@ -3720,8 +3757,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"See, for example, Alexis de Tocqueville, Democracy in America, bk. 1, " -"trans. Henry Reeve (New York: Bantam Books, 2000), ch. 16." +"See, for example, Alexis de Tocqueville, <citetitle>Democracy in America</" +"citetitle>, bk. 1, trans. Henry Reeve (New York: Bantam Books, 2000), ch. " +"16." msgstr "" "Se for eksempel alexis de tocqueville, demokrati i Amerika, bk. 1, trans. " "Henry reeve (new york: bantam books, 2000), ch. 16." @@ -3745,9 +3783,13 @@ msgstr "" #. f16 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of " +#| "Political Philosophy 10 (2) (2002): 129." msgid "" -"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political " -"Philosophy 10 (2) (2002): 129." +"Bruce Ackerman and James Fishkin, \"Deliberation Day,\" <citetitle>Journal " +"of Political Philosophy</citetitle> 10 (2) (2002): 129." msgstr "" "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of Political " "Philosophy 10 (2) (2002): 129." @@ -3764,9 +3806,13 @@ msgstr "" #. f17 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Cass Sunstein, Republic.com (Princeton: Princeton University Press, " +#| "2001), 65–80, 175, 182, 183, 192." msgid "" -"Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), " -"65–80, 175, 182, 183, 192." +"Cass Sunstein, <citetitle>Republic.com</citetitle> (Princeton: Princeton " +"University Press, 2001), 65–80, 175, 182, 183, 192." msgstr "" "Cass Sunstein, Republic.com (Princeton: Princeton University Press, 2001), " "65–80, 175, 182, 183, 192." @@ -3937,17 +3983,17 @@ msgid "" "with a reporter in Iraq. The New York headquarters was telling the reporter " "over and over that her account of the war was too bleak: She needed to offer " "a more optimistic story. When she told New York that wasn't warranted, they " -"told her that they were writing \"the story.\")" +"told her <emphasis>that</emphasis> they were writing \"the story.\")" msgstr "" #. f20 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" "John Schwartz, \"Loss of the Shuttle: The Internet; A Wealth of Information " -"Online,\" New York Times, 2 February 2003, A28; Staci D. Kramer, \"Shuttle " -"Disaster Coverage Mixed, but Strong Overall,\" Online Journalism Review, 2 " -"February 2003, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #10</ulink>." +"Online,\" <citetitle>New York Times</citetitle>, 2 February 2003, A28; Staci " +"D. Kramer, \"Shuttle Disaster Coverage Mixed, but Strong Overall,\" Online " +"Journalism Review, 2 February 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #10</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -3967,14 +4013,15 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" New York " -"Times, 29 September 2003, C4. (\"Not all news organizations have been as " -"accepting of employees who blog. Kevin Sites, a CNN correspondent in Iraq " -"who started a blog about his reporting of the war on March 9, stopped " -"posting 12 days later at his bosses' request. Last year Steve Olafson, a " -"Houston Chronicle reporter, was fired for keeping a personal Web log, " -"published under a pseudonym, that dealt with some of the issues and people " -"he was covering.\") <placeholder type=\"indexterm\" id=\"0\"/>" +"See Michael Falcone, \"Does an Editor's Pencil Ruin a Web Log?\" " +"<citetitle>New York Times</citetitle>, 29 September 2003, C4. (\"Not all " +"news organizations have been as accepting of employees who blog. Kevin " +"Sites, a CNN correspondent in Iraq who started a blog about his reporting of " +"the war on March 9, stopped posting 12 days later at his bosses' request. " +"Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> " +"reporter, was fired for keeping a personal Web log, published under a " +"pseudonym, that dealt with some of the issues and people he was covering." +"\") <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "se michael falcone, \"betyr en redigering blyant ødelegge en weblogg?\" new " "york times, 29. september 2003, c4. (\"ikke alle nyhetsorganisasjoner har " @@ -4184,8 +4231,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "See, for example, Edward Felten and Andrew Appel, \"Technological Access " -"Control Interferes with Noninfringing Scholarship,\" Communications of the " -"Association for Computer Machinery 43 (2000): 9." +"Control Interferes with Noninfringing Scholarship,\" " +"<citetitle>Communications of the Association for Computer Machinery</" +"citetitle> 43 (2000): 9." msgstr "" "Se for eksempel edward felten og andrew appel, \"teknologiske " "tilgangskontroll forstyrrer noninfringing stipend,\" kommunikasjon av " @@ -4443,11 +4491,12 @@ msgid "" "I don't think there's anything wrong with the search engine that I ran " "or . . . what I had done to it. I mean, I hadn't modified it in any way that " "promoted or enhanced the work of pirates. I just modified the search engine " -"in a way that would make it easier to use\"—again, a search engine, " -"which Jesse had not himself built, using the Windows filesharing system, " -"which Jesse had not himself built, to enable members of the RPI community to " -"get access to content, which Jesse had not himself created or posted, and " -"the vast majority of which had nothing to do with music." +"in a way that would make it easier to use\"—again, a <emphasis>search " +"engine</emphasis>, which Jesse had not himself built, using the Windows " +"filesharing system, which Jesse had not himself built, to enable members of " +"the RPI community to get access to content, which Jesse had not himself " +"created or posted, and the vast majority of which had nothing to do with " +"music." msgstr "" "\"det var absurd,\" sa han til meg. \"Jeg tror ikke jeg gjorde noe galt.... " "Jeg tror ikke det er noe galt med søkemotoren som jeg kjørte eller... hva " @@ -4482,10 +4531,15 @@ msgstr "" #. f1 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " +#| "Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 " +#| "(2003): 5, available at 2003 WL 55179443." msgid "" "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " -"Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): " -"5, available at 2003 WL 55179443." +"Alleges $97.8 Billion in Damages,\" <citetitle>Professional Media Group LCC</" +"citetitle> 6 (2003): 5, available at 2003 WL 55179443." msgstr "" "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit " "Alleges $97.8 Billion in Damages,\" Professional Media Group LCC 6 (2003): " @@ -4499,8 +4553,9 @@ msgid "" "detail, the bottom line in each was exactly the same: huge demands for " "\"damages\" that the RIAA claimed it was entitled to. If you added up the " "claims, these four lawsuits were asking courts in the United States to award " -"the plaintiffs close to $100 billion—six times the total profit of the " -"film industry in 2001.<placeholder type=\"footnote\" id=\"0\"/>" +"the plaintiffs close to $100 <emphasis>billion</emphasis>—six times " +"the <emphasis>total</emphasis> profit of the film industry in 2001." +"<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -4571,7 +4626,7 @@ msgstr "" msgid "" "Occupational Employment Survey, U.S. Dept. of Labor (2001) " "(27–2042—Musicians and Singers). See also National Endowment for " -"the Arts, More Than One in a Blue Moon (2000)." +"the Arts, <citetitle>More Than One in a Blue Moon</citetitle> (2000)." msgstr "" "yrkesmessig sysselsetting undersøkelse, US dept. of labor (2001) (27­" "2042—musikere og vokalister). Se ogsÃ¥ nasjonale legat for arts, mer " @@ -4579,9 +4634,13 @@ msgstr "" #. f3 #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall " +#| "Street Journal, 10 September 2003, A24." msgid "" -"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall " -"Street Journal, 10 September 2003, A24." +"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" " +"<citetitle>Wall Street Journal</citetitle>, 10 September 2003, A24." msgstr "" "Douglas Lichtman kommer med et relatert poeng i \"KaZaA and Punishment,\" " "Wall Street Journal, 10. september 2003, A24." @@ -4669,9 +4728,9 @@ msgstr "filmen" #, mtrans, fuzzy msgid "" "I am grateful to Peter DiMauro for pointing me to this extraordinary " -"history. See also Siva Vaidhyanathan, Copyrights and Copywrongs, " -"87–93, which details Edison's \"adventures\" with copyright and " -"patent. <placeholder type=\"indexterm\" id=\"0\"/>" +"history. See also Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 87–93, which details Edison's \"adventures\" with " +"copyright and patent. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg er takknemlig til peter dimauro for Ã¥ sette meg til dette ekstraordinære " "historie. Se ogsÃ¥ siva vaidhyanathan, opphavsrett og copywrongs, 87­93, som " @@ -4716,16 +4775,16 @@ msgstr "" #. f2 #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> msgid "" -"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion " -"Picture Producers (Cobblestone Entertainment, 2000) and expanded texts " -"posted at \"The Edison Movie Monopoly: The Motion Picture Patents Company " -"vs. the Independent Outlaws,\" available at <ulink url=\"http://free-culture." -"cc/notes/\">link #11</ulink>. For a discussion of the economic motive behind " -"both these limits and the limits imposed by Victor on phonographs, see " -"Randal C. Picker, \"From Edison to the Broadcast Flag: Mechanisms of Consent " -"and Refusal and the Propertization of Copyright\" (September 2002), " -"University of Chicago Law School, James M. Olin Program in Law and " -"Economics, Working Paper No. 159." +"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent " +"Motion Picture Producers</citetitle> (Cobblestone Entertainment, 2000) and " +"expanded texts posted at \"The Edison Movie Monopoly: The Motion Picture " +"Patents Company vs. the Independent Outlaws,\" available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #11</ulink>. For a discussion of the " +"economic motive behind both these limits and the limits imposed by Victor on " +"phonographs, see Randal C. Picker, \"From Edison to the Broadcast Flag: " +"Mechanisms of Consent and Refusal and the Propertization of Copyright" +"\" (September 2002), University of Chicago Law School, James M. Olin Program " +"in Law and Economics, Working Paper No. 159." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><indexterm><primary> @@ -4753,9 +4812,14 @@ msgstr "" #. f3 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at " +#| "<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>." msgid "" -"Marc Wanamaker, \"The First Studios,\" The Silents Majority, archived at " -"<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>." +"Marc Wanamaker, \"The First Studios,\" <citetitle>The Silents Majority</" +"citetitle>, archived at <ulink url=\"http://free-culture.cc/notes/\">link " +"#12</ulink>." msgstr "" "Marc Wanamaker, \"The First Studios,\" The Silents Majority, arkivert pÃ¥ " "<ulink url=\"http://free-culture.cc/notes/\">link #12</ulink>." @@ -4876,9 +4940,9 @@ msgid "" "To Amend and Consolidate the Acts Respecting Copyright: Hearings on S. 6330 " "and H.R. 19853 Before the ( Joint) Committees on Patents, 59th Cong. 59, 1st " "sess. (1906) (statement of Senator Alfred B. Kittredge, of South Dakota, " -"chairman), reprinted in Legislative History of the Copyright Act, E. Fulton " -"Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman Reprints, " -"1976)." +"chairman), reprinted in <citetitle>Legislative History of the Copyright Act</" +"citetitle>, E. Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N." +"J.: Rothman Reprints, 1976)." msgstr "" "endre og konsolidere handlinger som respekterer copyright: hearings pÃ¥ s. " "6330 og hr 19853 før (felles) komiteer pÃ¥ patenter, 59th cong. 59, 1 sess. " @@ -4981,16 +5045,16 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"The law soon resolved this battle in favor of the composer and the recording " -"artist. Congress amended the law to make sure that composers would be paid " -"for the \"mechanical reproductions\" of their music. But rather than simply " -"granting the composer complete control over the right to make mechanical " -"reproductions, Congress gave recording artists a right to record the music, " -"at a price set by Congress, once the composer allowed it to be recorded " -"once. This is the part of copyright law that makes cover songs possible. " -"Once a composer authorizes a recording of his song, others are free to " -"record the same song, so long as they pay the original composer a fee set by " -"the law." +"The law soon resolved this battle in favor of the composer <emphasis>and</" +"emphasis> the recording artist. Congress amended the law to make sure that " +"composers would be paid for the \"mechanical reproductions\" of their music. " +"But rather than simply granting the composer complete control over the right " +"to make mechanical reproductions, Congress gave recording artists a right to " +"record the music, at a price set by Congress, once the composer allowed it " +"to be recorded once. This is the part of copyright law that makes cover " +"songs possible. Once a composer authorizes a recording of his song, others " +"are free to record the same song, so long as they pay the original composer " +"a fee set by the law." msgstr "" "loven løst snart denne kampen til fordel for komponisten og opptak " "kunstneren. kongressen endret loven Ã¥ sørge for at komponister ville bli " @@ -5048,9 +5112,10 @@ msgstr "" msgid "" "Copyright Law Revision: Hearings on S. 2499, S. 2900, H.R. 243, and H.R. " "11794 Before the ( Joint) Committee on Patents, 60th Cong., 1st sess., 217 " -"(1908) (statement of Senator Reed Smoot, chairman), reprinted in Legislative " -"History of the 1909 Copyright Act, E. Fulton Brylawski and Abe Goldman, eds. " -"(South Hackensack, N.J.: Rothman Reprints, 1976)." +"(1908) (statement of Senator Reed Smoot, chairman), reprinted in " +"<citetitle>Legislative History of the 1909 Copyright Act</citetitle>, E. " +"Fulton Brylawski and Abe Goldman, eds. (South Hackensack, N.J.: Rothman " +"Reprints, 1976)." msgstr "" "Copyright lov revision: hearings pÃ¥ s. 2499, s. 2900, hr 243 og hr 11794 før " "(felles) komiteen pÃ¥ patenter, 60 cong., 1 sess., 217 (1908) (setning av " @@ -5061,17 +5126,17 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" "But the law governing recordings gives recording artists less. And thus, in " -"effect, the law subsidizes the recording industry through a kind of " -"piracy—by giving recording artists a weaker right than it otherwise " -"gives creative authors. The Beatles have less control over their creative " -"work than Grisham does. And the beneficiaries of this less control are the " -"recording industry and the public. The recording industry gets something of " -"value for less than it otherwise would pay; the public gets access to a much " -"wider range of musical creativity. Indeed, Congress was quite explicit about " -"its reasons for granting this right. Its fear was the monopoly power of " -"rights holders, and that that power would stifle follow-on creativity." -"<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=" -"\"1\"/>" +"effect, the law <emphasis>subsidizes</emphasis> the recording industry " +"through a kind of piracy—by giving recording artists a weaker right " +"than it otherwise gives creative authors. The Beatles have less control over " +"their creative work than Grisham does. And the beneficiaries of this less " +"control are the recording industry and the public. The recording industry " +"gets something of value for less than it otherwise would pay; the public " +"gets access to a much wider range of musical creativity. Indeed, Congress " +"was quite explicit about its reasons for granting this right. Its fear was " +"the monopoly power of rights holders, and that that power would stifle " +"follow-on creativity.<placeholder type=\"footnote\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -5139,16 +5204,17 @@ msgstr "Hand, Learned" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See 17 United States Code, sections 106 and 110. At the beginning, record " -"companies printed \"Not Licensed for Radio Broadcast\" and other messages " -"purporting to restrict the ability to play a record on a radio station. " -"Judge Learned Hand rejected the argument that a warning attached to a record " -"might restrict the rights of the radio station. See RCA Manufacturing Co. v. " -"Whiteman, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From " +"See 17 <citetitle>United States Code</citetitle>, sections 106 and 110. At " +"the beginning, record companies printed \"Not Licensed for Radio Broadcast\" " +"and other messages purporting to restrict the ability to play a record on a " +"radio station. Judge Learned Hand rejected the argument that a warning " +"attached to a record might restrict the rights of the radio station. See " +"<citetitle>RCA Manufacturing Co</citetitle>. v. <citetitle>Whiteman</" +"citetitle>, 114 F. 2d 86 (2nd Cir. 1940). See also Randal C. Picker, \"From " "Edison to the Broadcast Flag: Mechanisms of Consent and Refusal and the " -"Propertization of Copyright,\" University of Chicago Law Review 70 (2003): " -"281. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" +"Propertization of Copyright,\" <citetitle>University of Chicago Law Review</" +"citetitle> 70 (2003): 281. <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "se 17, united states code, inndelinger 106 og 110. pÃ¥ begynnelsen av, spille " "inn selskapene skrives ut \"ikke lisensiert for radiosendingen\" og andre " @@ -5178,14 +5244,15 @@ msgstr "Lovett, Lyle" #, mtrans, fuzzy msgid "" "But when the radio station plays a record, it is not only performing a copy " -"of the composer's work. The radio station is also performing a copy of the " -"recording artist's work. It's one thing to have \"Happy Birthday\" sung on " -"the radio by the local children's choir; it's quite another to have it sung " -"by the Rolling Stones or Lyle Lovett. The recording artist is adding to the " -"value of the composition performed on the radio station. And if the law " -"were perfectly consistent, the radio station would have to pay the recording " -"artist for his work, just as it pays the composer of the music for his " -"work. <placeholder type=\"indexterm\" id=\"0\"/>" +"of the <emphasis>composer's</emphasis> work. The radio station is also " +"performing a copy of the <emphasis>recording artist's</emphasis> work. It's " +"one thing to have \"Happy Birthday\" sung on the radio by the local " +"children's choir; it's quite another to have it sung by the Rolling Stones " +"or Lyle Lovett. The recording artist is adding to the value of the " +"composition performed on the radio station. And if the law were perfectly " +"consistent, the radio station would have to pay the recording artist for his " +"work, just as it pays the composer of the music for his work. <placeholder " +"type=\"indexterm\" id=\"0\"/>" msgstr "" "men nÃ¥r radiostasjonen spiller en post, det er ikke bare utføre en kopi av " "komponistens arbeid. radiostasjonen presterer ogsÃ¥ en kopi av den " @@ -5236,8 +5303,8 @@ msgid "" "our law, every time a radio station plays your song, you get some money. But " "Madonna gets nothing, save the indirect effect on the sale of her CDs. The " "public performance of her recording is not a \"protected\" right. The radio " -"station thus gets to pirate the value of Madonna's work without paying her " -"anything." +"station thus gets to <emphasis>pirate</emphasis> the value of Madonna's work " +"without paying her anything." msgstr "" "forestille hun gjør synge sangen, og forestille hun liker det mye. Hun " "deretter bestemmer seg for Ã¥ gjøre en innspilling av sangen, og det blir en " @@ -5463,11 +5530,12 @@ msgstr "" #. f19 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See, for example, National Music Publisher's Association, The Engine of Free " -"Expression: Copyright on the Internet—The Myth of Free Information, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #13</ulink>. " -"\"The threat of piracy—the use of someone else's creative work without " -"permission or compensation—has grown with the Internet.\"" +"See, for example, National Music Publisher's Association, <citetitle>The " +"Engine of Free Expression: Copyright on the Internet—The Myth of Free " +"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #13</ulink>. \"The threat of piracy—the use of someone " +"else's creative work without permission or compensation—has grown with " +"the Internet.\"" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -5475,11 +5543,11 @@ msgid "" "These separate stories sing a common theme. If \"piracy\" means using value " "from someone else's creative property without permission from that " "creator—as it is increasingly described today<placeholder type=" -"\"footnote\" id=\"0\"/> — then every industry affected by copyright " -"today is the product and beneficiary of a certain kind of piracy. Film, " -"records, radio, cable TV. . . . The list is long and could well be expanded. " -"Every generation welcomes the pirates from the last. Every generation—" -"until now." +"\"footnote\" id=\"0\"/> — then <emphasis>every</emphasis> industry " +"affected by copyright today is the product and beneficiary of a certain kind " +"of piracy. Film, records, radio, cable TV. . . . The list is long and could " +"well be expanded. Every generation welcomes the pirates from the last. Every " +"generation—until now." msgstr "" #. type: Content of: <book><chapter><sect1><title> @@ -5527,11 +5595,11 @@ msgstr "piratkopiering jeg" #. f1 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See IFPI (International Federation of the Phonographic Industry), The " -"Recording Industry Commercial Piracy Report 2003, July 2003, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #14</ulink>. See also Ben " -"Hunt, \"Companies Warned on Music Piracy Risk,\" Financial Times, 14 " -"February 2003, 11." +"See IFPI (International Federation of the Phonographic Industry), " +"<citetitle>The Recording Industry Commercial Piracy Report 2003</citetitle>, " +"July 2003, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#14</ulink>. See also Ben Hunt, \"Companies Warned on Music Piracy Risk,\" " +"<citetitle>Financial Times</citetitle>, 14 February 2003, 11." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -5618,20 +5686,20 @@ msgstr "Drahos, Peter" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the " -"Knowledge Economy? (New York: The New Press, 2003), 10–13, 209. The " -"Trade-Related Aspects of Intellectual Property Rights (TRIPS) agreement " -"obligates member nations to create administrative and enforcement mechanisms " -"for intellectual property rights, a costly proposition for developing " -"countries. Additionally, patent rights may lead to higher prices for staple " -"industries such as agriculture. Critics of TRIPS question the disparity " -"between burdens imposed upon developing countries and benefits conferred to " -"industrialized nations. TRIPS does permit governments to use patents for " -"public, noncommercial uses without first obtaining the patent holder's " -"permission. Developing nations may be able to use this to gain the benefits " -"of foreign patents at lower prices. This is a promising strategy for " -"developing nations within the TRIPS framework. <placeholder type=\"indexterm" -"\" id=\"0\"/>" +"See Peter Drahos with John Braithwaite, Information Feudalism: " +"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " +"Press, 2003), 10–13, 209. The Trade-Related Aspects of Intellectual " +"Property Rights (TRIPS) agreement obligates member nations to create " +"administrative and enforcement mechanisms for intellectual property rights, " +"a costly proposition for developing countries. Additionally, patent rights " +"may lead to higher prices for staple industries such as agriculture. Critics " +"of TRIPS question the disparity between burdens imposed upon developing " +"countries and benefits conferred to industrialized nations. TRIPS does " +"permit governments to use patents for public, noncommercial uses without " +"first obtaining the patent holder's permission. Developing nations may be " +"able to use this to gain the benefits of foreign patents at lower prices. " +"This is a promising strategy for developing nations within the TRIPS " +"framework. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier " "knowledge economy? (new york: ny press, 2003), 10­13, 209. handel-relaterte " @@ -5665,12 +5733,12 @@ msgstr "Liebowitz, Stan" #, mtrans, fuzzy msgid "" "For an analysis of the economic impact of copying technology, see Stan " -"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), " -"144–90. \"In some instances . . . the impact of piracy on the " -"copyright holder's ability to appropriate the value of the work will be " -"negligible. One obvious instance is the case where the individual engaging " -"in pirating would not have purchased an original even if pirating were not " -"an option.\" Ibid., 149. <placeholder type=\"indexterm\" id=\"0\"/>" +"Liebowitz, <citetitle>Rethinking the Network Economy</citetitle> (New York: " +"Amacom, 2002), 144–90. \"In some instances . . . the impact of piracy " +"on the copyright holder's ability to appropriate the value of the work will " +"be negligible. One obvious instance is the case where the individual " +"engaging in pirating would not have purchased an original even if pirating " +"were not an option.\" Ibid., 149. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "for en analyse av økonomiske virkningen av kopiering teknologi, kan du se " "stan liebowitz, rethinking nettverk økonomien (new york: amacom, 2002), 144­" @@ -5719,18 +5787,18 @@ msgstr "" #, mtrans, fuzzy msgid "" "This argument is still very weak. However, although copyright is a property " -"right of a very special sort, it is a property right. Like all property " -"rights, the copyright gives the owner the right to decide the terms under " -"which content is shared. If the copyright owner doesn't want to sell, she " -"doesn't have to. There are exceptions: important statutory licenses that " -"apply to copyrighted content regardless of the wish of the copyright owner. " -"Those licenses give people the right to \"take\" copyrighted content whether " -"or not the copyright owner wants to sell. But where the law does not give " -"people the right to take content, it is wrong to take that content even if " -"the wrong does no harm. If we have a property system, and that system is " -"properly balanced to the technology of a time, then it is wrong to take " -"property without the permission of a property owner. That is exactly what " -"\"property\" means." +"right of a very special sort, it <emphasis>is</emphasis> a property right. " +"Like all property rights, the copyright gives the owner the right to decide " +"the terms under which content is shared. If the copyright owner doesn't want " +"to sell, she doesn't have to. There are exceptions: important statutory " +"licenses that apply to copyrighted content regardless of the wish of the " +"copyright owner. Those licenses give people the right to \"take\" " +"copyrighted content whether or not the copyright owner wants to sell. But " +"where the law does not give people the right to take content, it is wrong to " +"take that content even if the wrong does no harm. If we have a property " +"system, and that system is properly balanced to the technology of a time, " +"then it is wrong to take property without the permission of a property " +"owner. That is exactly what \"property\" means." msgstr "" "Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en " "egenskap høyre i en veldig spesiell sortering, er det en egenskap som er " @@ -5879,7 +5947,11 @@ msgstr "piratkopiering ii" #. f4 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> -msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." +#, fuzzy +#| msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." +msgid "" +"<citetitle>Bach</citetitle> v. <citetitle>Longman</citetitle>, 98 Eng. Rep. " +"1274 (1777)." msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777)." #. PAGE BREAK 80 @@ -5899,14 +5971,15 @@ msgstr "Christensen, Clayton M." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary " -"National Bestseller That Changed the Way We Do Business (New York: " -"HarperBusiness, 2000). Professor Christensen examines why companies that " -"give rise to and dominate a product area are frequently unable to come up " -"with the most creative, paradigm-shifting uses for their own products. This " -"job usually falls to outside innovators, who reassemble existing technology " -"in inventive ways. For a discussion of Christensen's ideas, see Lawrence " -"Lessig, Future, 89–92, 139. <placeholder type=\"indexterm\" id=\"0\"/>" +"See Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " +"Revolutionary National Bestseller That Changed the Way We Do Business</" +"citetitle> (New York: HarperBusiness, 2000). Professor Christensen examines " +"why companies that give rise to and dominate a product area are frequently " +"unable to come up with the most creative, paradigm-shifting uses for their " +"own products. This job usually falls to outside innovators, who reassemble " +"existing technology in inventive ways. For a discussion of Christensen's " +"ideas, see Lawrence Lessig, <citetitle>Future</citetitle>, 89–92, " +"139. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "se clayton m christensen, nyskapers dilemma: revolusjonerende nasjonale " "bestselgeren som endret mÃ¥ten vi gjør forretninger (new york: " @@ -5935,12 +6008,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" San " -"Francisco Chronicle, 24 September 2002, A1; \"Rock 'n' Roll Suicide,\" New " -"Scientist, 6 July 2002, 42; Benny Evangelista, \"Napster Names CEO, Secures " -"New Financing,\" San Francisco Chronicle, 23 May 2003, C1; \"Napster's Wake-" -"Up Call,\" Economist, 24 June 2000, 23; John Naughton, \"Hollywood at War " -"with the Internet\" (London) Times, 26 July 2002, 18." +"See Carolyn Lochhead, \"Silicon Valley Dream, Hollywood Nightmare,\" " +"<citetitle>San Francisco Chronicle</citetitle>, 24 September 2002, A1; " +"\"Rock 'n' Roll Suicide,\" <citetitle>New Scientist</citetitle>, 6 July " +"2002, 42; Benny Evangelista, \"Napster Names CEO, Secures New Financing,\" " +"<citetitle>San Francisco Chronicle</citetitle>, 23 May 2003, C1; \"Napster's " +"Wake-Up Call,\" <citetitle>Economist</citetitle>, 24 June 2000, 23; John " +"Naughton, \"Hollywood at War with the Internet\" (London) <citetitle>Times</" +"citetitle>, 26 July 2002, 18." msgstr "" "se carolyn lochhead, \"silicon valley dream, hollywood mareritt\" san " "francisco chronicle, 24 september 2002, a1; \"rock 'n' roll suicide,\" new " @@ -5967,10 +6042,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Ipsos-Insight, TEMPO: Keeping Pace with Online Music Distribution " -"(September 2002), reporting that 28 percent of Americans aged twelve and " -"older have downloaded music off of the Internet and 30 percent have listened " -"to digital music files stored on their computers." +"See Ipsos-Insight, <citetitle>TEMPO: Keeping Pace with Online Music " +"Distribution</citetitle> (September 2002), reporting that 28 percent of " +"Americans aged twelve and older have downloaded music off of the Internet " +"and 30 percent have listened to digital music files stored on their " +"computers." msgstr "" "se ipsos-innsikt, tempo: Ã¥ holde tritt med online musikk distribusjon " "(september 2002), rapportering som 28 prosent av amerikanere i alderen tolv " @@ -5981,8 +6057,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York " -"Times, 6 June 2003, A1." +"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" " +"<citetitle>New York Times</citetitle>, 6 June 2003, A1." msgstr "" "Amy harmon, \"industri tilbyr en gulrot i online musikk kamp,\" new york " "times, 6. juni 2003 a1." @@ -5993,13 +6069,13 @@ msgid "" "tasted file-sharing technology. A study by Ipsos-Insight in September 2002 " "estimated that 60 million Americans had downloaded music—28 percent of " "Americans older than 12.<placeholder type=\"footnote\" id=\"0\"/> A survey " -"by the NPD group quoted in The New York Times estimated that 43 million " -"citizens used file-sharing networks to exchange content in May 2003." -"<placeholder type=\"footnote\" id=\"1\"/> The vast majority of these are not " -"kids. Whatever the actual figure, a massive quantity of content is being " -"\"taken\" on these networks. The ease and inexpensiveness of file-sharing " -"networks have inspired millions to enjoy music in a way that they hadn't " -"before." +"by the NPD group quoted in <citetitle>The New York Times</citetitle> " +"estimated that 43 million citizens used file-sharing networks to exchange " +"content in May 2003.<placeholder type=\"footnote\" id=\"1\"/> The vast " +"majority of these are not kids. Whatever the actual figure, a massive " +"quantity of content is being \"taken\" on these networks. The ease and " +"inexpensiveness of file-sharing networks have inspired millions to enjoy " +"music in a way that they hadn't before." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6113,9 +6189,13 @@ msgid "How do these different types of sharing balance out?" msgstr "Hvordan balanserer disse ulike delingstypene?" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Liebowitz, Rethinking the Network Economy,148–49. <placeholder " +#| "type=\"indexterm\" id=\"0\"/>" msgid "" -"See Liebowitz, Rethinking the Network Economy,148–49. <placeholder " -"type=\"indexterm\" id=\"0\"/>" +"See Liebowitz, <citetitle>Rethinking the Network Economy</citetitle>, " +"148–49. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Liebowitz, Rethinking the Network Economy,148–49. <placeholder " "type=\"indexterm\" id=\"0\"/>" @@ -6152,17 +6232,17 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"See Cap Gemini Ernst & Young, Technology Evolution and the Music " -"Industry's Business Model Crisis (2003), 3. This report describes the music " -"industry's effort to stigmatize the budding practice of cassette taping in " -"the 1970s, including an advertising campaign featuring a cassette-shape " -"skull and the caption \"Home taping is killing music.\" At the time digital " -"audio tape became a threat, the Office of Technical Assessment conducted a " -"survey of consumer behavior. In 1988, 40 percent of consumers older than ten " -"had taped music to a cassette format. U.S. Congress, Office of Technology " -"Assessment, Copyright and Home Copying: Technology Challenges the Law, OTA-" -"CIT-422 (Washington, D.C.: U.S. Government Printing Office, October 1989), " -"145–56." +"See Cap Gemini Ernst & Young, <citetitle>Technology Evolution and the " +"Music Industry's Business Model Crisis</citetitle> (2003), 3. This report " +"describes the music industry's effort to stigmatize the budding practice of " +"cassette taping in the 1970s, including an advertising campaign featuring a " +"cassette-shape skull and the caption \"Home taping is killing music.\" At " +"the time digital audio tape became a threat, the Office of Technical " +"Assessment conducted a survey of consumer behavior. In 1988, 40 percent of " +"consumers older than ten had taped music to a cassette format. U.S. " +"Congress, Office of Technology Assessment, <citetitle>Copyright and Home " +"Copying: Technology Challenges the Law</citetitle>, OTA-CIT-422 (Washington, " +"D.C.: U.S. Government Printing Office, October 1989), 145–56." msgstr "" "se cap gemini ernst og unge, teknologiutviklingen og music industriens " "business modell krisen (2003), 3. Denne rapporten beskriver musikkbransjens " @@ -6192,7 +6272,7 @@ msgstr "" #. f11 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy -msgid "U.S. Congress, Copyright and Home Copying, 4." +msgid "U.S. Congress, <citetitle>Copyright and Home Copying</citetitle>, 4." msgstr "amerikanske Kongressen, copyright og hjem kopiering, 4." #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6213,8 +6293,9 @@ msgid "" "in particular, and society in general—or at least the society that " "inherits the tradition that gave us the film industry, the record industry, " "the radio industry, cable TV, and the VCR—the question is not simply " -"whether type A sharing is harmful. The question is also how harmful type A " -"sharing is, and how beneficial the other types of sharing are." +"whether type A sharing is harmful. The question is also <emphasis>how</" +"emphasis> harmful type A sharing is, and how beneficial the other types of " +"sharing are." msgstr "" "men nettopp fordi industrien var galt før betyr ikke det er galt i dag. Hvis " "du vil evaluere den virkelige trusselen at p2p fildeling presenterer til " @@ -6233,7 +6314,7 @@ msgid "" "sharing exceeds type B. If the record companies sold more records through " "sampling than they lost through substitution, then sharing networks would " "actually benefit music companies on balance. They would therefore have " -"little static reason to resist them." +"little <emphasis>static</emphasis> reason to resist them." msgstr "" "Vi begynner Ã¥ svare pÃ¥ dette spørsmÃ¥let ved Ã¥ fokusere pÃ¥ netto skade, fra " "standpunktet av industrien som helhet, at deling nettverk. den \"net skaden" @@ -6257,18 +6338,19 @@ msgstr "" #. f12 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Recording Industry Association of America, 2002 Yearend Statistics, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #15</ulink>. " -"A later report indicates even greater losses. See Recording Industry " -"Association of America, Some Facts About Music Piracy, 25 June 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #16</ulink>: " -"\"In the past four years, unit shipments of recorded music have fallen by 26 " -"percent from 1.16 billion units in to 860 million units in 2002 in the " -"United States (based on units shipped). In terms of sales, revenues are " -"down 14 percent, from $14.6 billion in to $12.6 billion last year (based on " -"U.S. dollar value of shipments). The music industry worldwide has gone from " -"a $39 billion industry in 2000 down to a $32 billion industry in 2002 (based " -"on U.S. dollar value of shipments).\"" +"See Recording Industry Association of America, <citetitle>2002 Yearend " +"Statistics</citetitle>, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #15</ulink>. A later report indicates even greater losses. See " +"Recording Industry Association of America, <citetitle>Some Facts About Music " +"Piracy</citetitle>, 25 June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #16</ulink>: \"In the past four years, unit " +"shipments of recorded music have fallen by 26 percent from 1.16 billion " +"units in to 860 million units in 2002 in the United States (based on units " +"shipped). In terms of sales, revenues are down 14 percent, from $14.6 " +"billion in to $12.6 billion last year (based on U.S. dollar value of " +"shipments). The music industry worldwide has gone from a $39 billion " +"industry in 2000 down to a $32 billion industry in 2002 (based on U.S. " +"dollar value of shipments).\"" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary> @@ -6297,10 +6379,10 @@ msgid "" "account for at least some of the loss. \"From 1999 to 2001, the average " "price of a CD rose 7.2 percent, from $13.04 to $14.19.\"<placeholder type=" "\"footnote\" id=\"1\"/> Competition from other forms of media could also " -"account for some of the decline. As Jane Black of BusinessWeek notes, \"The " -"soundtrack to the film High Fidelity has a list price of $18.98. You could " -"get the whole movie [on DVD] for $19.99.\"<placeholder type=\"footnote\" id=" -"\"2\"/>" +"account for some of the decline. As Jane Black of <citetitle>BusinessWeek</" +"citetitle> notes, \"The soundtrack to the film <citetitle>High Fidelity</" +"citetitle> has a list price of $18.98. You could get the whole movie [on " +"DVD] for $19.99.\"<placeholder type=\"footnote\" id=\"2\"/>" msgstr "" #. PAGE BREAK 84 @@ -6381,7 +6463,7 @@ msgid "" "because the artist producing the content doesn't want it to be made " "available, the vast majority of it is unavailable solely because the " "publisher or the distributor has decided it no longer makes economic sense " -"to the company to make it available." +"<emphasis>to the company</emphasis> to make it available." msgstr "" #. f16 @@ -6389,12 +6471,12 @@ msgstr "" msgid "" "While there are not good estimates of the number of used record stores in " "existence, in 2002, there were 7,198 used book dealers in the United States, " -"an increase of 20 percent since 1993. See Book Hunter Press, The Quiet " -"Revolution: The Expansion of the Used Book Market (2002), available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. Used records " -"accounted for $260 million in sales in 2002. See National Association of " -"Recording Merchandisers, \"2002 Annual Survey Results,\" available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #20</ulink>." +"an increase of 20 percent since 1993. See Book Hunter Press, <citetitle>The " +"Quiet Revolution: The Expansion of the Used Book Market</citetitle> (2002), " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #19</ulink>. " +"Used records accounted for $260 million in sales in 2002. See National " +"Association of Recording Merchandisers, \"2002 Annual Survey Results,\" " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #20</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6404,11 +6486,11 @@ msgid "" "of used book and used record stores in America today.<placeholder type=" "\"footnote\" id=\"0\"/> These stores buy content from owners, then sell the " "content they buy. And under American copyright law, when they buy and sell " -"this content, even if the content is still under copyright, the copyright " -"owner doesn't get a dime. Used book and record stores are commercial " -"entities; their owners make money from the content they sell; but as with " -"cable companies before statutory licensing, they don't have to pay the " -"copyright owner for the content they sell." +"this content, <emphasis>even if the content is still under copyright</" +"emphasis>, the copyright owner doesn't get a dime. Used book and record " +"stores are commercial entities; their owners make money from the content " +"they sell; but as with cable companies before statutory licensing, they " +"don't have to pay the copyright owner for the content they sell." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><indexterm><primary> @@ -6463,14 +6545,14 @@ msgid "" "sharing to occur—the sharing of content that copyright owners want to " "have shared or for which there is no continuing copyright. This sharing " "clearly benefits authors and society. Science fiction author Cory Doctorow, " -"for example, released his first novel, Down and Out in the Magic Kingdom, " -"both free on-line and in bookstores on the same day. His (and his " -"publisher's) thinking was that the on-line distribution would be a great " -"advertisement for the \"real\" book. People would read part on-line, and " -"then decide whether they liked the book or not. If they liked it, they would " -"be more likely to buy it. Doctorow's content is type D content. If sharing " -"networks enable his work to be spread, then both he and society are better " -"off. (Actually, much better off: It is a great book!)" +"for example, released his first novel, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, both free on-line and in bookstores on the same day. " +"His (and his publisher's) thinking was that the on-line distribution would " +"be a great advertisement for the \"real\" book. People would read part on-" +"line, and then decide whether they liked the book or not. If they liked it, " +"they would be more likely to buy it. Doctorow's content is type D content. " +"If sharing networks enable his work to be spread, then both he and society " +"are better off. (Actually, much better off: It is a great book!)" msgstr "" "til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d deling " "oppstÃ¥r—deling av innhold som eiere av opphavsretter vil har delt " @@ -6550,9 +6632,9 @@ msgid "" "See Transcript of Proceedings, In Re: Napster Copyright Litigation at 34- 35 " "(N.D. Cal., 11 July 2001), nos. MDL-00-1369 MHP, C 99-5183 MHP, available at " "<ulink url=\"http://free-culture.cc/notes/\">link #21</ulink>. For an " -"account of the litigation and its toll on Napster, see Joseph Menn, All the " -"Rave: The Rise and Fall of Shawn Fanning's Napster (New York: Crown " -"Business, 2003), 269–82." +"account of the litigation and its toll on Napster, see Joseph Menn, " +"<citetitle>All the Rave: The Rise and Fall of Shawn Fanning's Napster</" +"citetitle> (New York: Crown Business, 2003), 269–82." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -6659,8 +6741,8 @@ msgid "" "associated with broadcasters would use their power to stifle this new " "technology, cable. But if Congress had permitted cable to use broadcasters' " "content for free, then it would have unfairly subsidized cable. Thus " -"Congress chose a path that would assure compensation without giving the past " -"(broadcasters) control over the future (cable)." +"Congress chose a path that would assure <emphasis>compensation</emphasis> " +"without giving the past (broadcasters) control over the future (cable)." msgstr "" "denne sÃ¥rbarheten, som kompromiss som pÃ¥virker poster og spilleren pianoer, " "servert to viktige mÃ¥l—faktisk to sentrale mÃ¥lene noen opphavsrett " @@ -6756,8 +6838,8 @@ msgstr "opphavsrett infringements (lyd og video-opptakere), 475." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Universal City Studios, Inc. v. Sony Corp. of America, 480 F. Supp. 429, (C." -"D. Cal., 1979)." +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 480 F. Supp. 429, (C.D. Cal., 1979)." msgstr "" "Universal city studios, inc. v. sony Corporation of america, 480 f. supp. " "429, (klientadgangslisens CAL (CD), 1979)." @@ -6800,8 +6882,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Universal City Studios, Inc. v. Sony Corp. of America, 659 F. 2d 963 (9th " -"Cir. 1981)." +"<citetitle>Universal City Studios, Inc</citetitle>. v. <citetitle>Sony Corp. " +"of America</citetitle>, 659 F. 2d 963 (9th Cir. 1981)." msgstr "" "Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 " "(9 cir. 1981)." @@ -6815,9 +6897,9 @@ msgid "" "liable for the copyright infringement made possible by its machines. Under " "the Ninth Circuit's rule, this totally familiar technology—which Jack " "Valenti had called \"the Boston Strangler of the American film industry" -"\" (worse yet, it was a Japanese Boston Strangler of the American film " -"industry)—was an illegal technology.<placeholder type=\"footnote\" id=" -"\"0\"/>" +"\" (worse yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of " +"the American film industry)—was an illegal technology.<placeholder " +"type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 90 @@ -6836,8 +6918,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" -"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, 431 " -"(1984)." +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, 431 (1984)." msgstr "" "Sony Corporation of america v. universal city studios, inc., 464 amerikanske " "417, 431 (1984)." @@ -6939,12 +7021,13 @@ msgid "" "regulated by Congress to minimize the risk of piracy. The remedy Congress " "imposed did burden DAT producers, by taxing tape sales and controlling the " "technology of DAT. See Audio Home Recording Act of 1992 (Title 17 of the " -"United States Code), Pub. L. No. 102-563, 106 Stat. 4237, codified at 17 U." -"S.C. §1001. Again, however, this regulation did not eliminate the " -"opportunity for free riding in the sense I've described. See Lessig, Future, " -"71. See also Picker, \"From Edison to the Broadcast Flag,\" University of " -"Chicago Law Review 70 (2003): 293–96. <placeholder type=\"indexterm\" " -"id=\"0\"/>" +"<citetitle>United States Code</citetitle>), Pub. L. No. 102-563, 106 Stat. " +"4237, codified at 17 U.S.C. §1001. Again, however, this regulation did not " +"eliminate the opportunity for free riding in the sense I've described. See " +"Lessig, <citetitle>Future</citetitle>, 71. See also Picker, \"From Edison to " +"the Broadcast Flag,\" <citetitle>University of Chicago Law Review</" +"citetitle> 70 (2003): 293–96. <placeholder type=\"indexterm\" id=" +"\"0\"/>" msgstr "" "disse er de viktigste forekomstene i vÃ¥r historie, men det finnes andre " "tilfeller ogsÃ¥. teknologi for digital audio tape (dat), for eksempel var " @@ -6969,14 +7052,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"In none of these cases did either the courts or Congress eliminate all free " -"riding. In none of these cases did the courts or Congress insist that the " -"law should assure that the copyright holder get all the value that his " -"copyright created. In every case, the copyright owners complained of " -"\"piracy.\" In every case, Congress acted to recognize some of the " -"legitimacy in the behavior of the \"pirates.\" In each case, Congress " -"allowed some new technology to benefit from content made before. It balanced " -"the interests at stake." +"In <emphasis>none</emphasis> of these cases did either the courts or " +"Congress eliminate all free riding. In <emphasis>none</emphasis> of these " +"cases did the courts or Congress insist that the law should assure that the " +"copyright holder get all the value that his copyright created. In every " +"case, the copyright owners complained of \"piracy.\" In every case, Congress " +"acted to recognize some of the legitimacy in the behavior of the \"pirates." +"\" In each case, Congress allowed some new technology to benefit from " +"content made before. It balanced the interests at stake." msgstr "" "Ingen av disse tilfellene enten domstoler eller Kongressen eliminere alle " "gratis ridning. Ingen av disse tilfellene gjorde domstoler eller Kongressen " @@ -7013,7 +7096,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417, (1984)." +"<citetitle>Sony Corp. of America</citetitle> v. <citetitle>Universal City " +"Studios, Inc</citetitle>., 464 U.S. 417, (1984)." msgstr "" "Sony Corporation of america v. universal city studios, inc., 464 amerikanske " "417, (1984)." @@ -7026,9 +7110,9 @@ msgid "" "uses of his work.\"<placeholder type=\"footnote\" id=\"0\"/> Instead, the " "particular uses that the law regulates have been defined by balancing the " "good that comes from granting an exclusive right against the burdens such an " -"exclusive right creates. And this balancing has historically been done after " -"a technology has matured, or settled into the mix of technologies that " -"facilitate the distribution of content." +"exclusive right creates. And this balancing has historically been done " +"<emphasis>after</emphasis> a technology has matured, or settled into the mix " +"of technologies that facilitate the distribution of content." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -7063,7 +7147,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes " -"Past Efforts,\" New York Times, 22 September 2003, C3." +"Past Efforts,\" <citetitle>New York Times</citetitle>, 22 September 2003, C3." msgstr "" "John schwartz, \"nye økonomien: angrepet pÃ¥ node-til-node-programvare " "reflekterer forbi innsats,\" new york times, 22 september 2003, c3." @@ -7074,23 +7158,23 @@ msgid "" "of distribution. And this p2p has done. P2p technologies can be ideally " "efficient in moving content across a widely diverse network. Left to " "develop, they could make the network vastly more efficient. Yet these " -"\"potential public benefits,\" as John Schwartz writes in The New York " -"Times, \"could be delayed in the P2P fight.\"<placeholder type=\"footnote\" " -"id=\"0\"/> Yet when anyone begins to talk about \"balance,\" the copyright " -"warriors raise a different argument. \"All this hand waving about balance " -"and incentives,\" they say, \"misses a fundamental point. Our content,\" the " -"warriors insist, \"is our property. Why should we wait for Congress to " -"`rebalance' our property rights? Do you have to wait before calling the " -"police when your car has been stolen? And why should Congress deliberate at " -"all about the merits of this theft? Do we ask whether the car thief had a " -"good use for the car before we arrest him?\"" +"\"potential public benefits,\" as John Schwartz writes in <citetitle>The New " +"York Times</citetitle>, \"could be delayed in the P2P fight.\"<placeholder " +"type=\"footnote\" id=\"0\"/> Yet when anyone begins to talk about \"balance," +"\" the copyright warriors raise a different argument. \"All this hand waving " +"about balance and incentives,\" they say, \"misses a fundamental point. Our " +"content,\" the warriors insist, \"is our <emphasis>property</emphasis>. Why " +"should we wait for Congress to `rebalance' our property rights? Do you have " +"to wait before calling the police when your car has been stolen? And why " +"should Congress deliberate at all about the merits of this theft? Do we ask " +"whether the car thief had a good use for the car before we arrest him?\"" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"\"It is our property,\" the warriors insist. \"And it should be protected " -"just as any other property is protected.\"" +"\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And it " +"should be protected just as any other property is protected.\"" msgstr "" "\"det er vÃ¥r eiendom,\" insisterer warriors. \"og det bør være beskyttet pÃ¥ " "samme mÃ¥te som en annen egenskap er beskyttet." @@ -7121,9 +7205,10 @@ msgid "" "Indeed, the very idea of property in any idea or any expression is very odd. " "I understand what I am taking when I take the picnic table you put in your " "backyard. I am taking a thing, the picnic table, and after I take it, you " -"don't have it. But what am I taking when I take the good idea you had to put " -"a picnic table in the backyard—by, for example, going to Sears, buying " -"a table, and putting it in my backyard? What is the thing I am taking then?" +"don't have it. But what am I taking when I take the good <emphasis>idea</" +"emphasis> you had to put a picnic table in the backyard—by, for " +"example, going to Sears, buying a table, and putting it in my backyard? What " +"is the thing I am taking then?" msgstr "" "men i vanlig sprÃ¥k, Ã¥ ringe en copyright \"property\" høyre er litt " "misvisende, for copyright-egenskapen er en odde type bolig. selve idéen om " @@ -7138,9 +7223,9 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> #, mtrans, fuzzy msgid "" -"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in The " -"Writings of Thomas Jefferson, vol. 6 (Andrew A. Lipscomb and Albert Ellery " -"Bergh, eds., 1903), 330, 333–34." +"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in " +"<citetitle>The Writings of Thomas Jefferson</citetitle>, vol. 6 (Andrew A. " +"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333–34." msgstr "" "brev fra thomas jefferson til isaac mcpherson (13 august 1813) i skrifter av " "thomas jefferson, vol. 6 (andrew a. lipscomb og albert ellery bergh, Red., " @@ -7183,8 +7268,8 @@ msgid "" "against the world to do or not do certain things that may or may not attach " "to a physical object. The right itself is intangible, even if the object to " "which it is (metaphorically) attached is tangible. See Adam Mossoff, \"What " -"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 " -"(2003): 373, 429 n. 241." +"Is Property? Putting the Pieces Back Together,\" <citetitle>Arizona Law " +"Review</citetitle> 45 (2003): 373, 429 n. 241." msgstr "" "som de juridiske realistene lærte amerikansk lov, er alle " "eiendomsrettigheter immaterielle. egenskapen rett er ganske enkelt en " @@ -7228,86 +7313,88 @@ msgstr "Kapittel seks: Grunnleggerne" #. type: Content of: <book><chapter><sect1><para> msgid "" -"William Shakespeare wrote Romeo and Juliet in 1595. The play was first " -"published in 1597. It was the eleventh major play that Shakespeare had " -"written. He would continue to write plays through 1613, and the plays that " -"he wrote have continued to define Anglo-American culture ever since. So " -"deeply have the works of a sixteenth-century writer seeped into our culture " -"that we often don't even recognize their source. I once overheard someone " -"commenting on Kenneth Branagh's adaptation of Henry V: \"I liked it, but " -"Shakespeare is so full of clichés.\"" +"William Shakespeare wrote <citetitle>Romeo and Juliet</citetitle> in 1595. " +"The play was first published in 1597. It was the eleventh major play that " +"Shakespeare had written. He would continue to write plays through 1613, and " +"the plays that he wrote have continued to define Anglo-American culture ever " +"since. So deeply have the works of a sixteenth-century writer seeped into " +"our culture that we often don't even recognize their source. I once " +"overheard someone commenting on Kenneth Branagh's adaptation of Henry V: \"I " +"liked it, but Shakespeare is so full of clichés.\"" msgstr "" -"William Shakespeare skrev \"Romeo og Julie\" i 1595. Skuespillet ble først " -"utgitt i 1597. Det var det ellevte store skuespillet Shakespeare hadde " -"skrevet. Han fortsatte Ã¥ skrive skuespill helt til 1613, og stykkene han " -"skrevhar fortsatt Ã¥ definere angloamerikansk kultur siden. SÃ¥ dypt har " -"verkene av en 1500-talls forfatter sunket inn i vÃ¥r kultur at vi ofte ikke " -"engang kjenner kilden. Jeg overhørte en gang noen som kommentere Kenneth " -"Branaghs utgave av Henry V: \"Jeg likte det, men Shakespeare er sÃ¥ full av " -"klisjeer.\"" +"William Shakespeare skrev <citetitle>Romeo og Julie</citetitle> i 1595. " +"Skuespillet ble først utgitt i 1597. Det var det ellevte store skuespillet " +"Shakespeare hadde skrevet. Han fortsatte Ã¥ skrive skuespill helt til 1613, " +"og stykkene han skrevhar fortsatt Ã¥ definere angloamerikansk kultur siden. " +"SÃ¥ dypt har verkene av en 1500-talls forfatter sunket inn i vÃ¥r kultur at vi " +"ofte ikke engang kjenner kilden. Jeg overhørte en gang noen som kommentere " +"Kenneth Branaghs utgave av Henry V: \"Jeg likte det, men Shakespeare er sÃ¥ " +"full av klisjeer.\"" #. f1 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" "Jacob Tonson is typically remembered for his associations with prominent " "eighteenth-century literary figures, especially John Dryden, and for his " -"handsome \"definitive editions\" of classic works. In addition to Romeo and " -"Juliet, he published an astonishing array of works that still remain at the " -"heart of the English canon, including collected works of Shakespeare, Ben " -"Jonson, John Milton, and John Dryden. See Keith Walker, \"Jacob Tonson, " -"Bookseller,\" American Scholar 61:3 (1992): 424–31." +"handsome \"definitive editions\" of classic works. In addition to " +"<citetitle>Romeo and Juliet</citetitle>, he published an astonishing array " +"of works that still remain at the heart of the English canon, including " +"collected works of Shakespeare, Ben Jonson, John Milton, and John Dryden. " +"See Keith Walker, \"Jacob Tonson, Bookseller,\" <citetitle>American Scholar</" +"citetitle> 61:3 (1992): 424–31." msgstr "" "Jacob Tonson er vanligvis husket for sin omgang med 1700-tallets litterære " "storheter, spesielt John Dryden, og for hans kjekke\"ferdige versjoner\" av " -"klassiske verk. I tillegg til Romeo og Julie, utga han en utrolig rekke " -"liste av verk som ennÃ¥ er hjertet av den engelske kanon, inkludert de " -"samlede verk av Shakespeare, Ben Jonson, John Milton, og John Dryden. Se " -"Keith Walker: \"Jacob Tonson, Bookseller,\" American Scholar 61:3 (1992): " -"424-­31." +"klassiske verk. I tillegg til <citetitle>Romeo og Julie</citetitle>, utga " +"han en utrolig rekke liste av verk som ennÃ¥ er hjertet av den engelske " +"kanon, inkludert de samlede verk av Shakespeare, Ben Jonson, John Milton, og " +"John Dryden. Se Keith Walker: \"Jacob Tonson, Bookseller,\" " +"<citetitle>American Scholar</citetitle> 61:3 (1992): 424-­31." #. f2 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " -"Vanderbilt University Press, 1968), 151–52." +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." msgstr "" -"Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: " -"Vanderbilt University Press, 1968), 151–52." +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle> (Nashville: Vanderbilt University Press, 1968), 151–52." #. PAGE BREAK 97 #. type: Content of: <book><chapter><sect1><para> msgid "" -"In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-" -"right\" for the work was still thought by many to be the exclusive right of " -"a single London publisher, Jacob Tonson.<placeholder type=\"footnote\" id=" -"\"0\"/> Tonson was the most prominent of a small group of publishers called " -"the Conger<placeholder type=\"footnote\" id=\"1\"/> who controlled " -"bookselling in England during the eighteenth century. The Conger claimed a " -"perpetual right to control the \"copy\" of books that they had acquired from " -"authors. That perpetual right meant that no one else could publish copies of " -"a book to which they held the copyright. Prices of the classics were thus " -"kept high; competition to produce better or cheaper editions was eliminated." -msgstr "" -"I 1774, nesten 180 Ã¥r etter at Romeo og Julie ble skrevet, mente mange at " -"\"opphavsretten\" kun tilhørte én eneste utgiver i London, John Tonson. " -"<placeholder type=\"footnote\" id=\"0\"/> Tonson var den mest fremstÃ¥ende av " -"en liten gruppe utgivere kalt \"the Conger\"<placeholder type=\"footnote\" " -"id=\"1\"/>, som kontrollerte boksalget i England gjennom hele 1700-tallet. " -"The Conger hevdet at de hadde en evigvarende rett over \"kopier\" av bøker " -"de hadde fÃ¥tt av forfatterne. Denne evigvarende retten innebar at ingen " -"andre kunne publisere kopier av disse bøkene. Slik ble prisen pÃ¥ klassiske " -"bøker holdt oppe; alle konkurrenter som lagde bedre eller billigere utgaver, " -"ble fjernet." +"In 1774, almost 180 years after <citetitle>Romeo and Juliet</citetitle> was " +"written, the \"copy-right\" for the work was still thought by many to be the " +"exclusive right of a single London publisher, Jacob Tonson.<placeholder type=" +"\"footnote\" id=\"0\"/> Tonson was the most prominent of a small group of " +"publishers called the Conger<placeholder type=\"footnote\" id=\"1\"/> who " +"controlled bookselling in England during the eighteenth century. The Conger " +"claimed a perpetual right to control the \"copy\" of books that they had " +"acquired from authors. That perpetual right meant that no one else could " +"publish copies of a book to which they held the copyright. Prices of the " +"classics were thus kept high; competition to produce better or cheaper " +"editions was eliminated." +msgstr "" +"I 1774, nesten 180 Ã¥r etter at <citetitle>Romeo og Julie</citetitle> ble " +"skrevet, mente mange at \"opphavsretten\" kun tilhørte én eneste utgiver i " +"London, John Tonson. <placeholder type=\"footnote\" id=\"0\"/> Tonson var " +"den mest fremstÃ¥ende av en liten gruppe utgivere kalt \"the Conger" +"\"<placeholder type=\"footnote\" id=\"1\"/>, som kontrollerte boksalget i " +"England gjennom hele 1700-tallet. The Conger hevdet at de hadde en " +"evigvarende rett over \"kopier\" av bøker de hadde fÃ¥tt av forfatterne. " +"Denne evigvarende retten innebar at ingen andre kunne publisere kopier av " +"disse bøkene. Slik ble prisen pÃ¥ klassiske bøker holdt oppe; alle " +"konkurrenter som lagde bedre eller billigere utgaver, ble fjernet." #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a " -"\"copyright law.\" See Vaidhyanathan, Copyrights and Copywrongs, 40. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"\"copyright law.\" See Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Som Siva Vaidhyanathan sÃ¥ pent argumenterer, er det feilaktige Ã¥ kalle dette " -"en \"opphavsrettslov.\" Se Vaidhyanathan, Copyrights and Copywrongs, 40. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"en \"opphavsrettslov.\" Se Vaidhyanathan, <citetitle>Copyrights and " +"Copywrongs</citetitle>, 40. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7318,9 +7405,9 @@ msgid "" "published works would get a copyright term of fourteen years, renewable once " "if the author was alive, and that all works already published by 1710 would " "get a single term of twenty-one additional years.<placeholder type=\"footnote" -"\" id=\"0\"/> Under this law, Romeo and Juliet should have been free in " -"1731. So why was there any issue about it still being under Tonson's control " -"in 1774?" +"\" id=\"0\"/> Under this law, <citetitle>Romeo and Juliet</citetitle> should " +"have been free in 1731. So why was there any issue about it still being " +"under Tonson's control in 1774?" msgstr "" "Men altsÃ¥, det er noe spennende med Ã¥ret 1774 for alle som vet litt om " "opphavsretts-lovgivning. Det mest kjente Ã¥ret for opphavsrett er 1710, da " @@ -7329,8 +7416,8 @@ msgstr "" "fjorten Ã¥r, en periode som kunne fornyes én gang dersom forfatteren ennÃ¥ " "levde, og at alle verk publisert i eller før 1710 skulle ha en ekstraperiode " "pÃ¥ 22 tillegsÃ¥r.<placeholder type=\"footnote\" id=\"0\"/> PÃ¥ grunn av denne " -"loven, sÃ¥ skulle \"Rome og Julie\" ha falt i det fri i 1731. Hvordan kunne " -"da Tonson fortsatt ha kontroll over verket i 1774?" +"loven, sÃ¥ skulle <citetitle>Rome og Julie</citetitle> ha falt i det fri i " +"1731. Hvordan kunne da Tonson fortsatt ha kontroll over verket i 1774?" #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7354,26 +7441,27 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> msgid "" -"There was no positive law, but that didn't mean that there was no law. The " -"Anglo-American legal tradition looks to both the words of legislatures and " -"the words of judges to know the rules that are to govern how people are to " -"behave. We call the words from legislatures \"positive law.\" We call the " -"words from judges \"common law.\" The common law sets the background against " -"which legislatures legislate; the legislature, ordinarily, can trump that " -"background only if it passes a law to displace it. And so the real question " -"after the licensing statutes had expired was whether the common law " -"protected a copyright, independent of any positive law." -msgstr "" -"At det ikke fantes noen positiv lov, betydde ikke at det ikke fantes noen " -"lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de til lover skapt av " -"politikere (det lovgivende statsorgen)og til lover (prejudikater) skapt av " -"domstolene for Ã¥ bestemme hvordan folket skal leve. Vi kaller politikernes " -"lover for positiv lov og vi kaller lovene fra dommerne sedvanerett.\"Common " -"law\" angir bakgrunnen for de lovgivendes lovgivning; retten til lovgiving, " -"vanligvis kan trumfe at bakgrunnen bare hvis det gÃ¥r gjennom en lov til Ã¥ " -"forskyve den. Og sÃ¥ var det virkelige spørsmÃ¥let etter lisensiering lover " -"hadde utløpt om felles lov beskyttet opphavsretten, uavhengig av lovverket " -"positiv." +"There was no <emphasis>positive</emphasis> law, but that didn't mean that " +"there was no law. The Anglo-American legal tradition looks to both the words " +"of legislatures and the words of judges to know the rules that are to govern " +"how people are to behave. We call the words from legislatures \"positive law." +"\" We call the words from judges \"common law.\" The common law sets the " +"background against which legislatures legislate; the legislature, " +"ordinarily, can trump that background only if it passes a law to displace " +"it. And so the real question after the licensing statutes had expired was " +"whether the common law protected a copyright, independent of any positive " +"law." +msgstr "" +"At det ikke fantes noen <emphasis>positiv</emphasis> lov, betydde ikke at " +"det ikke fantes noen lov. Den anglo-amerikanske juridiske tradisjon ser bÃ¥de " +"til lover skapt av politikere (det lovgivende statsorgen)og til lover " +"(prejudikater) skapt av domstolene for Ã¥ bestemme hvordan folket skal leve. " +"Vi kaller politikernes lover for positiv lov og vi kaller lovene fra " +"dommerne sedvanerett.\"Common law\" angir bakgrunnen for de lovgivendes " +"lovgivning; retten til lovgiving, vanligvis kan trumfe at bakgrunnen bare " +"hvis det gÃ¥r gjennom en lov til Ã¥ forskyve den. Og sÃ¥ var det virkelige " +"spørsmÃ¥let etter lisensiering lover hadde utløpt om felles lov beskyttet " +"opphavsretten, uavhengig av lovverket positiv." #. PAGE BREAK 98 #. type: Content of: <book><chapter><sect1><para> @@ -7413,33 +7501,34 @@ msgstr "" msgid "" "Now, the thing to puzzle about for a moment is this: Why would Parliament " "limit the exclusive right? Not why would they limit it to the particular " -"limit they set, but why would they limit the right at all?" +"limit they set, but why would they limit the right <emphasis>at all?</" +"emphasis>" msgstr "" "Men nÃ¥ det mest interessante med dette: Hvorfor ville parlamentet begrense " "trykkeretten? SprøsmÃ¥let er ikke hvorfor de bestemte seg for denne perioden, " -"men hvorfor ville de begrense den i det hele tatt?" +"men hvorfor ville de begrense retten <emphasis>i det hele tatt?</emphasis>" #. type: Content of: <book><chapter><sect1><para> msgid "" "For the booksellers, and the authors whom they represented, had a very " -"strong claim. Take Romeo and Juliet as an example: That play was written by " -"Shakespeare. It was his genius that brought it into the world. He didn't " -"take anybody's property when he created this play (that's a controversial " -"claim, but never mind), and by his creating this play, he didn't make it any " -"harder for others to craft a play. So why is it that the law would ever " -"allow someone else to come along and take Shakespeare's play without his, or " -"his estate's, permission? What reason is there to allow someone else to " -"\"steal\" Shakespeare's work?" +"strong claim. Take <citetitle>Romeo and Juliet</citetitle> as an example: " +"That play was written by Shakespeare. It was his genius that brought it into " +"the world. He didn't take anybody's property when he created this play " +"(that's a controversial claim, but never mind), and by his creating this " +"play, he didn't make it any harder for others to craft a play. So why is it " +"that the law would ever allow someone else to come along and take " +"Shakespeare's play without his, or his estate's, permission? What reason is " +"there to allow someone else to \"steal\" Shakespeare's work?" msgstr "" "Bokhandlerne, og forfatterne som de representerte, hadde et veldig sterkt " -"krav. Ta romeo og Julie som et eksempel: Skuespillet ble skrevet av " -"Shakespeare. Det var hans kreativitet som brakte det til verden. Han krenket " -"ikke noens rett da han skrev dette verket (det er en kontroversiell " -"pÃ¥standen, men det er urelevant), og med sin egen rett skapte han verket, " -"han gjorde det ikke noe vanskeligere for andre til Ã¥ lage skuespill. SÃ¥ " -"hvorfor skulle loven tillate at noen annen kunne komme og ta Shakespeares " -"verkuten hans, eller hans arvingers, tillatelse? Hvilke grunner finnes for Ã¥ " -"tillate at noen \"stjeler\" Shakespeares verk?" +"krav. Ta <citetitle>romeo og Julie</citetitle> som et eksempel: Skuespillet " +"ble skrevet av Shakespeare. Det var hans kreativitet som brakte det til " +"verden. Han krenket ikke noens rett da han skrev dette verket (det er en " +"kontroversiell pÃ¥standen, men det er urelevant), og med sin egen rett skapte " +"han verket, han gjorde det ikke noe vanskeligere for andre til Ã¥ lage " +"skuespill. SÃ¥ hvorfor skulle loven tillate at noen annen kunne komme og ta " +"Shakespeares verkuten hans, eller hans arvingers, tillatelse? Hvilke grunner " +"finnes for Ã¥ tillate at noen \"stjeler\" Shakespeares verk?" #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7460,10 +7549,10 @@ msgid "" "as a very specific set of restrictions: It forbade others from reprinting a " "book. In 1710, the \"copy-right\" was a right to use a particular machine to " "replicate a particular work. It did not go beyond that very narrow right. It " -"did not control any more generally how a work could be used. Today the right " -"includes a large collection of restrictions on the freedom of others: It " -"grants the author the exclusive right to copy, the exclusive right to " -"distribute, the exclusive right to perform, and so on." +"did not control any more generally how a work could be <emphasis>used</" +"emphasis>. Today the right includes a large collection of restrictions on " +"the freedom of others: It grants the author the exclusive right to copy, the " +"exclusive right to distribute, the exclusive right to perform, and so on." msgstr "" "Først om opphavsretten. I de siste tre hundre Ã¥r har vi kommet til Ã¥ bruke " "begrepet \"copyright\" i stadig videre forstand. Men i 1710 var det ikke sÃ¥ " @@ -7471,10 +7560,11 @@ msgstr "" "svært spesifikt sett med begrensninger: den forbød andre Ã¥ reprodusere en " "bok. I 1710 var \"kopi-rett\" en rett til Ã¥ bruke en bestemt maskin til Ã¥ " "replikere en bestemt arbeid. Den gikk ikke utover dette svært smale " -"formÃ¥let. Denkontrollerte ikke mer generelt hvordan et verk kunne brukes. " -"Idag inkluderer retten en stor samling av restriksjoner pÃ¥ andres frihet: " -"den gir forfatteren eksklusiv rett til Ã¥ kopiere, eksklusiv rett til Ã¥ " -"distribuere, eksklusiv rett til Ã¥ fremføre, og sÃ¥ videre." +"formÃ¥let. Den kontrollerte ikke mer generelt hvordan et verk kunne " +"<emphasis>brukes</emphasis>. Idag inkluderer retten en stor samling av " +"restriksjoner pÃ¥ andres frihet: den gir forfatteren eksklusiv rett til Ã¥ " +"kopiere, eksklusiv rett til Ã¥ distribuere, eksklusiv rett til Ã¥ fremføre, og " +"sÃ¥ videre." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7539,11 +7629,11 @@ msgstr "" #. f4 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Philip Wittenberg, The Protection and Marketing of Literary Property (New " -"York: J. Messner, Inc., 1937), 31." +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." msgstr "" -"Philip Wittenberg, The Protection and Marketing of Literary Property (New " -"York: J. Messner, Inc., 1937), 31." +"Philip Wittenberg, <citetitle>The Protection and Marketing of Literary " +"Property</citetitle> (New York: J. Messner, Inc., 1937), 31." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7637,16 +7727,9 @@ msgid "" "Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " "Vesting the Copies of Printed Books in the Authors or Purchasers of such " "Copies, during the Times therein mentioned (London, 1735), in Brief Amici " -"Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) " -"(No. 01-618)." +"Curiae of Tyler T. Ochoa et al., 8, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. 01-618)." msgstr "" -"A Letter to a Member of Parliament concerning the Bill now depending in the " -"House of Commons, for making more effectual an Act in the Eighth Year of the " -"Reign of Queen Anne, entitled, An Act for the Encouragement of Learning, by " -"Vesting the Copies of Printed Books in the Authors or Purchasers of such " -"Copies, during the Times therein mentioned (London, 1735), in Brief Amici " -"Curiae of Tyler T. Ochoa et al., 8, Eldred v. Ashcroft, 537 U.S. 186 (2003) " -"(No. 01-618)." #. type: Content of: <book><chapter><sect1><blockquote><para> msgid "" @@ -7694,13 +7777,15 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt " -"Law Review 40 (1987): 28. For a wonderfully compelling account, see " -"Vaidhyanathan, 37–48. <placeholder type=\"indexterm\" id=\"0\"/>" +"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " +"<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For a " +"wonderfully compelling account, see Vaidhyanathan, 37–48. " +"<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" -"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" Vanderbilt " -"Law Review 40 (1987): 28. For en fantastisk overbevisende fortelling, se " -"Vaidhyanathan, 37–48. <placeholder type=\"indexterm\" id=\"0\"/>" +"Lyman Ray Patterson, \"Free Speech, Copyright, and Fair Use,\" " +"<citetitle>Vanderbilt Law Review</citetitle> 40 (1987): 28. For en " +"fantastisk overbevisende fortelling, se Vaidhyanathan, 37–48. " +"<placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7722,11 +7807,11 @@ msgstr "" #. f7 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"For a compelling account, see David Saunders, Authorship and Copyright " -"(London: Routledge, 1992), 62–69." +"For a compelling account, see David Saunders, <citetitle>Authorship and " +"Copyright</citetitle> (London: Routledge, 1992), 62–69." msgstr "" -"For a compelling account, see David Saunders, Authorship and Copyright " -"(London: Routledge, 1992), 62–69." +"For a compelling account, see David Saunders, <citetitle>Authorship and " +"Copyright</citetitle> (London: Routledge, 1992), 62–69." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7741,11 +7826,11 @@ msgstr "" #. f8 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), " -"92." +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92." msgstr "" -"Mark Rose, Authors and Owners (Cambridge: Harvard University Press, 1993), " -"92." +"Mark Rose, <citetitle>Authors and Owners</citetitle> (Cambridge: Harvard " +"University Press, 1993), 92." #. f9 #. type: Content of: <book><chapter><sect1><para><footnote><para> @@ -7780,11 +7865,11 @@ msgstr "" #. f10 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting " -"Borwell)." +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle>, 167 (quoting Borwell)." msgstr "" -"Lyman Ray Patterson, Copyright in Historical Perspective, 167 (quoting " -"Borwell)." +"Lyman Ray Patterson, <citetitle>Copyright in Historical Perspective</" +"citetitle>, 167 (quoting Borwell)." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7808,22 +7893,23 @@ msgstr "" msgid "" "The London booksellers quickly brought suit to block \"piracy\" like " "Donaldson's. A number of actions were successful against the \"pirates,\" " -"the most important early victory being Millar v. Taylor." +"the most important early victory being <citetitle>Millar</citetitle> v. " +"<citetitle>Taylor</citetitle>." msgstr "" "Londons bokselgere begynte straks Ã¥ slÃ¥ ned mot \"pirater\" som Donaldson. " "Flere tiltak var vellykkede, den viktigste var den tidlig seieren i kampen " -"mellom Millar og Taylor." +"mellom <citetitle>Millar</citetitle> og <citetitle>Taylor</citetitle>." #. f11 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): " -"1152." +"Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</" +"citetitle> 29 (1983): 1152." msgstr "" "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: " -"Exploding the Myth of Common Law Copyright,\" Wayne Law Review 29 (1983): " -"1152." +"Exploding the Myth of Common Law Copyright,\" <citetitle>Wayne Law Review</" +"citetitle> 29 (1983): 1152." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7908,37 +7994,39 @@ msgid "" "sold Thomson's poems to a syndicate of printers that included Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Donaldson then released an " "unauthorized edition of Thomson's works. Beckett, on the strength of the " -"decision in Millar, got an injunction against Donaldson. Donaldson appealed " -"the case to the House of Lords, which functioned much like our own Supreme " -"Court. In February of 1774, that body had the chance to interpret the " -"meaning of Parliament's limits from sixty years before." +"decision in <citetitle>Millar</citetitle>, got an injunction against " +"Donaldson. Donaldson appealed the case to the House of Lords, which " +"functioned much like our own Supreme Court. In February of 1774, that body " +"had the chance to interpret the meaning of Parliament's limits from sixty " +"years before." msgstr "" "Millar døde kort tid etter sin seier. Boet hans solgte rettighetene over " "Thomsons dikt til et syndikat av utgivere, deriblant Thomas Beckett." "<placeholder type=\"footnote\" id=\"0\"/> Da ga Donaldson ut en uautorisert " -"utgave av Thomsons verk. Etter avgjørelsen i Millar-saken, gikk Beckett til " -"sak mot Donaldson. Donaldson tok saken inn for Overhuset, som da fungerte " -"som en slags høyesterett. I februar 1774 hadde dette organet muligheten til " -"Ã¥ tolke Parlamentets mening med utøpsdatoen fra seksti Ã¥r før." +"utgave av Thomsons verk. Etter avgjørelsen i <citetitle>Millar</citetitle>-" +"saken, gikk Beckett til sak mot Donaldson. Donaldson tok saken inn for " +"Overhuset, som da fungerte som en slags høyesterett. I februar 1774 hadde " +"dette organet muligheten til Ã¥ tolke Parlamentets mening med utøpsdatoen fra " +"seksti Ã¥r før." #. type: Content of: <book><chapter><sect1><para> msgid "" -"As few legal cases ever do, Donaldson v. Beckett drew an enormous amount of " -"attention throughout Britain. Donaldson's lawyers argued that whatever " -"rights may have existed under the common law, the Statute of Anne terminated " -"those rights. After passage of the Statute of Anne, the only legal " -"protection for an exclusive right to control publication came from that " -"statute. Thus, they argued, after the term specified in the Statute of Anne " -"expired, works that had been protected by the statute were no longer " -"protected." +"As few legal cases ever do, <citetitle>Donaldson</citetitle> v. " +"<citetitle>Beckett</citetitle> drew an enormous amount of attention " +"throughout Britain. Donaldson's lawyers argued that whatever rights may have " +"existed under the common law, the Statute of Anne terminated those rights. " +"After passage of the Statute of Anne, the only legal protection for an " +"exclusive right to control publication came from that statute. Thus, they " +"argued, after the term specified in the Statute of Anne expired, works that " +"had been protected by the statute were no longer protected." msgstr "" -"Rettssaken Donaldson mot Beckett fikk en enorm oppmerksomhet i hele " -"Storbritannia. Donaldsons advokater mente at selv om det før fantes en del " -"rettigheter i sedvaneretten, sÃ¥ var disse fortrengt av \"Statute of Anne\". " -"Etter at \"Statute of Anne\" var blitt vedtatt, skulle den eneste lovlige " -"beskyttelse for trykkerett kom derfra. Og derfor, mente de, i trÃ¥d med " -"vilkÃ¥rene i \"Statute of Anne\", falle i det fri sÃ¥ fort " -"beskyttelsesperioden var over." +"Rettssaken <citetitle>Donaldson</citetitle> mot <citetitle>Beckett</" +"citetitle> fikk en enorm oppmerksomhet i hele Storbritannia. Donaldsons " +"advokater mente at selv om det før fantes en del rettigheter i " +"sedvaneretten, sÃ¥ var disse fortrengt av \"Statute of Anne\". Etter at " +"\"Statute of Anne\" var blitt vedtatt, skulle den eneste lovlige beskyttelse " +"for trykkerett kom derfra. Og derfor, mente de, i trÃ¥d med vilkÃ¥rene i " +"\"Statute of Anne\", falle i det fri sÃ¥ fort beskyttelsesperioden var over." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -7993,27 +8081,28 @@ msgstr "Shakespeare, William" #. type: Content of: <book><chapter><sect1><para> msgid "" -"\"The public domain.\" Before the case of Donaldson v. Beckett, there was no " -"clear idea of a public domain in England. Before 1774, there was a strong " -"argument that common law copyrights were perpetual. After 1774, the public " -"domain was born. For the first time in Anglo-American history, the legal " -"control over creative works expired, and the greatest works in English " -"history—including those of Shakespeare, Bacon, Milton, Johnson, and " -"Bunyan—were free of legal restraint. <placeholder type=\"indexterm\" " -"id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" -"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> " -"<placeholder type=\"indexterm\" id=\"4\"/>" -msgstr "" -"\"Å falle i det fri\". Før rettssaken Donaldson mot Beckett var det ingen " -"klar oppfatning om hva Ã¥ falle i det fri innebar. Før 1774 var det jo en " -"allmenn oppfatning om at kopiretten var evigvarende. Men etter 1774 ble " -"Public Domain født.For første gang i angloamerikansk historie var den " -"lovlige beskyttelsen av et verk utgÃ¥tt, og de største verk i engelsk " -"historie - inkludert Shakespeare, Bacon, Milton, Johnson og Bunyan - var " -"frie. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" +"\"The public domain.\" Before the case of <citetitle>Donaldson</citetitle> " +"v. <citetitle>Beckett</citetitle>, there was no clear idea of a public " +"domain in England. Before 1774, there was a strong argument that common law " +"copyrights were perpetual. After 1774, the public domain was born. For the " +"first time in Anglo-American history, the legal control over creative works " +"expired, and the greatest works in English history—including those of " +"Shakespeare, Bacon, Milton, Johnson, and Bunyan—were free of legal " +"restraint. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=" "\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" id=\"2\"/> " "<placeholder type=\"indexterm\" id=\"3\"/> <placeholder type=\"indexterm\" " "id=\"4\"/>" +msgstr "" +"\"Å falle i det fri\". Før rettssaken <citetitle>Donaldson</citetitle> mot " +"<citetitle>Beckett</citetitle> var det ingen klar oppfatning om hva Ã¥ falle " +"i det fri innebar. Før 1774 var det jo en allmenn oppfatning om at " +"kopiretten var evigvarende. Men etter 1774 ble Public Domain født.For første " +"gang i angloamerikansk historie var den lovlige beskyttelsen av et verk " +"utgÃ¥tt, og de største verk i engelsk historie - inkludert Shakespeare, " +"Bacon, Milton, Johnson og Bunyan - var frie. <placeholder type=\"indexterm" +"\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=" +"\"indexterm\" id=\"2\"/> <placeholder type=\"indexterm\" id=\"3\"/> " +"<placeholder type=\"indexterm\" id=\"4\"/>" #. f13 #. type: Content of: <book><chapter><sect1><para><footnote><para> @@ -8025,29 +8114,30 @@ msgid "" "It is hard for us to imagine, but this decision by the House of Lords fueled " "an extraordinarily popular and political reaction. In Scotland, where most " "of the \"pirate publishers\" did their work, people celebrated the decision " -"in the streets. As the Edinburgh Advertiser reported, \"No private cause has " -"so much engrossed the attention of the public, and none has been tried " -"before the House of Lords in the decision of which so many individuals were " -"interested.\" \"Great rejoicing in Edinburgh upon victory over literary " -"property: bonfires and illuminations.\"<placeholder type=\"footnote\" id=" -"\"0\"/>" +"in the streets. As the <citetitle>Edinburgh Advertiser</citetitle> reported, " +"\"No private cause has so much engrossed the attention of the public, and " +"none has been tried before the House of Lords in the decision of which so " +"many individuals were interested.\" \"Great rejoicing in Edinburgh upon " +"victory over literary property: bonfires and illuminations.\"<placeholder " +"type=\"footnote\" id=\"0\"/>" msgstr "" "Vi kan knapt forestille oss det, men denne avgjørelsen fra Overhuset fyrte " "opp under en svært populær og politisk reaksjon. I Skottland, hvor de fleste " "piratugiverne hadde holdt til, ble avgjørelsen feiret i gatene. Som " -"Edinburgh Advertiser skrev \"Ingen privatsak har noen gang fÃ¥tt slik " -"oppmerksomhet fra folket, og ingen sak som har blitt prøvet i Overhuset har " -"interessert sÃ¥ mange enkeltmennesker.\" \"Stor glede i Edinburgh etter " -"seieren over litterær eiendom: bÃ¥l og *illuminations*.<placeholder type=" -"\"footnote\" id=\"0\"/>" +"<citetitle>Edinburgh Advertiser</citetitle> skrev \"Ingen privatsak har noen " +"gang fÃ¥tt slik oppmerksomhet fra folket, og ingen sak som har blitt prøvet i " +"Overhuset har interessert sÃ¥ mange enkeltmennesker.\" \"Stor glede i " +"Edinburgh etter seieren over litterær eiendom: bÃ¥l og *illuminations*." +"<placeholder type=\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><para> msgid "" "In London, however, at least among publishers, the reaction was equally " -"strong in the opposite direction. The Morning Chronicle reported:" +"strong in the opposite direction. The <citetitle>Morning Chronicle</" +"citetitle> reported:" msgstr "" "I London, ihvertfall blant utgiverne, var reaksjonen like sterk, men i " -"motsatt retning. Morning Chronicle skrev:" +"motsatt retning. <citetitle>Morning Chronicle</citetitle> skrev:" #. type: Content of: <book><chapter><sect1><blockquote><para> msgid "" @@ -8073,36 +8163,37 @@ msgid "" "\"Ruined\" is a bit of an exaggeration. But it is not an exaggeration to say " "that the change was profound. The decision of the House of Lords meant that " "the booksellers could no longer control how culture in England would grow " -"and develop. Culture in England was thereafter free. Not in the sense that " -"copyrights would not be respected, for of course, for a limited time after a " -"work was published, the bookseller had an exclusive right to control the " -"publication of that book. And not in the sense that books could be stolen, " -"for even after a copyright expired, you still had to buy the book from " -"someone. But free in the sense that the culture and its growth would no " -"longer be controlled by a small group of publishers. As every free market " -"does, this free market of free culture would grow as the consumers and " -"producers chose. English culture would develop as the many English readers " -"chose to let it develop— chose in the books they bought and wrote; " -"chose in the memes they repeated and endorsed. Chose in a competitive " -"context, not a context in which the choices about what culture is available " -"to people and how they get access to it are made by the few despite the " -"wishes of the many." +"and develop. Culture in England was thereafter <emphasis>free</emphasis>. " +"Not in the sense that copyrights would not be respected, for of course, for " +"a limited time after a work was published, the bookseller had an exclusive " +"right to control the publication of that book. And not in the sense that " +"books could be stolen, for even after a copyright expired, you still had to " +"buy the book from someone. But <emphasis>free</emphasis> in the sense that " +"the culture and its growth would no longer be controlled by a small group of " +"publishers. As every free market does, this free market of free culture " +"would grow as the consumers and producers chose. English culture would " +"develop as the many English readers chose to let it develop— chose in " +"the books they bought and wrote; chose in the memes they repeated and " +"endorsed. Chose in a <emphasis>competitive context</emphasis>, not a context " +"in which the choices about what culture is available to people and how they " +"get access to it are made by the few despite the wishes of the many." msgstr "" "Ruinert er en overdrivelse. Men det er ingen overdrivelse Ã¥ si at endringen " "var stor. Vedtaket fra Overhuset betydde at bokhandlerne ikke lenger kunnen " "kontrollere hvordan kulturen i England ville vokse og utvikle seg. Kulturen " -"i England var etter dette fri. Ikke i den betydning at kopiretten ble " -"ignorert, for utgiverne hadde i en begrenset periode rett over trykkingen. " -"Og heller ikke i den betydningen at bøker kunne stjeles, for selv etter at " -"boken var falt i det fri, sÃ¥ mÃ¥tte den kjøpes. Men i den betydningen at " -"kulturen og dens vekst ikke lenger var kontrollert av en liten gruppe " -"utgivere. Som alle frie markeder, ville dette markedet vokse og utvikle seg " -"etter tilbud og etterspørsel. Den engelske kulturen ble nÃ¥ formet slik " -"flertallet Englands lesere ville at det skulle formes - gjennom valget av " -"hva de kjøpte og skrev, gjennom valget av *memes* de gjentok og beundret. " -"Valg i en konkurrerende sammenheng, ikke der hvor valgene var om hvilken " -"kultur som skulle være tilgjengelig for folket og hvor deres tilgang til den " -"ble styrt av noen fÃ¥, pÃ¥ tros av flertallets ønsker." +"i England var etter dette <emphasis>fri</emphasis>. Ikke i den betydning at " +"kopiretten ble ignorert, for utgiverne hadde i en begrenset periode rett " +"over trykkingen. Og heller ikke i den betydningen at bøker kunne stjeles, " +"for selv etter at boken var falt i det fri, sÃ¥ mÃ¥tte den kjøpes. Men " +"<emphasis>fri</emphasis> i betydningen at kulturen og dens vekst ikke lenger " +"var kontrollert av en liten gruppe utgivere. Som alle frie markeder, ville " +"dette markedet vokse og utvikle seg etter tilbud og etterspørsel. Den " +"engelske kulturen ble nÃ¥ formet slik flertallet Englands lesere ville at det " +"skulle formes - gjennom valget av hva de kjøpte og skrev, gjennom valget av " +"*memes* de gjentok og beundret. Valg i en <emphasis>konkurrerende " +"sammenheng</emphasis>, ikke der hvor valgene var om hvilken kultur som " +"skulle være tilgjengelig for folket og hvor deres tilgang til den ble styrt " +"av noen fÃ¥, pÃ¥ tros av flertallets ønsker." #. type: Content of: <book><chapter><sect1><para> msgid "" @@ -8110,8 +8201,8 @@ msgid "" "resistant to the protectionist pleas of publishers. In a world where the " "Parliament is more pliant, free culture would be less protected." msgstr "" -"Til sist, dette var en verden hvor Parlamentet var anitmonopolistisk, og " -"holdt stand mot utgivernes krav. I en verden hvor Parlamentet er lett Ã¥ " +"Til sist, dette var en verden hvor Parlamentet var antimonopolistisk, og " +"holdt stand mot utgivernes krav. I en verden hvor parlamentet er lett Ã¥ " "pÃ¥virke, vil den frie kultur være mindre beskyttet." #. type: Content of: <book><chapter><sect1><title> @@ -8168,8 +8259,9 @@ msgid "" "During one of the performances, Else was shooting some stagehands playing " "checkers. In one corner of the room was a television set. Playing on the " "television set, while the stagehands played checkers and the opera company " -"played Wagner, was The Simpsons. As Else judged it, this touch of cartoon " -"helped capture the flavor of what was special about the scene." +"played Wagner, was <citetitle>The Simpsons</citetitle>. As Else judged it, " +"this touch of cartoon helped capture the flavor of what was special about " +"the scene." msgstr "" "under en av forestillinger, var ellers skyting noen stagehands spille " "brikker. i et hjørne av rommet var en TV-apparatet. spille pÃ¥ TV-apparatet, " @@ -8181,10 +8273,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "Years later, when he finally got funding to complete the film, Else " -"attempted to clear the rights for those few seconds of The Simpsons. For of " -"course, those few seconds are copyrighted; and of course, to use copyrighted " -"material you need the permission of the copyright owner, unless \"fair use\" " -"or some other privilege applies." +"attempted to clear the rights for those few seconds of <citetitle>The " +"Simpsons</citetitle>. For of course, those few seconds are copyrighted; and " +"of course, to use copyrighted material you need the permission of the " +"copyright owner, unless \"fair use\" or some other privilege applies." msgstr "" "Ã¥r senere, nÃ¥r han til slutt fikk finansiering for Ã¥ fullføre filmen, ellers " "forsøkte Ã¥ tømme rettighetene for de noen sekunder av simpsons. for " @@ -8200,12 +8292,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Else called Simpsons creator Matt Groening's office to get permission. " -"Groening approved the shot. The shot was a four-and-a-halfsecond image on a " -"tiny television set in the corner of the room. How could it hurt? Groening " -"was happy to have it in the film, but he told Else to contact Gracie Films, " -"the company that produces the program. <placeholder type=\"indexterm\" id=" -"\"0\"/>" +"Else called <citetitle>Simpsons</citetitle> creator Matt Groening's office " +"to get permission. Groening approved the shot. The shot was a four-and-a-" +"halfsecond image on a tiny television set in the corner of the room. How " +"could it hurt? Groening was happy to have it in the film, but he told Else " +"to contact Gracie Films, the company that produces the program. " +"<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "annet kalt simpsons skaperen matt groening's kontor for Ã¥ fÃ¥ tillatelse. " "Groening godkjent skutt. skjøt var en fire og en halfsecond-bilde pÃ¥ en " @@ -8236,8 +8328,8 @@ msgid "" "Matt Groening doesn't own his own creation—or at least that someone " "[at Fox] believes he doesn't own his own creation.\" And second, Fox " "\"wanted ten thousand dollars as a licensing fee for us to use this four-" -"point-five seconds of . . . entirely unsolicited Simpsons which was in the " -"corner of the shot.\"" +"point-five seconds of . . . entirely unsolicited <citetitle>Simpsons</" +"citetitle> which was in the corner of the shot.\"" msgstr "" "deretter, som ellers fortalte meg, \"to ting har skjedd. første vi " "oppdaget... at matt groening ikke eier sin egen etablering— eller i " @@ -8267,10 +8359,11 @@ msgstr "" msgid "" "\"I wanted to make sure I had my facts straight,\" he told me. \"Yes, you " "have your facts straight,\" she said. It would cost $10,000 to use the clip " -"of The Simpsons in the corner of a shot in a documentary film about Wagner's " -"Ring Cycle. And then, astonishingly, Herrera told Else, \"And if you quote " -"me, I'll turn you over to our attorneys.\" As an assistant to Herrera told " -"Else later on, \"They don't give a shit. They just want the money.\"" +"of <citetitle>The Simpsons</citetitle> in the corner of a shot in a " +"documentary film about Wagner's Ring Cycle. And then, astonishingly, Herrera " +"told Else, \"And if you quote me, I'll turn you over to our attorneys.\" As " +"an assistant to Herrera told Else later on, \"They don't give a shit. They " +"just want the money.\"" msgstr "" "\"jeg ønsket Ã¥ sikre at jeg hadde min fakta rett,\" sa han til meg. \"Ja, du " "har din fakta rett,\" sa hun. det ville koste $ 10 000 for Ã¥ bruke klippet " @@ -8290,9 +8383,9 @@ msgid "" "the television backstage at the San Francisco Opera. To reproduce this " "reality was beyond the documentary filmmaker's budget. At the very last " "minute before the film was to be released, Else digitally replaced the shot " -"with a clip from another film that he had worked on, The Day After Trinity, " -"from ten years before. <placeholder type=\"indexterm\" id=\"0\"/> " -"<placeholder type=\"indexterm\" id=\"1\"/>" +"with a clip from another film that he had worked on, <citetitle>The Day " +"After Trinity</citetitle>, from ten years before. <placeholder type=" +"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "ellers har ikke penger til Ã¥ kjøpe retten til Ã¥ spille hva spilte pÃ¥ TV " "backstage ved san francisco opera. Hvis du vil gjenskape denne virkeligheten " @@ -8304,13 +8397,14 @@ msgstr "" #, mtrans, fuzzy msgid "" "There's no doubt that someone, whether Matt Groening or Fox, owns the " -"copyright to The Simpsons. That copyright is their property. To use that " -"copyrighted material thus sometimes requires the permission of the copyright " -"owner. If the use that Else wanted to make of the Simpsons copyright were " -"one of the uses restricted by the law, then he would need to get the " -"permission of the copyright owner before he could use the work in that way. " -"And in a free market, it is the owner of the copyright who gets to set the " -"price for any use that the law says the owner gets to control." +"copyright to <citetitle>The Simpsons</citetitle>. That copyright is their " +"property. To use that copyrighted material thus sometimes requires the " +"permission of the copyright owner. If the use that Else wanted to make of " +"the <citetitle>Simpsons</citetitle> copyright were one of the uses " +"restricted by the law, then he would need to get the permission of the " +"copyright owner before he could use the work in that way. And in a free " +"market, it is the owner of the copyright who gets to set the price for any " +"use that the law says the owner gets to control." msgstr "" "Det er ingen tvil om at noen om matt groening eller fox, eier opphavsretten " "til simpsons. at opphavsretten er deres eiendom. for Ã¥ bruke at " @@ -8324,12 +8418,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"For example, \"public performance\" is a use of The Simpsons that the " -"copyright owner gets to control. If you take a selection of favorite " -"episodes, rent a movie theater, and charge for tickets to come see \"My " -"Favorite Simpsons,\" then you need to get permission from the copyright " -"owner. And the copyright owner (rightly, in my view) can charge whatever she " -"wants—$10 or $1,000,000. That's her right, as set by the law." +"For example, \"public performance\" is a use of <citetitle>The Simpsons</" +"citetitle> that the copyright owner gets to control. If you take a selection " +"of favorite episodes, rent a movie theater, and charge for tickets to come " +"see \"My Favorite <citetitle>Simpsons</citetitle>,\" then you need to get " +"permission from the copyright owner. And the copyright owner (rightly, in my " +"view) can charge whatever she wants—$10 or $1,000,000. That's her " +"right, as set by the law." msgstr "" "\"offentlig fremføring\" er for eksempel en bruk av simpsons blir eieren av " "opphavsretten til kontrollen. Hvis du tar et utvalg av favoritt episoder, " @@ -8345,9 +8440,9 @@ msgstr "" msgid "" "For an excellent argument that such use is \"fair use,\" but that lawyers " "don't permit recognition that it is \"fair use,\" see Richard A. Posner with " -"William F. Patry, \"Fair Use and Statutory Reform in the Wake of Eldred " -"\" (draft on file with author), University of Chicago Law School, 5 August " -"2003." +"William F. Patry, \"Fair Use and Statutory Reform in the Wake of " +"<citetitle>Eldred</citetitle>\" (draft on file with author), University of " +"Chicago Law School, 5 August 2003." msgstr "" "Hvis et utmerket argument at slik bruk er \"rettferdig bruk\", men at " "jurister ikke tillater anerkjennelse som det er \"rettferdig bruk,\" se " @@ -8359,8 +8454,9 @@ msgstr "" msgid "" "But when lawyers hear this story about Jon Else and Fox, their first thought " "is \"fair use.\"<placeholder type=\"footnote\" id=\"0\"/> Else's use of just " -"4.5 seconds of an indirect shot of a Simpsons episode is clearly a fair use " -"of The Simpsons—and fair use does not require the permission of anyone." +"4.5 seconds of an indirect shot of a <citetitle>Simpsons</citetitle> episode " +"is clearly a fair use of <citetitle>The Simpsons</citetitle>—and fair " +"use does not require the permission of anyone." msgstr "" #. PAGE BREAK 109 @@ -8375,12 +8471,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><blockquote><para> #, mtrans, fuzzy msgid "" -"The Simpsons fiasco was for me a great lesson in the gulf between what " -"lawyers find irrelevant in some abstract sense, and what is crushingly " -"relevant in practice to those of us actually trying to make and broadcast " -"documentaries. I never had any doubt that it was \"clearly fair use\" in an " -"absolute legal sense. But I couldn't rely on the concept in any concrete " -"way. Here's why:" +"The <citetitle>Simpsons</citetitle> fiasco was for me a great lesson in the " +"gulf between what lawyers find irrelevant in some abstract sense, and what " +"is crushingly relevant in practice to those of us actually trying to make " +"and broadcast documentaries. I never had any doubt that it was \"clearly " +"fair use\" in an absolute legal sense. But I couldn't rely on the concept in " +"any concrete way. Here's why:" msgstr "" "simpsons fiasco var for meg en fin leksjon i avgrunnen mellom hvilket " "advokater finne irrelevant i noen abstrakt forstand, og hva er crushingly " @@ -8414,13 +8510,13 @@ msgstr "Lucas, George" msgid "" "I probably never should have asked Matt Groening in the first place. But I " "knew (at least from folklore) that Fox had a history of tracking down and " -"stopping unlicensed Simpsons usage, just as George Lucas had a very high " -"profile litigating Star Wars usage. So I decided to play by the book, " -"thinking that we would be granted free or cheap license to four seconds of " -"Simpsons. As a documentary producer working to exhaustion on a shoestring, " -"the last thing I wanted was to risk legal trouble, even nuisance legal " -"trouble, and even to defend a principle. <placeholder type=\"indexterm\" id=" -"\"0\"/>" +"stopping unlicensed <citetitle>Simpsons</citetitle> usage, just as George " +"Lucas had a very high profile litigating <citetitle>Star Wars</citetitle> " +"usage. So I decided to play by the book, thinking that we would be granted " +"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As " +"a documentary producer working to exhaustion on a shoestring, the last thing " +"I wanted was to risk legal trouble, even nuisance legal trouble, and even to " +"defend a principle. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jeg skulle trolig aldri ha spurt matt groening i utgangspunktet. men jeg " "visste (minst fra folklore) at fox hadde en historie for Ã¥ spore ned og " @@ -8651,9 +8747,10 @@ msgstr "" msgid "" "So we very mechanically went about looking up the film clips. We made some " "artistic decisions about what film clips to include—of course we were " -"going to use the \"Make my day\" clip from Dirty Harry. But you then need to " -"get the guy on the ground who's wiggling under the gun and you need to get " -"his permission. And then you have to decide what you are going to pay him." +"going to use the \"Make my day\" clip from <citetitle>Dirty Harry</" +"citetitle>. But you then need to get the guy on the ground who's wiggling " +"under the gun and you need to get his permission. And then you have to " +"decide what you are going to pay him." msgstr "" "sÃ¥ vi gikk veldig mekanisk about looking up film klipp. Vi har gjort noen " "kunstneriske beslutninger om hva film klipp for Ã¥ inkludere—" @@ -8707,8 +8804,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"It was one year later—\"and even then we weren't sure whether we were " -"totally in the clear.\"" +"It was one <emphasis>year</emphasis> later—\"and even then we weren't " +"sure whether we were totally in the clear.\"" msgstr "" "Det var ett Ã¥r senere, \"og selv da vi var ikke sikker pÃ¥ om vi var helt i " "klartekst.\"" @@ -8759,9 +8856,10 @@ msgstr "Drucker, Peter" #. f2 #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"U.S. Department of Commerce Office of Acquisition Management, Seven Steps to " -"Performance-Based Services Acquisition, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #22</ulink>." +"U.S. Department of Commerce Office of Acquisition Management, " +"<citetitle>Seven Steps to Performance-Based Services Acquisition</" +"citetitle>, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#22</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -8805,13 +8903,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Or at least, is this how the artist should be compensated? Would it make " -"sense, I asked, for there to be some kind of statutory license that someone " -"could pay and be free to make derivative use of clips like this? Did it " -"really make sense that a follow-on creator would have to track down every " -"artist, actor, director, musician, and get explicit permission from each? " -"Wouldn't a lot more be created if the legal part of the creative process " -"could be made to be more clean?" +"Or at least, is this <emphasis>how</emphasis> the artist should be " +"compensated? Would it make sense, I asked, for there to be some kind of " +"statutory license that someone could pay and be free to make derivative use " +"of clips like this? Did it really make sense that a follow-on creator would " +"have to track down every artist, actor, director, musician, and get explicit " +"permission from each? Wouldn't a lot more be created if the legal part of " +"the creative process could be made to be more clean?" msgstr "" "eller minst, er dette hvordan kunstneren skal kompenseres? vil det være " "fornuftig, jeg spurte, for det for Ã¥ være en slags lovbestemte lisens som " @@ -8911,14 +9009,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> msgid "" "The video was a brilliant collage of film from every period in the twentieth " -"century, all framed around the idea of a 60 Minutes episode. The execution " -"was perfect, down to the sixty-minute stopwatch. The judges loved every " -"minute of it." +"century, all framed around the idea of a <citetitle>60 Minutes</citetitle> " +"episode. The execution was perfect, down to the sixty-minute stopwatch. The " +"judges loved every minute of it." msgstr "" "Videoen var en glimrende sammenstilling av filmer fra hver periode i det " -"tjuende Ã¥rhundret, rammet inn rundt idéen om en episode i TV-serien 60 " -"Minutes. Utførelsen var perfekt, ned til seksti minutter stoppeklokken. " -"Dommerne elsket enhver minutt av den." +"tjuende Ã¥rhundret, rammet inn rundt idéen om en episode i TV-serien " +"<citetitle>60 Minutes</citetitle>. Utførelsen var perfekt, ned til seksti " +"minutter stoppeklokken. Dommerne elsket enhver minutt av den." #. type: Content of: <book><chapter><sect1><indexterm><primary> msgid "Nimmer, David" @@ -9074,13 +9172,13 @@ msgstr "" #, mtrans, fuzzy msgid "" "In February 2003, DreamWorks studios announced an agreement with Mike Myers, " -"the comic genius of Saturday Night Live and Austin Powers. According to the " -"announcement, Myers and Dream-Works would work together to form a \"unique " -"filmmaking pact.\" Under the agreement, DreamWorks \"will acquire the rights " -"to existing motion picture hits and classics, write new storylines and—" -"with the use of stateof-the-art digital technology—insert Myers and " -"other actors into the film, thereby creating an entirely new piece of " -"entertainment.\"" +"the comic genius of <citetitle>Saturday Night Live</citetitle> and Austin " +"Powers. According to the announcement, Myers and Dream-Works would work " +"together to form a \"unique filmmaking pact.\" Under the agreement, " +"DreamWorks \"will acquire the rights to existing motion picture hits and " +"classics, write new storylines and—with the use of stateof-the-art " +"digital technology—insert Myers and other actors into the film, " +"thereby creating an entirely new piece of entertainment.\"" msgstr "" "i februar 2003 annonsert dreamworks studios en avtale med mike myers, comic " "geni av lørdag natt live og austin powers. Ifølge utlysningen, myers og drøm-" @@ -9199,9 +9297,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "This is the thing about the Internet that Orwell would have appreciated. In " -"the dystopia described in 1984, old newspapers were constantly updated to " -"assure that the current view of the world, approved of by the government, " -"was not contradicted by previous news reports." +"the dystopia described in <citetitle>1984</citetitle>, old newspapers were " +"constantly updated to assure that the current view of the world, approved of " +"by the government, was not contradicted by previous news reports." msgstr "" "Dette er ting om Internett som orwell ville ha verdsatt. i dystopia " "beskrevet i 1984, ble gamle aviser stadig oppdatert for Ã¥ sikre som " @@ -9285,11 +9383,11 @@ msgstr "" #, mtrans, fuzzy msgid "" "It is said that those who fail to remember history are doomed to repeat it. " -"That's not quite correct. We all forget history. The key is whether we have " -"a way to go back to rediscover what we forget. More directly, the key is " -"whether an objective past can keep us honest. Libraries help do that, by " -"collecting content and keeping it, for schoolchildren, for researchers, for " -"grandma. A free society presumes this knowedge." +"That's not quite correct. We <emphasis>all</emphasis> forget history. The " +"key is whether we have a way to go back to rediscover what we forget. More " +"directly, the key is whether an objective past can keep us honest. Libraries " +"help do that, by collecting content and keeping it, for schoolchildren, for " +"researchers, for grandma. A free society presumes this knowedge." msgstr "" "Det sies at de som ikke klarer Ã¥ huske historie er dømt til Ã¥ gjenta den. " "Det er ikke helt riktig. vi alle glemme historie. nøkkelen er om vi har en " @@ -9378,9 +9476,9 @@ msgid "" "that back and forth surreal experience of a politician interacting with a " "fictional television character? If you were a graduate student wanting to " "study that, and you wanted to get those original back and forth exchanges " -"between the two, the 60 Minutes episode that came out after it . . . it " -"would be almost impossible. . . . Those materials are almost " -"unfindable. . . ." +"between the two, the <citetitle>60 Minutes</citetitle> episode that came out " +"after it . . . it would be almost impossible. . . . Those materials are " +"almost unfindable. . . ." msgstr "" "husker du nÃ¥r dan quayle samhandlet med murphy brown? Husk at frem og " "tilbake surrealistisk opplevelse av en politiker samarbeidsstil et fiktive " @@ -9426,9 +9524,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "Doug Herrick, \"Toward a National Film Collection: Motion Pictures at the " -"Library of Congress,\" Film Library Quarterly 13 nos. 2–3 (1980): 5; " -"Anthony Slide, Nitrate Won't Wait: A History of Film Preservation in the " -"United States ( Jefferson, N.C.: McFarland & Co., 1992), 36." +"Library of Congress,\" <citetitle>Film Library Quarterly</citetitle> 13 nos. " +"2–3 (1980): 5; Anthony Slide, <citetitle>Nitrate Won't Wait: A History " +"of Film Preservation in the United States</citetitle> ( Jefferson, N.C.: " +"McFarland & Co., 1992), 36." msgstr "" "Doug herrick, \"mot en nasjonal Filmsamling: filmindustrien pÃ¥ library of " "congress,\" film biblioteket kvartalsvise 13 nr 2­3 (1980): 5; Anthony " @@ -9600,11 +9699,11 @@ msgstr "" #, mtrans, fuzzy msgid "" "Dave Barns, \"Fledgling Career in Antique Books: Woodstock Landlord, Bar " -"Owner Starts a New Chapter by Adopting Business,\" Chicago Tribune, 5 " -"September 1997, at Metro Lake 1L. Of books published between 1927 and 1946, " -"only 2.2 percent were in print in 2002. R. Anthony Reese, \"The First Sale " -"Doctrine in the Era of Digital Networks,\" Boston College Law Review 44 " -"(2003): 593 n. 51." +"Owner Starts a New Chapter by Adopting Business,\" <citetitle>Chicago " +"Tribune</citetitle>, 5 September 1997, at Metro Lake 1L. Of books published " +"between 1927 and 1946, only 2.2 percent were in print in 2002. R. Anthony " +"Reese, \"The First Sale Doctrine in the Era of Digital Networks,\" " +"<citetitle>Boston College Law Review</citetitle> 44 (2003): 593 n. 51." msgstr "" "Dave barns, \"fledgling karriere i antikke bøker: woodstock utleier, bar " "eier starter et nytt kapittel ved Ã¥ innta virksomhet,\" chicago tribune, 5 " @@ -9724,15 +9823,15 @@ msgstr "" msgid "" "Kahle is not the only librarian. The Internet Archive is not the only " "archive. But Kahle and the Internet Archive suggest what the future of " -"libraries or archives could be. When the commercial life of creative " -"property ends, I don't know. But it does. And whenever it does, Kahle and " -"his archive hint at a world where this knowledge, and culture, remains " -"perpetually available. Some will draw upon it to understand it; some to " -"criticize it. Some will use it, as Walt Disney did, to re-create the past " -"for the future. These technologies promise something that had become " -"unimaginable for much of our past—a future for our past. The " -"technology of digital arts could make the dream of the Library of Alexandria " -"real again." +"libraries or archives could be. <emphasis>When</emphasis> the commercial " +"life of creative property ends, I don't know. But it does. And whenever it " +"does, Kahle and his archive hint at a world where this knowledge, and " +"culture, remains perpetually available. Some will draw upon it to understand " +"it; some to criticize it. Some will use it, as Walt Disney did, to re-create " +"the past for the future. These technologies promise something that had " +"become unimaginable for much of our past—a future <emphasis>for</" +"emphasis> our past. The technology of digital arts could make the dream of " +"the Library of Alexandria real again." msgstr "" "Kahle er ikke den eneste bibliotekar. internet archive er ikke det eneste " "arkivet. men kahle og internet archive foreslÃ¥ hva fremtiden for biblioteker " @@ -9912,11 +10011,11 @@ msgid "" "No matter the lengthy arguments made, no matter the charges and the counter-" "charges, no matter the tumult and the shouting, reasonable men and women " "will keep returning to the fundamental issue, the central theme which " -"animates this entire debate: Creative property owners must be accorded the " -"same rights and protection resident in all other property owners in the " -"nation. That is the issue. That is the question. And that is the rostrum on " -"which this entire hearing and the debates to follow must rest.<placeholder " -"type=\"footnote\" id=\"0\"/>" +"animates this entire debate: <emphasis>Creative property owners must be " +"accorded the same rights and protection resident in all other property " +"owners in the nation</emphasis>. That is the issue. That is the question. " +"And that is the rostrum on which this entire hearing and the debates to " +"follow must rest.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. PAGE BREAK 129 @@ -9944,12 +10043,13 @@ msgid "" "This claim has an obvious and powerful intuitive pull. It is stated with " "such clarity as to make the idea as obvious as the notion that we use " "elections to pick presidents. But in fact, there is no more extreme a claim " -"made by anyone who is serious in this debate than this claim of Valenti's. " -"Jack Valenti, however sweet and however brilliant, is perhaps the nation's " -"foremost extremist when it comes to the nature and scope of \"creative " -"property.\" His views have no reasonable connection to our actual legal " -"tradition, even if the subtle pull of his Texan charm has slowly redefined " -"that tradition, at least in Washington." +"made by <emphasis>anyone</emphasis> who is serious in this debate than this " +"claim of Valenti's. Jack Valenti, however sweet and however brilliant, is " +"perhaps the nation's foremost extremist when it comes to the nature and " +"scope of \"creative property.\" His views have <emphasis>no</emphasis> " +"reasonable connection to our actual legal tradition, even if the subtle pull " +"of his Texan charm has slowly redefined that tradition, at least in " +"Washington." msgstr "" "denne pÃ¥standen har en tydelig og kraftig intuitivt trekk. Det er oppgitt " "med slike klarhet som Ã¥ gjøre idéen tydelig som oppfatningen at vi bruker " @@ -9970,8 +10070,8 @@ msgid "" "\"property right\" to my car gives me the right to exclusive use, but not " "the right to drive at 150 miles an hour. For the best effort to connect the " "ordinary meaning of \"property\" to \"lawyer talk,\" see Bruce Ackerman, " -"Private Property and the Constitution (New Haven: Yale University Press, " -"1977), 26–27." +"<citetitle>Private Property and the Constitution</citetitle> (New Haven: " +"Yale University Press, 1977), 26–27." msgstr "" "advokater snakker om \"property\" ikke som en absolute ting, men som en bunt " "av rettigheter som er noen ganger knyttet til bestemte objekter. Dermed gir " @@ -10062,8 +10162,9 @@ msgid "" "house, or acquires a slice of land from your farm—it is required, " "under the Fifth Amendment's \"Takings Clause,\" to pay you \"just " "compensation\" for that taking. The Constitution thus guarantees that " -"property is, in a certain sense, sacred. It cannot ever be taken from the " -"property owner unless the government pays for the privilege." +"property is, in a certain sense, sacred. It cannot <emphasis>ever</emphasis> " +"be taken from the property owner unless the government pays for the " +"privilege." msgstr "" "forfatterne av vÃ¥r grunnlov elsket \"egenskapen.\" faktisk sÃ¥ sterkt gjorde " "de elsker egenskapen at de innebygd i Grunnloven et viktig krav. Hvis " @@ -10080,14 +10181,15 @@ msgstr "" msgid "" "Yet the very same Constitution speaks very differently about what Valenti " "calls \"creative property.\" In the clause granting Congress the power to " -"create \"creative property,\" the Constitution requires that after a " -"\"limited time,\" Congress take back the rights that it has granted and set " -"the \"creative property\" free to the public domain. Yet when Congress does " -"this, when the expiration of a copyright term \"takes\" your copyright and " -"turns it over to the public domain, Congress does not have any obligation to " -"pay \"just compensation\" for this \"taking.\" Instead, the same " -"Constitution that requires compensation for your land requires that you lose " -"your \"creative property\" right without any compensation at all." +"create \"creative property,\" the Constitution <emphasis>requires</emphasis> " +"that after a \"limited time,\" Congress take back the rights that it has " +"granted and set the \"creative property\" free to the public domain. Yet " +"when Congress does this, when the expiration of a copyright term \"takes\" " +"your copyright and turns it over to the public domain, Congress does not " +"have any obligation to pay \"just compensation\" for this \"taking.\" " +"Instead, the same Constitution that requires compensation for your land " +"requires that you lose your \"creative property\" right without any " +"compensation at all." msgstr "" "men svært samme grunnlov snakker veldig annerledes om hva valenti samtaler " "\"kreative egenskapen.\" i setningsdelen gir Kongressen makt til Ã¥ opprette " @@ -10144,10 +10246,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "Instead, my argument is that because Jefferson did it, we should at least " -"try to understand why. Why did the framers, fanatical property types that " -"they were, reject the claim that creative property be given the same rights " -"as all other property? Why did they require that for creative property there " -"must be a public domain?" +"try to understand <emphasis>why</emphasis>. Why did the framers, fanatical " +"property types that they were, reject the claim that creative property be " +"given the same rights as all other property? Why did they require that for " +"creative property there must be a public domain?" msgstr "" "i stedet, mitt argument er at fordi jefferson gjorde det, vi bør i det " "minste prøver Ã¥ forstÃ¥ hvorfor. Hvorfor underskrev, fanatical egenskapstyper " @@ -10162,11 +10264,12 @@ msgid "" "these \"creative property\" rights, and the control that they enabled. Once " "we see clearly how differently these rights have been defined, we will be in " "a better position to ask the question that should be at the core of this " -"war: Not whether creative property should be protected, but how. Not whether " -"we will enforce the rights the law gives to creative-property owners, but " -"what the particular mix of rights ought to be. Not whether artists should be " -"paid, but whether institutions designed to assure that artists get paid need " -"also control how culture develops." +"war: Not <emphasis>whether</emphasis> creative property should be protected, " +"but how. Not <emphasis>whether</emphasis> we will enforce the rights the law " +"gives to creative-property owners, but what the particular mix of rights " +"ought to be. Not <emphasis>whether</emphasis> artists should be paid, but " +"whether institutions designed to assure that artists get paid need also " +"control how culture develops." msgstr "" "for Ã¥ besvare dette spørsmÃ¥let, trenger vi Ã¥ fÃ¥ noen perspektiv om disse " "\"kreative eiendom\", og kontrollen som de aktivert historie. NÃ¥r vi ser " @@ -10184,11 +10287,11 @@ msgstr "" msgid "" "To answer these questions, we need a more general way to talk about how " "property is protected. More precisely, we need a more general way than the " -"narrow language of the law allows. In Code and Other Laws of Cyberspace, I " -"used a simple model to capture this more general perspective. For any " -"particular right or regulation, this model asks how four different " -"modalities of regulation interact to support or weaken the right or " -"regulation. I represented it with this diagram:" +"narrow language of the law allows. In <citetitle>Code and Other Laws of " +"Cyberspace</citetitle>, I used a simple model to capture this more general " +"perspective. For any particular right or regulation, this model asks how " +"four different modalities of regulation interact to support or weaken the " +"right or regulation. I represented it with this diagram:" msgstr "" "Hvis du vil svare pÃ¥ disse spørsmÃ¥lene, trenger vi en mer generell mÃ¥te Ã¥ " "snakke om hvordan egenskapen er beskyttet. mer presist, trenger vi en mer " @@ -10374,9 +10477,10 @@ msgid "" "to suggest that the other three don't affect law. Obviously, they do. Law's " "only distinction is that it alone speaks as if it has a right self-" "consciously to change the other three. The right of the other three is more " -"timidly expressed. See Lawrence Lessig, Code: And Other Laws of Cyberspace " -"(New York: Basic Books, 1999): 90–95; Lawrence Lessig, \"The New " -"Chicago School,\" Journal of Legal Studies, June 1998." +"timidly expressed. See Lawrence Lessig, <citetitle>Code: And Other Laws of " +"Cyberspace</citetitle> (New York: Basic Books, 1999): 90–95; Lawrence " +"Lessig, \"The New Chicago School,\" <citetitle>Journal of Legal Studies</" +"citetitle>, June 1998." msgstr "" "ved Ã¥ beskrive hvordan trenger ikke loven pÃ¥virker andre tre metoder, jeg " "bety Ã¥ foreslÃ¥ at tre andre ikke pÃ¥virker lov. Selvfølgelig, de gjør. law's " @@ -10428,22 +10532,23 @@ msgid "" "of ordinary life. I don't mean to deny the value in this narrower view, " "which depends upon the context of the inquiry. I do, however, mean to argue " "against any insistence that this narrower view is the only proper view of " -"liberty. As I argued in Code, we come from a long tradition of political " -"thought with a broader focus than the narrow question of what the government " -"did when. John Stuart Mill defended freedom of speech, for example, from " -"the tyranny of narrow minds, not from the fear of government prosecution; " -"John Stuart Mill, On Liberty (Indiana: Hackett Publishing Co., 1978), 19. " -"John R. Commons famously defended the economic freedom of labor from " -"constraints imposed by the market; John R. Commons, \"The Right to Work,\" " -"in Malcom Rutherford and Warren J. Samuels, eds., John R. Commons: Selected " -"Essays (London: Routledge: 1997), 62. The Americans with Disabilities Act " -"increases the liberty of people with physical disabilities by changing the " -"architecture of certain public places, thereby making access to those places " -"easier; 42 United States Code, section 12101 (2000). Each of these " -"interventions to change existing conditions changes the liberty of a " -"particular group. The effect of those interventions should be accounted for " -"in order to understand the effective liberty that each of these groups might " -"face. <placeholder type=\"indexterm\" id=\"0\"/>" +"liberty. As I argued in <citetitle>Code</citetitle>, we come from a long " +"tradition of political thought with a broader focus than the narrow question " +"of what the government did when. John Stuart Mill defended freedom of " +"speech, for example, from the tyranny of narrow minds, not from the fear of " +"government prosecution; John Stuart Mill, <citetitle>On Liberty</citetitle> " +"(Indiana: Hackett Publishing Co., 1978), 19. John R. Commons famously " +"defended the economic freedom of labor from constraints imposed by the " +"market; John R. Commons, \"The Right to Work,\" in Malcom Rutherford and " +"Warren J. Samuels, eds., <citetitle>John R. Commons: Selected Essays</" +"citetitle> (London: Routledge: 1997), 62. The Americans with Disabilities " +"Act increases the liberty of people with physical disabilities by changing " +"the architecture of certain public places, thereby making access to those " +"places easier; 42 <citetitle>United States Code</citetitle>, section 12101 " +"(2000). Each of these interventions to change existing conditions changes " +"the liberty of a particular group. The effect of those interventions should " +"be accounted for in order to understand the effective liberty that each of " +"these groups might face. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "noen mennesker objektet til denne mÃ¥ten av snakker om \"frihet.\" de " "objektet fordi deres fokus nÃ¥r de vurderer begrensninger som finnes pÃ¥ et " @@ -10667,20 +10772,22 @@ msgid "" "<placeholder type=\"footnote\" id=\"0\"/> Does anyone believe the government " "should ban digital cameras just to support Kodak? Highways have weakened the " "freight business for railroads. Does anyone think we should ban trucks from " -"roads for the purpose of protecting the railroads? Closer to the subject of " -"this book, remote channel changers have weakened the \"stickiness\" of " -"television advertising (if a boring commercial comes on the TV, the remote " -"makes it easy to surf ), and it may well be that this change has weakened " -"the television advertising market. But does anyone believe we should " -"regulate remotes to reinforce commercial television? (Maybe by limiting them " -"to function only once a second, or to switch to only ten channels within an " -"hour?)" +"roads <emphasis>for the purpose of</emphasis> protecting the railroads? " +"Closer to the subject of this book, remote channel changers have weakened " +"the \"stickiness\" of television advertising (if a boring commercial comes " +"on the TV, the remote makes it easy to surf ), and it may well be that this " +"change has weakened the television advertising market. But does anyone " +"believe we should regulate remotes to reinforce commercial television? " +"(Maybe by limiting them to function only once a second, or to switch to only " +"ten channels within an hour?)" msgstr "" #. f6 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy -msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." +msgid "" +"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, " +"1994), 170–71." msgstr "" "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170–71." @@ -10818,11 +10925,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"But in 1962, Rachel Carson published Silent Spring, which argued that DDT, " -"whatever its primary benefits, was also having unintended environmental " -"consequences. Birds were losing the ability to reproduce. Whole chains of " -"the ecology were being destroyed. <placeholder type=\"indexterm\" id=\"0\"/" -"> <placeholder type=\"indexterm\" id=\"1\"/>" +"But in 1962, Rachel Carson published <citetitle>Silent Spring</citetitle>, " +"which argued that DDT, whatever its primary benefits, was also having " +"unintended environmental consequences. Birds were losing the ability to " +"reproduce. Whole chains of the ecology were being destroyed. <placeholder " +"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" "men i 1962, rachel carson publisert stille vÃ¥ren, som hevdet at ddt, uansett " "dens primære fordeler, hadde ogsÃ¥ utilsiktede miljømessige konsekvenser. " @@ -10849,9 +10956,14 @@ msgstr "" #. f7 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See, for example, James Boyle, \"A Politics of Intellectual Property: " +#| "Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." msgid "" "See, for example, James Boyle, \"A Politics of Intellectual Property: " -"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." +"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 " +"(1997): 87." msgstr "" "Se, for eksempel, James Boyle, \"A Politics of Intellectual Property: " "Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87." @@ -10943,9 +11055,10 @@ msgid "" "to their respective Writings and Discoveries. We can call this the " "\"Progress Clause,\" for notice what this clause does not say. It does not " "say Congress has the power to grant \"creative property rights.\" It says " -"that Congress has the power to promote progress. The grant of power is its " -"purpose, and its purpose is a public one, not the purpose of enriching " -"publishers, nor even primarily the purpose of rewarding authors." +"that Congress has the power <emphasis>to promote progress</emphasis>. The " +"grant of power is its purpose, and its purpose is a public one, not the " +"purpose of enriching publishers, nor even primarily the purpose of rewarding " +"authors." msgstr "" "Kongressen har makt til Ã¥ fremme utviklingen av vitenskap og nyttig kunst, " "ved Ã¥ sikre begrenset ganger til forfattere og oppfinnere den eksklusive " @@ -10987,9 +11100,9 @@ msgid "" "federal government, they built structures to reinforce the power of the " "states—including the Senate, whose members were at the time selected " "by the states, and an electoral college, also selected by the states, to " -"select the president. In each case, a structure built checks and balances " -"into the constitutional frame, structured to prevent otherwise inevitable " -"concentrations of power." +"select the president. In each case, a <emphasis>structure</emphasis> built " +"checks and balances into the constitutional frame, structured to prevent " +"otherwise inevitable concentrations of power." msgstr "" "utformingen av fremdriften-setningsdelen gjenspeiler noe om grunnlovens " "design generelt. for Ã¥ unngÃ¥ et problem, bygget underskrev struktur. Hvis du " @@ -11058,12 +11171,12 @@ msgstr "Crosskey, William W." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"William W. Crosskey, Politics and the Constitution in the History of the " -"United States (London: Cambridge University Press, 1953), vol. 1, " -"485–86: \"extinguish[ing], by plain implication of `the supreme Law of " -"the Land,' the perpetual rights which authors had, or were supposed by some " -"to have, under the Common Law\" (emphasis added). <placeholder type=" -"\"indexterm\" id=\"0\"/>" +"William W. Crosskey, <citetitle>Politics and the Constitution in the History " +"of the United States</citetitle> (London: Cambridge University Press, 1953), " +"vol. 1, 485–86: \"extinguish[ing], by plain implication of `the " +"supreme Law of the Land,' <emphasis>the perpetual rights which authors had, " +"or were supposed by some to have, under the Common Law</emphasis>" +"\" (emphasis added). <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "William W. Crosskey, politikk og Grunnloven i historien av USA (London: " "Cambridge University Press, 1953), vol. 1, 485–86: \"slukke [ing], ved " @@ -11122,13 +11235,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" "Although 13,000 titles were published in the United States from 1790 to " -"1799, only 556 copyright registrations were filed; John Tebbel, A History of " -"Book Publishing in the United States, vol. 1, The Creation of an Industry, " -"1630–1865 (New York: Bowker, 1972), 141. Of the 21,000 imprints " -"recorded before 1790, only twelve were copyrighted under the 1790 act; " -"William J. Maher, Copyright Term, Retrospective Extension and the Copyright " -"Law of 1790 in Historical Context, 7–10 (2002), available at <ulink " -"url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " +"1799, only 556 copyright registrations were filed; John Tebbel, <citetitle>A " +"History of Book Publishing in the United States</citetitle>, vol. 1, " +"<citetitle>The Creation of an Industry, 1630–1865</citetitle> (New " +"York: Bowker, 1972), 141. Of the 21,000 imprints recorded before 1790, only " +"twelve were copyrighted under the 1790 act; William J. Maher, " +"<citetitle>Copyright Term, Retrospective Extension and the Copyright Law of " +"1790 in Historical Context</citetitle>, 7–10 (2002), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #25</ulink>. Thus, the " "overwhelming majority of works fell immediately into the public domain. Even " "those works that were copyrighted fell into the public domain quickly, " "because the term of copyright was short. The initial term of copyright was " @@ -11175,11 +11289,12 @@ msgid "" "Few copyright holders ever chose to renew their copyrights. For instance, of " "the 25,006 copyrights registered in 1883, only 894 were renewed in 1910. For " "a year-by-year analysis of copyright renewal rates, see Barbara A. Ringer, " -"\"Study No. 31: Renewal of Copyright,\" Studies on Copyright, vol. 1 (New " -"York: Practicing Law Institute, 1963), 618. For a more recent and " -"comprehensive analysis, see William M. Landes and Richard A. Posner, " -"\"Indefinitely Renewable Copyright,\" University of Chicago Law Review 70 " -"(2003): 471, 498–501, and accompanying figures." +"\"Study No. 31: Renewal of Copyright,\" <citetitle>Studies on Copyright</" +"citetitle>, vol. 1 (New York: Practicing Law Institute, 1963), 618. For a " +"more recent and comprehensive analysis, see William M. Landes and Richard " +"A. Posner, \"Indefinitely Renewable Copyright,\" <citetitle>University of " +"Chicago Law Review</citetitle> 70 (2003): 471, 498–501, and " +"accompanying figures." msgstr "" "noen rettighetshavere valgte noensinne Ã¥ fornye sine opphavsrettigheter. for " "eksempel av 25,006 opphavsretten registrert i 1883, ble bare 894 fornyet i " @@ -11209,10 +11324,10 @@ msgid "" "actual commercial life of just a couple of years. Most books fall out of " "print after one year.<placeholder type=\"footnote\" id=\"0\"/> When that " "happens, the used books are traded free of copyright regulation. Thus the " -"books are no longer effectively controlled by copyright. The only practical " -"commercial use of the books at that time is to sell the books as used books; " -"that use—because it does not involve publication—is effectively " -"free." +"books are no longer <emphasis>effectively</emphasis> controlled by " +"copyright. The only practical commercial use of the books at that time is to " +"sell the books as used books; that use—because it does not involve " +"publication—is effectively free." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -11436,9 +11551,9 @@ msgid "" "there was a requirement that a work be registered before it could receive " "the protection of a copyright. There was also a requirement that any " "copyrighted work be marked either with that famous © or the word " -"copyright. And for most of the history of American copyright law, there was " -"a requirement that works be deposited with the government before a copyright " -"could be secured." +"<emphasis>copyright</emphasis>. And for most of the history of American " +"copyright law, there was a requirement that works be deposited with the " +"government before a copyright could be secured." msgstr "" "pÃ¥ samme tid som har utvidet omfanget av copyright, er fremgangsmÃ¥ter for " "begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig " @@ -11504,9 +11619,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of " -"American Literature,\" 29 New York University Journal of International Law " -"and Politics 255 (1997), and James Gilraeth, ed., Federal Copyright Records, " -"1790–1800 (U.S. G.P.O., 1987)." +"American Literature,\" 29 <citetitle>New York University Journal of " +"International Law and Politics</citetitle> 255 (1997), and James Gilraeth, " +"ed., Federal Copyright Records, 1790–1800 (U.S. G.P.O., 1987)." msgstr "" "se thomas bender og david sampliner, \"poeter, pirater og etableringen av " "amerikansk litteratur,\" 29 new york university journal of internasjonal lov " @@ -11549,10 +11664,10 @@ msgstr "" msgid "" "Today the story is very different: If you write a book, your book is " "automatically protected. Indeed, not just your book. Every e-mail, every " -"note to your spouse, every doodle, every creative act that's reduced to a " -"tangible form—all of this is automatically copyrighted. There is no " -"need to register or mark your work. The protection follows the creation, not " -"the steps you take to protect it." +"note to your spouse, every doodle, <emphasis>every</emphasis> creative act " +"that's reduced to a tangible form—all of this is automatically " +"copyrighted. There is no need to register or mark your work. The protection " +"follows the creation, not the steps you take to protect it." msgstr "" "i dag historien er svært forskjellige: Hvis du skriver en bok, boken er " "automatisk beskyttet. faktisk, ikke bare i adresseboken. hver e-post, hver " @@ -11617,10 +11732,15 @@ msgstr "" "endringer, sÃ¥ vel som ordrett opprinnelige arbeidet." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #26</" +#| "ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, July/August 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #26</ulink>. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"Jonathan Zittrain, \"The Copyright Cage,\" <citetitle>Legal Affairs</" +"citetitle>, July/August 2003, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #26</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, juli/august 2003, " "tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #26</" @@ -11632,12 +11752,12 @@ msgid "" "culture—at least, it's astonishing when you understand that the law " "applies not just to the commercial publisher but to anyone with a computer. " "I understand the wrong in duplicating and selling someone else's work. But " -"whatever that wrong is, transforming someone else's work is a different " -"wrong. Some view transformation as no wrong at all—they believe that " -"our law, as the framers penned it, should not protect derivative rights at " -"all.<placeholder type=\"footnote\" id=\"0\"/> Whether or not you go that " -"far, it seems plain that whatever wrong is involved is fundamentally " -"different from the wrong of direct piracy." +"whatever <emphasis>that</emphasis> wrong is, transforming someone else's " +"work is a different wrong. Some view transformation as no wrong at all—" +"they believe that our law, as the framers penned it, should not protect " +"derivative rights at all.<placeholder type=\"footnote\" id=\"0\"/> Whether " +"or not you go that far, it seems plain that whatever wrong is involved is " +"fundamentally different from the wrong of direct piracy." msgstr "" #. f15 @@ -11648,7 +11768,8 @@ msgid "" "the difference that copyright law should draw (from the perspective of the " "First Amendment) between mere \"copies\" and derivative works. See Jed " "Rubenfeld, \"The Freedom of Imagination: Copyright's Constitutionality,\" " -"Yale Law Journal 112 (2002): 1–60 (see especially pp. 53–59)." +"<citetitle>Yale Law Journal</citetitle> 112 (2002): 1–60 (see " +"especially pp. 53–59)." msgstr "" "professor rubenfeld har presentert en kraftig konstitusjonelle argument om " "forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den " @@ -11703,10 +11824,11 @@ msgid "" "This is a simplification of the law, but not much of one. The law certainly " "regulates more than \"copies\"—a public performance of a copyrighted " "song, for example, is regulated even though performance per se doesn't make " -"a copy; 17 United States Code, section 106(4). And it certainly sometimes " -"doesn't regulate a \"copy\"; 17 United States Code, section 112(a). But the " -"presumption under the existing law (which regulates \"copies;\" 17 United " -"States Code, section 102) is that if there is a copy, there is a right." +"a copy; 17 <citetitle>United States Code</citetitle>, section 106(4). And it " +"certainly sometimes doesn't regulate a \"copy\"; 17 <citetitle>United States " +"Code</citetitle>, section 112(a). But the presumption under the existing law " +"(which regulates \"copies;\" 17 <citetitle>United States Code</citetitle>, " +"section 102) is that if there is a copy, there is a right." msgstr "" "Dette er en forenkling av loven, men ikke mye av en. loven absolutt " "regulerer mer enn \"Kopier\"—en offentlig fremføring av en " @@ -11729,14 +11851,15 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"\"Copies.\" That certainly sounds like the obvious thing for copyright law " -"to regulate. But as with Jack Valenti's argument at the start of this " -"chapter, that \"creative property\" deserves the \"same rights\" as all " -"other property, it is the obvious that we need to be most careful about. For " -"while it may be obvious that in the world before the Internet, copies were " -"the obvious trigger for copyright law, upon reflection, it should be obvious " -"that in the world with the Internet, copies should not be the trigger for " -"copyright law. More precisely, they should not always be the trigger for " +"\"Copies.\" That certainly sounds like the obvious thing for <emphasis>copy</" +"emphasis>right law to regulate. But as with Jack Valenti's argument at the " +"start of this chapter, that \"creative property\" deserves the \"same rights" +"\" as all other property, it is the <emphasis>obvious</emphasis> that we " +"need to be most careful about. For while it may be obvious that in the world " +"before the Internet, copies were the obvious trigger for copyright law, upon " +"reflection, it should be obvious that in the world with the Internet, copies " +"should <emphasis>not</emphasis> be the trigger for copyright law. More " +"precisely, they should not <emphasis>always</emphasis> be the trigger for " "copyright law." msgstr "" "\"Kopier.\" som absolutt høres ut som det Ã¥penbare tingen for opphavsrett Ã¥ " @@ -11792,15 +11915,15 @@ msgstr "<graphic fileref=\"images/1521.png\"></graphic>" #, mtrans, fuzzy msgid "" "Think about a book in real space, and imagine this circle to represent all " -"its potential uses. Most of these uses are unregulated by copyright law, " -"because the uses don't create a copy. If you read a book, that act is not " -"regulated by copyright law. If you give someone the book, that act is not " -"regulated by copyright law. If you resell a book, that act is not regulated " -"(copyright law expressly states that after the first sale of a book, the " -"copyright owner can impose no further conditions on the disposition of the " -"book). If you sleep on the book or use it to hold up a lamp or let your " -"puppy chew it up, those acts are not regulated by copyright law, because " -"those acts do not make a copy." +"its potential <emphasis>uses</emphasis>. Most of these uses are unregulated " +"by copyright law, because the uses don't create a copy. If you read a book, " +"that act is not regulated by copyright law. If you give someone the book, " +"that act is not regulated by copyright law. If you resell a book, that act " +"is not regulated (copyright law expressly states that after the first sale " +"of a book, the copyright owner can impose no further conditions on the " +"disposition of the book). If you sleep on the book or use it to hold up a " +"lamp or let your puppy chew it up, those acts are not regulated by copyright " +"law, because those acts do not make a copy." msgstr "" "Tenk pÃ¥ en bok i virkelige rommet, og tenke denne sirkelen til Ã¥ " "representere alle dens potensial bruker. de fleste av disse bruksomrÃ¥dene er " @@ -11840,13 +11963,13 @@ msgstr "" "diagrammet pÃ¥ neste side)." #. type: Content of: <book><chapter><sect1><sect2><para> -#, mtrans, fuzzy msgid "" "Finally, there is a tiny sliver of otherwise regulated copying uses that " "remain unregulated because the law considers these \"fair uses.\"" msgstr "" -"Endelig er det en liten sliver i regulert Ellers kopierer bruker som forblir " -"unregulated fordi loven vurderer disse \"rimelig bruk\"." +"Til slutt er det en tynn skive av ellers regulert kopierings-bruk " +"som forblir uregluert pÃ¥ grunn av at loven anser dette som \"rimelig " +"bruk\"." #. type: Content of: <book><chapter><sect1><sect2><figure><title> msgid "" @@ -11881,7 +12004,7 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><figure><title> msgid "Unregulated copying considered "fair uses."" -msgstr "" +msgstr "Uregulert kopiering anses som "rimelig bruk"." #. type: Content of: <book><chapter><sect1><sect2><figure> msgid "<graphic fileref=\"images/1542.png\"></graphic>" @@ -11947,11 +12070,12 @@ msgstr "" msgid "" "So let's be very specific to make this general point clear. Before the " "Internet, if you purchased a book and read it ten times, there would be no " -"plausible copyright-related argument that the copyright owner could make to " -"control that use of her book. Copyright law would have nothing to say about " -"whether you read the book once, ten times, or every night before you went to " -"bed. None of those instances of use—reading— could be regulated " -"by copyright law because none of those uses produced a copy." +"plausible <emphasis>copyright</emphasis>-related argument that the copyright " +"owner could make to control that use of her book. Copyright law would have " +"nothing to say about whether you read the book once, ten times, or every " +"night before you went to bed. None of those instances of use—" +"reading— could be regulated by copyright law because none of those " +"uses produced a copy." msgstr "" "sÃ¥ la oss være svært spesifikke Ã¥ gjøre herfra Generelt og fjerner. før " "Internett, hvis du kjøpte en bok og Les det ti ganger, ville det ikke " @@ -11967,13 +12091,13 @@ msgstr "" msgid "" "But the same book as an e-book is effectively governed by a different set of " "rules. Now if the copyright owner says you may read the book only once or " -"only once a month, then copyright law would aid the copyright owner in " -"exercising this degree of control, because of the accidental feature of " -"copyright law that triggers its application upon there being a copy. Now if " -"you read the book ten times and the license says you may read it only five " -"times, then whenever you read the book (or any portion of it) beyond the " -"fifth time, you are making a copy of the book contrary to the copyright " -"owner's wish." +"only once a month, then <emphasis>copyright law</emphasis> would aid the " +"copyright owner in exercising this degree of control, because of the " +"accidental feature of copyright law that triggers its application upon there " +"being a copy. Now if you read the book ten times and the license says you " +"may read it only five times, then whenever you read the book (or any portion " +"of it) beyond the fifth time, you are making a copy of the book contrary to " +"the copyright owner's wish." msgstr "" "men den samme bok som en e-bok styres effektivt av et annet sett med regler. " "nÃ¥ hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller " @@ -12019,13 +12143,13 @@ msgstr "" msgid "" "Second, this shift is especially troubling in the context of transformative " "uses of creative content. Again, we can all understand the wrong in " -"commercial piracy. But the law now purports to regulate any transformation " -"you make of creative work using a machine. \"Copy and paste\" and \"cut and " -"paste\" become crimes. Tinkering with a story and releasing it to others " -"exposes the tinkerer to at least a requirement of justification. However " -"troubling the expansion with respect to copying a particular work, it is " -"extraordinarily troubling with respect to transformative uses of creative " -"work." +"commercial piracy. But the law now purports to regulate <emphasis>any</" +"emphasis> transformation you make of creative work using a machine. \"Copy " +"and paste\" and \"cut and paste\" become crimes. Tinkering with a story and " +"releasing it to others exposes the tinkerer to at least a requirement of " +"justification. However troubling the expansion with respect to copying a " +"particular work, it is extraordinarily troubling with respect to " +"transformative uses of creative work." msgstr "" "andre, dette skiftet er spesielt troubling i sammenheng med transformative " "bruk av kreative innholdet. igjen, kan vi alle forstÃ¥ feil i kommersielle " @@ -12067,8 +12191,9 @@ msgid "" "culture. We have been cornered into arguing that our rights depend upon fair " "use—never even addressing the earlier question about the expansion in " "effective regulation. A thin protection grounded in fair use makes sense " -"when the vast majority of uses are unregulated. But when everything becomes " -"presumptively regulated, then the protections of fair use are not enough." +"when the vast majority of uses are <emphasis>unregulated</emphasis>. But " +"when everything becomes presumptively regulated, then the protections of " +"fair use are not enough." msgstr "" "dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis " "kultur. Vi har vært cornered til kranglet at vÃ¥re rettigheter er avhengige " @@ -12287,9 +12412,13 @@ msgstr "Casablanca" #. f19 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " +#| "Problems 44 (1981): 172–73." msgid "" -"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " -"Problems 44 (1981): 172–73." +"See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and " +"Contemporary Problems</citetitle> 44 (1981): 172–73." msgstr "" "Se David Lange, \"Recognizing the Public Domain,\" Law and Contemporary " "Problems 44 (1981): 172–73." @@ -12297,37 +12426,41 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" "There's a famous story about a battle between the Marx Brothers and Warner " -"Brothers. The Marxes intended to make a parody of Casablanca. Warner " -"Brothers objected. They wrote a nasty letter to the Marxes, warning them " -"that there would be serious legal consequences if they went forward with " -"their plan.<placeholder type=\"footnote\" id=\"0\"/>" +"Brothers. The Marxes intended to make a parody of <citetitle>Casablanca</" +"citetitle>. Warner Brothers objected. They wrote a nasty letter to the " +"Marxes, warning them that there would be serious legal consequences if they " +"went forward with their plan.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" "Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx " "Brothers) og Warner Brothers. Marx-brødrene planla Ã¥ lage en parodi av " -"Casablanca. Warner Brothers protesterte. De skrev et ufint brev til Marx-" -"brødrene og advarte dem om at det ville fÃ¥ seriøse juridiske konsekvenser " -"hvis de gikk videre med sin plan.<placeholder type=\"footnote\" id=\"0\"/>" +"<citetitle>Casablanca</citetitle>. Warner Brothers protesterte. De skrev et " +"ufint brev til Marx-brødrene og advarte dem om at det ville fÃ¥ seriøse " +"juridiske konsekvenser hvis de gikk videre med sin plan.<placeholder type=" +"\"footnote\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1–3. " -"<placeholder type=\"indexterm\" id=\"0\"/>" -msgstr "Ibid. Se ogsÃ¥ Vaidhyanathan, Copyrights and Copywrongs, 1–3. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"Ibid. See also Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" +msgstr "" +"Ibid. Se ogsÃ¥ Vaidhyanathan, <citetitle>Copyrights and Copywrongs</" +"citetitle>, 1–3. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" "This led the Marx Brothers to respond in kind. They warned Warner Brothers " "that the Marx Brothers \"were brothers long before you were.\"<placeholder " "type=\"footnote\" id=\"0\"/> The Marx Brothers therefore owned the word " -"brothers, and if Warner Brothers insisted on trying to control Casablanca, " -"then the Marx Brothers would insist on control over brothers." +"<citetitle>brothers</citetitle>, and if Warner Brothers insisted on trying " +"to control <citetitle>Casablanca</citetitle>, then the Marx Brothers would " +"insist on control over <citetitle>brothers</citetitle>." msgstr "" "Dette fikk Marx-brødrene til Ã¥ svare tilbake med samme mynt. De advarte " "Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"." "<placeholder type=\"footnote\" id=\"0\"/> Marx-brødrene eide derfor ordet " -"Brothers, og hvis Warner Brothers insisterte pÃ¥ Ã¥ forsøke Ã¥ kontrollere " -"Casablanca, sÃ¥ ville Marx-brødrene insistere pÃ¥ kontroll over Brothers." +"<citetitle>Brothers</citetitle>, og hvis Warner Brothers insisterte pÃ¥ Ã¥ " +"forsøke Ã¥ kontrollere <citetitle>Casablanca</citetitle>, sÃ¥ ville Marx-" +"brødrene insistere pÃ¥ kontroll over <citetitle>Brothers</citetitle>." #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" @@ -12390,11 +12523,12 @@ msgstr "" msgid "" "As you can see, I have a small collection of e-books within this e-book " "library. Some of these books reproduce content that is in the public domain: " -"Middlemarch, for example, is in the public domain. Some of them reproduce " -"content that is not in the public domain: My own book The Future of Ideas is " -"not yet within the public domain. Consider Middlemarch first. If you click " -"on my e-book copy of Middlemarch, you'll see a fancy cover, and then a " -"button at the bottom called Permissions." +"<citetitle>Middlemarch</citetitle>, for example, is in the public domain. " +"Some of them reproduce content that is not in the public domain: My own book " +"<citetitle>The Future of Ideas</citetitle> is not yet within the public " +"domain. Consider <citetitle>Middlemarch</citetitle> first. If you click on " +"my e-book copy of <citetitle>Middlemarch</citetitle>, you'll see a fancy " +"cover, and then a button at the bottom called Permissions." msgstr "" "som du ser, har jeg en liten samling av e-bøker i denne e-boken biblioteket. " "noen av disse bøkene reprodusere innholdet i public domain: middlemarch, er " @@ -12439,7 +12573,8 @@ msgid "" "of the computer ten text selections every ten days. (So far, I've copied no " "text to the clipboard.) I also have the permission to print ten pages from " "the book every ten days. Lastly, I have the permission to use the Read Aloud " -"button to hear Middlemarch read aloud through the computer." +"button to hear <citetitle>Middlemarch</citetitle> read aloud through the " +"computer." msgstr "" "Ifølge min eBok-leser har jeg tillatelse til Ã¥ kopiere til utklippstavlen pÃ¥ " "datamaskinen ti tekstomrÃ¥der ti dager. (sÃ¥ langt jeg har kopiert ingen tekst " @@ -12451,7 +12586,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "Here's the e-book for another work in the public domain (including the " -"translation): Aristotle's Politics." +"translation): Aristotle's <citetitle>Politics</citetitle>." msgstr "" "Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert " "oversettelse): Aristoteles politikk." @@ -12485,7 +12620,7 @@ msgstr "<graphic fileref=\"images/1622.png\"></graphic>" #, mtrans, fuzzy msgid "" "Finally (and most embarrassingly), here are the permissions for the original " -"e-book version of my last book, The Future of Ideas:" +"e-book version of my last book, <citetitle>The Future of Ideas</citetitle>:" msgstr "" "Endelig (og mest embarrassingly), her er du tillatelsene for den " "opprinnelige e-bok-versjonen av boken min siste, fremtiden for idéer:" @@ -12528,11 +12663,11 @@ msgid "" "works under copyright, the copyright owner certainly does have the " "power—up to the limits of the copyright law. But for work not under " "copyright, there is no such copyright power.<placeholder type=\"footnote\" " -"id=\"0\"/> When my e-book of Middlemarch says I have the permission to copy " -"only ten text selections into the memory every ten days, what that really " -"means is that the eBook Reader has enabled the publisher to control how I " -"use the book on my computer, far beyond the control that the law would " -"enable." +"id=\"0\"/> When my e-book of <citetitle>Middlemarch</citetitle> says I have " +"the permission to copy only ten text selections into the memory every ten " +"days, what that really means is that the eBook Reader has enabled the " +"publisher to control how I use the book on my computer, far beyond the " +"control that the law would enable." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -12571,9 +12706,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"These are controls, not permissions. Imagine a world where the Marx Brothers " -"sold word processing software that, when you tried to type \"Warner Brothers," -"\" erased \"Brothers\" from the sentence." +"These are <emphasis>controls</emphasis>, not permissions. Imagine a world " +"where the Marx Brothers sold word processing software that, when you tried " +"to type \"Warner Brothers,\" erased \"Brothers\" from the sentence." msgstr "" "Dette er kontroller, ikke tillatelser. Forestill deg en verden der marx " "brødrene solgte tekstbehandling programvare som, da du prøvde Ã¥ skrive inn " @@ -12582,12 +12717,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"This is the future of copyright law: not so much copyright law as copyright " -"code. The controls over access to content will not be controls that are " -"ratified by courts; the controls over access to content will be controls " -"that are coded by programmers. And whereas the controls that are built into " -"the law are always to be checked by a judge, the controls that are built " -"into the technology have no similar built-in check." +"This is the future of copyright law: not so much copyright <emphasis>law</" +"emphasis> as copyright <emphasis>code</emphasis>. The controls over access " +"to content will not be controls that are ratified by courts; the controls " +"over access to content will be controls that are coded by programmers. And " +"whereas the controls that are built into the law are always to be checked by " +"a judge, the controls that are built into the technology have no similar " +"built-in check." msgstr "" "Dette er fremtiden til lov om opphavsrett: ikke sÃ¥ mye copyright lov som " "opphavsrett kode. Kontroller over tilgangen til innholdet kan ikke " @@ -12626,9 +12762,9 @@ msgstr "" msgid "" "Early in the life of the Adobe eBook Reader, Adobe suffered a public " "relations nightmare. Among the books that you could download for free on the " -"Adobe site was a copy of Alice's Adventures in Wonderland. This wonderful " -"book is in the public domain. Yet when you clicked on Permissions for that " -"book, you got the following report:" +"Adobe site was a copy of <citetitle>Alice's Adventures in Wonderland</" +"citetitle>. This wonderful book is in the public domain. Yet when you " +"clicked on Permissions for that book, you got the following report:" msgstr "" "tidlig i livet av adobe eBok reader LED adobe et PR mareritt. Blant bøkene " "som du kan laste ned gratis pÃ¥ adobe siden var en kopi av alice's adventures " @@ -12775,13 +12911,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"If you're not a programmer or don't know many programmers, the word hack has " -"a particularly unfriendly connotation. Nonprogrammers hack bushes or weeds. " -"Nonprogrammers in horror movies do even worse. But to programmers, or " -"coders, as I call them, hack is a much more positive term. Hack just means " -"code that enables the program to do something it wasn't originally intended " -"or enabled to do. If you buy a new printer for an old computer, you might " -"find the old computer doesn't run, or \"drive,\" the printer. If you " +"If you're not a programmer or don't know many programmers, the word " +"<citetitle>hack</citetitle> has a particularly unfriendly connotation. " +"Nonprogrammers hack bushes or weeds. Nonprogrammers in horror movies do even " +"worse. But to programmers, or coders, as I call them, <citetitle>hack</" +"citetitle> is a much more positive term. <citetitle>Hack</citetitle> just " +"means code that enables the program to do something it wasn't originally " +"intended or enabled to do. If you buy a new printer for an old computer, you " +"might find the old computer doesn't run, or \"drive,\" the printer. If you " "discovered that, you'd later be happy to discover a hack on the Net by " "someone who has written a driver to enable the computer to drive the printer " "you just bought." @@ -12835,8 +12972,8 @@ msgid "" "dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it " "be a crime (though we don't have a lot to go on here) to teach your robot " "dog to dance jazz. Dancing jazz is a completely legal activity. One imagines " -"that the owner of aibopet.com thought, What possible problem could there be " -"with teaching a robot dog to dance?" +"that the owner of aibopet.com thought, <emphasis>What possible problem could " +"there be with teaching a robot dog to dance?</emphasis>" msgstr "" "Jeg har fortalt denne historien i mange sammenhenger, bÃ¥de i og utenfor USA. " "NÃ¥r jeg ble spurt av en rÃ¥dvill medlem av publikum, er det tillatt for en " @@ -12878,13 +13015,15 @@ msgstr "Elektronisk forpost-stiftelsen (EFF)" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" "See Pamela Samuelson, \"Anticircumvention Rules: Threat to Science,\" " -"Science 293 (2001): 2028; Brendan I. Koerner, \"Play Dead: Sony Muzzles the " -"Techies Who Teach a Robot Dog New Tricks,\" American Prospect, January 2002; " -"\"Court Dismisses Computer Scientists' Challenge to DMCA,\" Intellectual " -"Property Litigation Reporter, 11 December 2001; Bill Holland, \"Copyright " -"Act Raising Free-Speech Concerns,\" Billboard, May 2001; Janelle Brown, \"Is " -"the RIAA Running Scared?\" Salon.com, April 2001; Electronic Frontier " -"Foundation, \"Frequently Asked Questions about Felten and USENIX v. RIAA " +"<citetitle>Science</citetitle> 293 (2001): 2028; Brendan I. Koerner, \"Play " +"Dead: Sony Muzzles the Techies Who Teach a Robot Dog New Tricks,\" " +"<citetitle>American Prospect</citetitle>, January 2002; \"Court Dismisses " +"Computer Scientists' Challenge to DMCA,\" <citetitle>Intellectual Property " +"Litigation Reporter</citetitle>, 11 December 2001; Bill Holland, \"Copyright " +"Act Raising Free-Speech Concerns,\" <citetitle>Billboard</citetitle>, May " +"2001; Janelle Brown, \"Is the RIAA Running Scared?\" Salon.com, April 2001; " +"Electronic Frontier Foundation, \"Frequently Asked Questions about " +"<citetitle>Felten and USENIX</citetitle> v. <citetitle>RIAA</citetitle> " "Legal Case,\" available at <ulink url=\"http://free-culture.cc/notes/\">link " "#27</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" @@ -13042,8 +13181,9 @@ msgid "" "response was to find technologies that might compensate. These new " "technologies would be copyright protection technologies— technologies " "to control the replication and distribution of copyrighted material. They " -"were designed as code to modify the original code of the Internet, to " -"reestablish some protection for copyright owners." +"were designed as <emphasis>code</emphasis> to modify the original " +"<emphasis>code</emphasis> of the Internet, to reestablish some protection " +"for copyright owners." msgstr "" "dmca ble vedtatt som en reaksjon pÃ¥ opphavsrett eiernes første frykt om " "cyberspace. frykt var at opphavsrett kontroll var effektivt død; svaret var " @@ -13057,9 +13197,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "The DMCA was a bit of law intended to back up the protection of this code " -"designed to protect copyrighted material. It was, we could say, legal code " -"intended to buttress software code which itself was intended to support the " -"legal code of copyright." +"designed to protect copyrighted material. It was, we could say, " +"<emphasis>legal code</emphasis> intended to buttress <emphasis>software " +"code</emphasis> which itself was intended to support the <emphasis>legal " +"code of copyright</emphasis>." msgstr "" "dmca var litt av loven som er ment Ã¥ sikkerhetskopiere beskyttelse av denne " "koden som er utformet for Ã¥ beskytte opphavsrettsbeskyttet materiale. Det " @@ -13132,8 +13273,8 @@ msgid "" "be banned because it was a copyright-infringing technology: It enabled " "consumers to copy films without the permission of the copyright owner. No " "doubt there were uses of the technology that were legal: Fred Rogers, aka " -"\"Mr. Rogers,\" for example, had testified in that case that he wanted " -"people to feel free to tape Mr. Rogers' Neighborhood." +"\"<citetitle>Mr. Rogers</citetitle>,\" for example, had testified in that " +"case that he wanted people to feel free to tape Mr. Rogers' Neighborhood." msgstr "" "bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av " "paul conrad. pÃ¥ den tiden, en domstol i california hadde holdt at " @@ -13147,9 +13288,10 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> #, mtrans, fuzzy msgid "" -"Sony Corporation of America v. Universal City Studios, Inc., 464 U.S. 417, " -"455 fn. 27 (1984). Rogers never changed his view about the VCR. See James " -"Lardner, Fast Forward: Hollywood, the Japanese, and the Onslaught of the VCR " +"<citetitle>Sony Corporation of America</citetitle> v. <citetitle>Universal " +"City Studios, Inc</citetitle>., 464 U.S. 417, 455 fn. 27 (1984). Rogers " +"never changed his view about the VCR. See James Lardner, <citetitle>Fast " +"Forward: Hollywood, the Japanese, and the Onslaught of the VCR</citetitle> " "(New York: W. W. Norton, 1987), 270–71." msgstr "" "Sony corporation of america v. universal city studios, inc., 464 amerikanske " @@ -13243,10 +13385,10 @@ msgstr "<graphic fileref=\"images/1711.png\"></graphic>" msgid "" "The obvious point of Conrad's cartoon is the weirdness of a world where guns " "are legal, despite the harm they can do, while VCRs (and circumvention " -"technologies) are illegal. Flash: No one ever died from copyright " -"circumvention. Yet the law bans circumvention technologies absolutely, " -"despite the potential that they might do some good, but permits guns, " -"despite the obvious and tragic harm they do." +"technologies) are illegal. Flash: <emphasis>No one ever died from copyright " +"circumvention</emphasis>. Yet the law bans circumvention technologies " +"absolutely, despite the potential that they might do some good, but permits " +"guns, despite the obvious and tragic harm they do." msgstr "" "den Ã¥penbare punkt conrad's tegneserie er weirdness av en verden der guns er " "juridisk, til tross for skade som de kan gjøre, mens videospillere (og " @@ -13274,14 +13416,15 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"This is how code becomes law. The controls built into the technology of copy " -"and access protection become rules the violation of which is also a " -"violation of the law. In this way, the code extends the law—increasing " -"its regulation, even if the subject it regulates (activities that would " -"otherwise plainly constitute fair use) is beyond the reach of the law. Code " -"becomes law; code extends the law; code thus extends the control that " -"copyright owners effect—at least for those copyright holders with the " -"lawyers who can write the nasty letters that Felten and aibopet.com received." +"This is how <emphasis>code</emphasis> becomes <emphasis>law</emphasis>. The " +"controls built into the technology of copy and access protection become " +"rules the violation of which is also a violation of the law. In this way, " +"the code extends the law—increasing its regulation, even if the " +"subject it regulates (activities that would otherwise plainly constitute " +"fair use) is beyond the reach of the law. Code becomes law; code extends the " +"law; code thus extends the control that copyright owners effect—at " +"least for those copyright holders with the lawyers who can write the nasty " +"letters that Felten and aibopet.com received." msgstr "" "Dette er hvordan koden blir lov. Kontroller som er innebygd i teknologien " "for kopiering og tilgang beskyttelse bli regler bryter som er ogsÃ¥ et brudd " @@ -13319,8 +13462,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "For an early and prescient analysis, see Rebecca Tushnet, \"Legal Fictions, " -"Copyright, Fan Fiction, and a New Common Law,\" Loyola of Los Angeles " -"Entertainment Law Journal 17 (1997): 651." +"Copyright, Fan Fiction, and a New Common Law,\" <citetitle>Loyola of Los " +"Angeles Entertainment Law Journal</citetitle> 17 (1997): 651." msgstr "" "for en tidlig og forutseende analyse, kan du se rebecca tushnet, \"legal-" "fictions, copyright, fanfiction og en ny felles lov,\" loyola av los angeles " @@ -13328,11 +13471,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" -"For example, imagine you were part of a Star Trek fan club. You gathered " -"every month to share trivia, and maybe to enact a kind of fan fiction about " -"the show. One person would play Spock, another, Captain Kirk. The characters " -"would begin with a plot from a real story, then simply continue it." -"<placeholder type=\"footnote\" id=\"0\"/>" +"For example, imagine you were part of a <citetitle>Star Trek</citetitle> fan " +"club. You gathered every month to share trivia, and maybe to enact a kind of " +"fan fiction about the show. One person would play Spock, another, Captain " +"Kirk. The characters would begin with a plot from a real story, then simply " +"continue it.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -13485,7 +13628,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "Lynette Holloway, \"Despite a Marketing Blitz, CD Sales Continue to Slide,\" " -"New York Times, 23 December 2002." +"<citetitle>New York Times</citetitle>, 23 December 2002." msgstr "" "lynette holloway, \"til tross for en markedsføring blitz cd salg fortsette Ã¥ " "skyve,\" new york times, 23 desember 2002." @@ -13494,8 +13637,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 " -"May 2003." +"Molly Ivins, \"Media Consolidation Must Be Stopped,\" <citetitle>Charleston " +"Gazette</citetitle>, 31 May 2003." msgstr "" "Molly ivins, \"media konsolidering mÃ¥ stoppes,\" charleston gazette, 31 kan " "2003." @@ -13523,11 +13666,11 @@ msgstr "" msgid "" "The story with radio is even more dramatic. Before deregulation, the " "nation's largest radio broadcasting conglomerate owned fewer than seventy-" -"five stations. Today one company owns more than 1,200 stations. During that " -"period of consolidation, the total number of radio owners dropped by 34 " -"percent. Today, in most markets, the two largest broadcasters control 74 " -"percent of that market's revenues. Overall, just four companies control 90 " -"percent of the nation's radio advertising revenues." +"five stations. Today <emphasis>one</emphasis> company owns more than 1,200 " +"stations. During that period of consolidation, the total number of radio " +"owners dropped by 34 percent. Today, in most markets, the two largest " +"broadcasters control 74 percent of that market's revenues. Overall, just " +"four companies control 90 percent of the nation's radio advertising revenues." msgstr "" "historien med radio er enda mer dramatisk. før dereguleringen, landets " "største radio sendinger konglomerat eid færre enn sytti-fem stasjoner. i dag " @@ -13573,9 +13716,13 @@ msgstr "" "artikkel om rupert murdoch," #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): " +#| "89. <placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (September 2003): " -"89. <placeholder type=\"indexterm\" id=\"0\"/>" +"James Fallows, \"The Age of Murdoch,\" <citetitle>Atlantic Monthly</" +"citetitle> (September 2003): 89. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "James Fallows, \"The Age of Murdoch,\" Atlantic Monthly (september 2003): " "89. <placeholder type=\"indexterm\" id=\"0\"/>" @@ -13660,11 +13807,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"In 1969, Norman Lear created a pilot for All in the Family. He took the " -"pilot to ABC. The network didn't like it. It was too edgy, they told Lear. " -"Make it again. Lear made a second pilot, more edgy than the first. ABC was " -"exasperated. You're missing the point, they told Lear. We wanted less edgy, " -"not more." +"In 1969, Norman Lear created a pilot for <citetitle>All in the Family</" +"citetitle>. He took the pilot to ABC. The network didn't like it. It was too " +"edgy, they told Lear. Make it again. Lear made a second pilot, more edgy " +"than the first. ABC was exasperated. You're missing the point, they told " +"Lear. We wanted less edgy, not more." msgstr "" "i 1969, norman lear opprettet en pilot for alle i familien. Han tok piloten " "til abc. nettverket liker ikke det. Det var ogsÃ¥ irritabel, fortalte de " @@ -13742,9 +13889,10 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Today, another Norman Lear with another All in the Family would find that he " -"had the choice either to make the show less edgy or to be fired: The content " -"of any show developed for a network is increasingly owned by the network." +"Today, another Norman Lear with another <citetitle>All in the Family</" +"citetitle> would find that he had the choice either to make the show less " +"edgy or to be fired: The content of any show developed for a network is " +"increasingly owned by the network." msgstr "" "i dag, en annen norman lear med en annen alle i familien ville finne at han " "mÃ¥tte velge Ã¥ gjøre showet mindre irritabel eller sparken: innholdet i et " @@ -13773,11 +13921,19 @@ msgstr "" #. f32 #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See, for example, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 " +#| "April 2002, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #76</ulink>." msgid "" -"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill " -"Moyers, 25 April 2003, edited transcript available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #31</ulink>." +"\"Barry Diller Takes on Media Deregulation,\" <citetitle>Now with Bill " +"Moyers</citetitle>, Bill Moyers, 25 April 2003, edited transcript available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #31</ulink>." msgstr "" +"For eksempel, se, \"Music Media Watch,\" The J@pan Inc. Newsletter, 3 April " +"2002, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " +"#76</ulink>." #. type: Content of: <book><chapter><sect1><sect2><blockquote><para> msgid "" @@ -13819,15 +13975,16 @@ msgstr "Clark, Kim B." #. f33 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"Clayton M. Christensen, The Innovator's Dilemma: The Revolutionary National " -"Bestseller that Changed the Way We Do Business (Cambridge: Harvard Business " -"School Press, 1997). Christensen acknowledges that the idea was first " -"suggested by Dean Kim Clark. See Kim B. Clark, \"The Interaction of Design " -"Hierarchies and Market Concepts in Technological Evolution,\" Research " -"Policy 14 (1985): 235–51. For a more recent study, see Richard Foster " -"and Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last " -"Underperform the Market—and How to Successfully Transform Them (New " -"York: Currency/Doubleday, 2001)." +"Clayton M. Christensen, <citetitle>The Innovator's Dilemma: The " +"Revolutionary National Bestseller that Changed the Way We Do Business</" +"citetitle> (Cambridge: Harvard Business School Press, 1997). Christensen " +"acknowledges that the idea was first suggested by Dean Kim Clark. See Kim B. " +"Clark, \"The Interaction of Design Hierarchies and Market Concepts in " +"Technological Evolution,\" <citetitle>Research Policy</citetitle> 14 (1985): " +"235–51. For a more recent study, see Richard Foster and Sarah Kaplan, " +"<citetitle>Creative Destruction: Why Companies That Are Built to Last " +"Underperform the Market—and How to Successfully Transform Them</" +"citetitle> (New York: Currency/Doubleday, 2001)." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -13999,21 +14156,23 @@ msgid "" "collected fees. Interview with Neal Levine, 15 October 2003. These " "restrictions are, of course, not limited to drug policy. See, for example, " "Nat Ives, \"On the Issue of an Iraq War, Advocacy Ads Meet with Rejection " -"from TV Networks,\" New York Times, 13 March 2003, C4. Outside of election-" -"related air time there is very little that the FCC or the courts are willing " -"to do to even the playing field. For a general overview, see Rhonda Brown, " -"\"Ad Hoc Access: The Regulation of Editorial Advertising on Television and " -"Radio,\" Yale Law and Policy Review 6 (1988): 449–79, and for a more " -"recent summary of the stance of the FCC and the courts, see Radio-Television " -"News Directors Association v. FCC, 184 F. 3d 872 (D.C. Cir. 1999). Municipal " -"authorities exercise the same authority as the networks. In a recent example " -"from San Francisco, the San Francisco transit authority rejected an ad that " -"criticized its Muni diesel buses. Phillip Matier and Andrew Ross, " -"\"Antidiesel Group Fuming After Muni Rejects Ad,\" SFGate.com, 16 June 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #32</ulink>. " -"The ground was that the criticism was \"too controversial.\" <placeholder " -"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/> " -"<placeholder type=\"indexterm\" id=\"2\"/>" +"from TV Networks,\" <citetitle>New York Times</citetitle>, 13 March 2003, " +"C4. Outside of election-related air time there is very little that the FCC " +"or the courts are willing to do to even the playing field. For a general " +"overview, see Rhonda Brown, \"Ad Hoc Access: The Regulation of Editorial " +"Advertising on Television and Radio,\" <citetitle>Yale Law and Policy " +"Review</citetitle> 6 (1988): 449–79, and for a more recent summary of " +"the stance of the FCC and the courts, see <citetitle>Radio-Television News " +"Directors Association</citetitle> v. <citetitle>FCC</citetitle>, 184 F. 3d " +"872 (D.C. Cir. 1999). Municipal authorities exercise the same authority as " +"the networks. In a recent example from San Francisco, the San Francisco " +"transit authority rejected an ad that criticized its Muni diesel buses. " +"Phillip Matier and Andrew Ross, \"Antidiesel Group Fuming After Muni Rejects " +"Ad,\" SFGate.com, 16 June 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #32</ulink>. The ground was that the criticism was " +"\"too controversial.\" <placeholder type=\"indexterm\" id=\"0\"/> " +"<placeholder type=\"indexterm\" id=\"1\"/> <placeholder type=\"indexterm\" " +"id=\"2\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -14136,9 +14295,9 @@ msgid "" "as the technologies of distribution and creation have changed and as " "lobbyists have pushed for more control by copyright holders. Changes in the " "past in response to changes in technology suggest that we may well need " -"similar changes in the future. And these changes have to be reductions in " -"the scope of copyright, in response to the extraordinary increase in control " -"that technology and the market enable." +"similar changes in the future. And these changes have to be " +"<emphasis>reductions</emphasis> in the scope of copyright, in response to " +"the extraordinary increase in control that technology and the market enable." msgstr "" "lov om opphavsrett har ikke vært en rock of gibraltar. Det er ikke et sett " "med konstant forpliktelser gir at for noen mystisk grunn, tenÃ¥ringer og " @@ -14157,9 +14316,9 @@ msgid "" "For the single point that is lost in this war on pirates is a point that we " "see only after surveying the range of these changes. When you add together " "the effect of changing law, concentrated markets, and changing technology, " -"together they produce an astonishing conclusion: Never in our history have " -"fewer had a legal right to control more of the development of our culture " -"than now." +"together they produce an astonishing conclusion: <emphasis>Never in our " +"history have fewer had a legal right to control more of the development of " +"our culture than now</emphasis>." msgstr "" "for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi " "ser bare etter kartlegging pÃ¥ rekke disse endringene. NÃ¥r du legger sammen " @@ -14174,9 +14333,9 @@ msgid "" "copyright law in the digital age. See Vaidhyanathan, 159–60. " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" -"Siva Vaidhyanathan fanger et lignende poeng i hans \"fire kapitulasjoner\" for " -"opphavsrettsloven i den digitale tidsalder. Se Vaidhyanathan, 159–60. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"Siva Vaidhyanathan fanger et lignende poeng i hans \"fire kapitulasjoner\" " +"for opphavsrettsloven i den digitale tidsalder. Se Vaidhyanathan, " +"159–60. <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" @@ -14185,14 +14344,14 @@ msgid "" "tools to publish, for the market then was much more diverse. Not when there " "were only three television networks, for even then, newspapers, film " "studios, radio stations, and publishers were independent of the networks. " -"Never has copyright protected such a wide range of rights, against as broad " -"a range of actors, for a term that was remotely as long. This form of " -"regulation—a tiny regulation of a tiny part of the creative energy of " -"a nation at the founding—is now a massive regulation of the overall " -"creative process. Law plus technology plus the market now interact to turn " -"this historically benign regulation into the most significant regulation of " -"culture that our free society has known.<placeholder type=\"footnote\" id=" -"\"0\"/>" +"<emphasis>Never</emphasis> has copyright protected such a wide range of " +"rights, against as broad a range of actors, for a term that was remotely as " +"long. This form of regulation—a tiny regulation of a tiny part of the " +"creative energy of a nation at the founding—is now a massive " +"regulation of the overall creative process. Law plus technology plus the " +"market now interact to turn this historically benign regulation into the " +"most significant regulation of culture that our free society has known." +"<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -14362,8 +14521,8 @@ msgid "" "It was the single most important contribution of the legal realist movement " "to demonstrate that all property rights are always crafted to balance public " "and private interests. See Thomas C. Grey, \"The Disintegration of Property," -"\" in Nomos XXII: Property, J. Roland Pennock and John W. Chapman, eds. " -"(New York: New York University Press, 1980)." +"\" in <citetitle>Nomos XXII: Property</citetitle>, J. Roland Pennock and " +"John W. Chapman, eds. (New York: New York University Press, 1980)." msgstr "" "Det var enkelt viktigste bidrag av juridiske realist-bevegelse for Ã¥ " "demonstrere at alle eiendomsrettigheter alltid er laget for Ã¥ balansere " @@ -14381,9 +14540,10 @@ msgid "" "need to give authors and artists incentives with the equally important need " "to assure access to creative work. This balance has always been struck in " "light of new technologies. And for almost half of our tradition, the " -"\"copyright\" did not control at all the freedom of others to build upon or " -"transform a creative work. American culture was born free, and for almost " -"180 years our country consistently protected a vibrant and rich free culture." +"\"copyright\" did not control <emphasis>at all</emphasis> the freedom of " +"others to build upon or transform a creative work. American culture was born " +"free, and for almost 180 years our country consistently protected a vibrant " +"and rich free culture." msgstr "" #. PAGE BREAK 184 @@ -14468,9 +14628,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, The " -"Country of the Blind and Other Stories, Michael Sherborne, ed. (New York: " -"Oxford University Press, 1996)." +"H. G. Wells, \"The Country of the Blind\" (1904, 1911). See H. G. Wells, " +"<citetitle>The Country of the Blind and Other Stories</citetitle>, Michael " +"Sherborne, ed. (New York: Oxford University Press, 1996)." msgstr "" "h. g. wells, \"land for blind\" (1904, 1911). se h. g. wells, landet av " "blind og andre historier, michael sherborne, ed. (new york: oxford " @@ -14494,12 +14654,12 @@ msgstr "" msgid "" "Things don't go quite as he planned. He tries to explain the idea of sight " "to the villagers. They don't understand. He tells them they are \"blind.\" " -"They don't have the word blind. They think he's just thick. Indeed, as they " -"increasingly notice the things he can't do (hear the sound of grass being " -"stepped on, for example), they increasingly try to control him. He, in turn, " -"becomes increasingly frustrated. \"`You don't understand,' he cried, in a " -"voice that was meant to be great and resolute, and which broke. `You are " -"blind and I can see. Leave me alone!'\"" +"They don't have the word <citetitle>blind</citetitle>. They think he's just " +"thick. Indeed, as they increasingly notice the things he can't do (hear the " +"sound of grass being stepped on, for example), they increasingly try to " +"control him. He, in turn, becomes increasingly frustrated. \"`You don't " +"understand,' he cried, in a voice that was meant to be great and resolute, " +"and which broke. `You are blind and I can see. Leave me alone!'\"" msgstr "" "ting gÃ¥r ikke helt som han har planlagt. han prøver Ã¥ forklare idéen om " "synet til landsbyboere. de forstÃ¥r ikke. Han forteller dem at de er \"blind." @@ -14729,15 +14889,16 @@ msgid "" "Conyers Jr. (D-Mich.) and Howard L. Berman (D-Calif.) have introduced a bill " "that would treat unauthorized on-line copying as a felony offense with " "punishments ranging as high as five years imprisonment; see Jon Healey, " -"\"House Bill Aims to Up Stakes on Piracy,\" Los Angeles Times, 17 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #34</ulink>. " -"Civil penalties are currently set at $150,000 per copied song. For a recent " -"(and unsuccessful) legal challenge to the RIAA's demand that an ISP reveal " -"the identity of a user accused of sharing more than 600 songs through a " -"family computer, see RIAA v. Verizon Internet Services (In re. Verizon " -"Internet Services), 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could " -"face liability ranging as high as $90 million. Such astronomical figures " -"furnish the RIAA with a powerful arsenal in its prosecution of file sharers. " +"\"House Bill Aims to Up Stakes on Piracy,\" <citetitle>Los Angeles Times</" +"citetitle>, 17 July 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #34</ulink>. Civil penalties are currently set at $150,000 per " +"copied song. For a recent (and unsuccessful) legal challenge to the RIAA's " +"demand that an ISP reveal the identity of a user accused of sharing more " +"than 600 songs through a family computer, see <citetitle>RIAA</citetitle> v. " +"<citetitle>Verizon Internet Services (In re. Verizon Internet Services)</" +"citetitle>, 240 F. Supp. 2d 24 (D.D.C. 2003). Such a user could face " +"liability ranging as high as $90 million. Such astronomical figures furnish " +"the RIAA with a powerful arsenal in its prosecution of file sharers. " "Settlements ranging from $12,000 to $17,500 for four students accused of " "heavy file sharing on university networks must have seemed a mere pittance " "next to the $98 billion the RIAA could seek should the matter proceed to " @@ -14746,9 +14907,9 @@ msgid "" "\">link #35</ulink>. For an example of the RIAA's targeting of student file " "sharing, and of the subpoenas issued to universities to reveal student file-" "sharer identities, see James Collins, \"RIAA Steps Up Bid to Force BC, MIT " -"to Name Students,\" Boston Globe, 8 August 2003, D3, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #36</ulink>. <placeholder type=" -"\"indexterm\" id=\"0\"/>" +"to Name Students,\" <citetitle>Boston Globe</citetitle>, 8 August 2003, D3, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #36</ulink>. " +"<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -14786,8 +14947,9 @@ msgid "" "recognizes the truth in both. And while I end this book with a sketch of a " "system that does just that, my aim in the next chapter is to show just how " "awful it would be for us to adopt the zero-tolerance extreme. I believe " -"either extreme would be worse than a reasonable alternative. But I believe " -"the zero-tolerance solution would be the worse of the two extremes." +"<emphasis>either</emphasis> extreme would be worse than a reasonable " +"alternative. But I believe the zero-tolerance solution would be the worse " +"of the two extremes." msgstr "" "enten svar er mulig. Jeg tror enten ville være feil. i stedet for Ã¥ omfavne " "en av disse to ytterpunktene, bør vi omfavne noe som gjenkjenner sannheten i " @@ -14891,11 +15053,16 @@ msgid "" "everyone's interests.<placeholder type=\"footnote\" id=\"0\"/>" msgstr "" +#. type: Content of: <book><chapter><sect1><sect2><indexterm><primary> +msgid "Vivendi Universal" +msgstr "" + #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" "In April 2001, eMusic.com was purchased by Vivendi Universal, one of \"the " -"major labels.\" Its position on these matters has now changed." +"major labels.\" Its position on these matters has now changed. <placeholder " +"type=\"indexterm\" id=\"0\"/>" msgstr "" "i april 2001, ble emusic.com kjøpt av vivendi universal, en av \"den store " "etiketter.\" posisjonen pÃ¥ disse sakene er nÃ¥ endret." @@ -15083,11 +15250,12 @@ msgstr "Worldcom" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, " -"N.J.: John Wiley & Sons, 2003), 176, 204; for details of the settlement, " -"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC " -"Settlement\" (7 July 2003), available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #37</ulink>. <placeholder type=\"indexterm\" id=\"0\"/>" +"See Lynne W. Jeter, <citetitle>Disconnected: Deceit and Betrayal at " +"WorldCom</citetitle> (Hoboken, N.J.: John Wiley & Sons, 2003), 176, 204; " +"for details of the settlement, see MCI press release, \"MCI Wins U.S. " +"District Court Approval for SEC Settlement\" (7 July 2003), available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #37</ulink>. <placeholder " +"type=\"indexterm\" id=\"0\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary> @@ -15129,12 +15297,22 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> -msgid "" -"See Danit Lidor, \"Artists Just Wanna Be Free,\" Wired, 7 July 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #40</ulink>. " -"For an overview of the exhibition, see <ulink url=\"http://free-culture.cc/" -"notes/\">link #41</ulink>." +#, fuzzy +#| msgid "" +#| "See Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4 " +#| "November 2000, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #8</ulink>; \"Timeline,\" 22 November 2000, available at <ulink " +#| "url=\"http://free-culture.cc/notes/\">link #9</ulink>." +msgid "" +"See Danit Lidor, \"Artists Just Wanna Be Free,\" <citetitle>Wired</" +"citetitle>, 7 July 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #40</ulink>. For an overview of the exhibition, see <ulink url=" +"\"http://free-culture.cc/notes/\">link #41</ulink>." msgstr "" +"Se Scott Steinberg, \"Crichton Gets Medieval on PCs,\" E!online, 4. november " +"2000, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #8</" +"ulink>; \"Timeline,\" 22. november 2000, tilgjengelig fra <ulink url=" +"\"http://free-culture.cc/notes/\">link #9</ulink>." #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" @@ -15398,8 +15576,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "Consider one example to make the point, a story whose beginning I told in " -"The Future of Ideas and which has progressed in a way that even I (pessimist " -"extraordinaire) would never have predicted." +"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way " +"that even I (pessimist extraordinaire) would never have predicted." msgstr "" "vurdere ett eksempel for Ã¥ gjøre punktet, en historie som begynnelsen jeg " "fortalt i fremtiden for idéer og som har kommet i en mÃ¥te at selv jeg " @@ -15557,12 +15735,13 @@ msgstr "Hummer, John" #. f4. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" Los Angeles Times, " -"23 April 2003. For a parallel argument about the effects on innovation in " -"the distribution of music, see Janelle Brown, \"The Music Revolution Will " -"Not Be Digitized,\" Salon.com, 1 June 2001, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #42</ulink>. See also Jon Healey, \"Online " -"Music Services Besieged,\" Los Angeles Times, 28 May 2001." +"See Joseph Menn, \"Universal, EMI Sue Napster Investor,\" <citetitle>Los " +"Angeles Times</citetitle>, 23 April 2003. For a parallel argument about the " +"effects on innovation in the distribution of music, see Janelle Brown, \"The " +"Music Revolution Will Not Be Digitized,\" Salon.com, 1 June 2001, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #42</ulink>. See also " +"Jon Healey, \"Online Music Services Besieged,\" <citetitle>Los Angeles " +"Times</citetitle>, 28 May 2001." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -15580,8 +15759,8 @@ msgid "" "in the marketplace, but in the courtroom as well. Your investment buys you " "not only a company, it also buys you a lawsuit. So extreme has the " "environment become that even car manufacturers are afraid of technologies " -"that touch content. In an article in Business 2.0, Rafe Needleman describes " -"a discussion with BMW:" +"that touch content. In an article in <citetitle>Business 2.0</citetitle>, " +"Rafe Needleman describes a discussion with BMW:" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><blockquote><indexterm><primary> @@ -15593,11 +15772,17 @@ msgid "Needleman, Rafe" msgstr "Needleman, Rafe" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para><footnote><para> -msgid "" -"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June 2003, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #43</ulink>. " -"I am grateful to Dr. Mohammad Al-Ubaydli for this example. <placeholder " -"type=\"indexterm\" id=\"0\"/>" +#, fuzzy +#| msgid "" +#| "Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #43</" +#| "ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this example. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" +msgid "" +"Rafe Needleman, \"Driving in Cars with MP3s,\" <citetitle>Business 2.0</" +"citetitle>, 16 June 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #43</ulink>. I am grateful to Dr. Mohammad Al-Ubaydli for this " +"example. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16. juni 2003, " "tilgjengelig via <ulink url=\"http://free-culture.cc/notes/\">link #43</" @@ -15833,7 +16018,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Jessica Litman, Digital Copyright (Amherst, N.Y.: Prometheus Books, 2001)." +"Jessica Litman, <citetitle>Digital Copyright</citetitle> (Amherst, N.Y.: " +"Prometheus Books, 2001)." msgstr "" "Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)." @@ -15841,12 +16027,12 @@ msgstr "" msgid "" "As I described in chapter 10, despite this feature of copyright as " "regulation, and subject to important qualifications outlined by Jessica " -"Litman in her book Digital Copyright,<placeholder type=\"footnote\" id=\"0\"/" -"> overall this history of copyright is not bad. As chapter 10 details, when " -"new technologies have come along, Congress has struck a balance to assure " -"that the new is protected from the old. Compulsory, or statutory, licenses " -"have been one part of that strategy. Free use (as in the case of the VCR) " -"has been another." +"Litman in her book <citetitle>Digital Copyright</citetitle>,<placeholder " +"type=\"footnote\" id=\"0\"/> overall this history of copyright is not bad. " +"As chapter 10 details, when new technologies have come along, Congress has " +"struck a balance to assure that the new is protected from the old. " +"Compulsory, or statutory, licenses have been one part of that strategy. Free " +"use (as in the case of the VCR) has been another." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -15868,17 +16054,18 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"The only circuit court exception is found in Recording Industry Association " -"of America (RIAA) v. Diamond Multimedia Systems, 180 F. 3d 1072 (9th Cir. " -"1999). There the court of appeals for the Ninth Circuit reasoned that makers " -"of a portable MP3 player were not liable for contributory copyright " -"infringement for a device that is unable to record or redistribute music (a " -"device whose only copying function is to render portable a music file " -"already stored on a user's hard drive). At the district court level, the " -"only exception is found in Metro-Goldwyn-Mayer Studios, Inc. v. Grokster, " -"Ltd., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found the " -"link between the distributor and any given user's conduct too attenuated to " -"make the distributor liable for contributory or vicarious infringement " +"The only circuit court exception is found in <citetitle>Recording Industry " +"Association of America (RIAA)</citetitle> v. <citetitle>Diamond Multimedia " +"Systems</citetitle>, 180 F. 3d 1072 (9th Cir. 1999). There the court of " +"appeals for the Ninth Circuit reasoned that makers of a portable MP3 player " +"were not liable for contributory copyright infringement for a device that is " +"unable to record or redistribute music (a device whose only copying function " +"is to render portable a music file already stored on a user's hard drive). " +"At the district court level, the only exception is found in <citetitle>Metro-" +"Goldwyn-Mayer Studios, Inc</citetitle>. v. <citetitle>Grokster, Ltd</" +"citetitle>., 259 F. Supp. 2d 1029 (C.D. Cal., 2003), where the court found " +"the link between the distributor and any given user's conduct too attenuated " +"to make the distributor liable for contributory or vicarious infringement " "liability." msgstr "" "Det eneste unntaket fra circuit court er funnet i innspillingen industry " @@ -16085,9 +16272,9 @@ msgid "" "for Internet radio than the rule that applies to terrestrial radio. While " "terrestrial radio does not have to pay our hypothetical Marilyn Monroe when " "it plays her hypothetical recording of \"Happy Birthday\" on the air, " -"Internet radio does. Not only is the law not neutral toward Internet " -"radio—the law actually burdens Internet radio more than it burdens " -"terrestrial radio." +"<emphasis>Internet radio does</emphasis>. Not only is the law not neutral " +"toward Internet radio—the law actually burdens Internet radio more " +"than it burdens terrestrial radio." msgstr "" "men her kraften i lobbyister tilbakeføres. Internett-radio er en ny " "industri. artister, derimot, har en svært kraftig lobby, riaa. dermed hadde " @@ -16114,13 +16301,14 @@ msgid "" "Recordings, Docket No. 2000-9, CARP DTRA 1 and 2, available at <ulink url=" "\"http://free-culture.cc/notes/\">link #45</ulink>. For an excellent " "analysis making a similar point, see Randal C. Picker, \"Copyright as Entry " -"Policy: The Case of Digital Distribution,\" Antitrust Bulletin (Summer/Fall " -"2002): 461: \"This was not confusion, these are just old-fashioned entry " -"barriers. Analog radio stations are protected from digital entrants, " -"reducing entry in radio and diversity. Yes, this is done in the name of " -"getting royalties to copyright holders, but, absent the play of powerful " -"interests, that could have been done in a media-neutral way.\" <placeholder " -"type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +"Policy: The Case of Digital Distribution,\" <citetitle>Antitrust Bulletin</" +"citetitle> (Summer/Fall 2002): 461: \"This was not confusion, these are just " +"old-fashioned entry barriers. Analog radio stations are protected from " +"digital entrants, reducing entry in radio and diversity. Yes, this is done " +"in the name of getting royalties to copyright holders, but, absent the play " +"of powerful interests, that could have been done in a media-neutral way.\" " +"<placeholder type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" " +"id=\"1\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -16137,8 +16325,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "The burden is not financial only. Under the original rules that were " -"proposed, an Internet radio station (but not a terrestrial radio station) " -"would have to collect the following data from every listening transaction:" +"proposed, an Internet radio station (but not a terrestrial radio station) " +"would have to collect the following data from <emphasis>every listening " +"transaction</emphasis>:" msgstr "" "byrden er ikke økonomiske bare. under de opprinnelige reglene som ble " "foreslÃ¥tt, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) " @@ -16280,7 +16469,8 @@ msgid "" "pending further study. And he also changed the original rates set by the " "arbitration panel charged with setting rates. But the basic difference " "between Internet radio and terrestrial radio remains: Internet radio has to " -"pay a type of copyright fee that terrestrial radio does not." +"pay a <emphasis>type of copyright fee</emphasis> that terrestrial radio does " +"not." msgstr "" "bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, " "ventende videre studium. og han endret ogsÃ¥ de opprinnelige prisene ved " @@ -16338,9 +16528,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "And the RIAA experts said, \"Well, we don't really model this as an industry " -"with thousands of webcasters, we think it should be an industry with, you " -"know, five or seven big players who can pay a high rate and it's a stable, " -"predictable market.\" (Emphasis added.)" +"with thousands of webcasters, <emphasis>we think it should be an industry " +"with, you know, five or seven big players who can pay a high rate and it's a " +"stable, predictable market</emphasis>.\" (Emphasis added.)" msgstr "" "og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med " "tusenvis av webcasters, vi tror det bør være en bransje med, du vet, fem " @@ -16407,24 +16597,24 @@ msgstr "" msgid "" "The war that is being waged today is a war of prohibition. As with every war " "of prohibition, it is targeted against the behavior of a very large number " -"of citizens. According to The New York Times, 43 million Americans " -"downloaded music in May 2002.<placeholder type=\"footnote\" id=\"0\"/> " -"According to the RIAA, the behavior of those 43 million Americans is a " -"felony. We thus have a set of rules that transform 20 percent of America " -"into criminals. As the RIAA launches lawsuits against not only the Napsters " -"and Kazaas of the world, but against students building search engines, and " -"increasingly against ordinary users downloading content, the technologies " -"for sharing will advance to further protect and hide illegal use. It is an " -"arms race or a civil war, with the extremes of one side inviting a more " -"extreme response by the other." +"of citizens. According to <citetitle>The New York Times</citetitle>, 43 " +"million Americans downloaded music in May 2002.<placeholder type=\"footnote" +"\" id=\"0\"/> According to the RIAA, the behavior of those 43 million " +"Americans is a felony. We thus have a set of rules that transform 20 percent " +"of America into criminals. As the RIAA launches lawsuits against not only " +"the Napsters and Kazaas of the world, but against students building search " +"engines, and increasingly against ordinary users downloading content, the " +"technologies for sharing will advance to further protect and hide illegal " +"use. It is an arms race or a civil war, with the extremes of one side " +"inviting a more extreme response by the other." msgstr "" #. f16. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> #, mtrans, fuzzy msgid "" -"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" Los " -"Angeles Times, 10 September 2003, Business." +"Alex Pham, \"The Labels Strike Back: N.Y. Girl Settles RIAA Case,\" " +"<citetitle>Los Angeles Times</citetitle>, 10 September 2003, Business." msgstr "" "Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" " "los angeles times, 10 september 2003, business." @@ -16455,7 +16645,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During " -"Prohibition,\" American Economic Review 81, no. 2 (1991): 242." +"Prohibition,\" <citetitle>American Economic Review</citetitle> 81, no. 2 " +"(1991): 242." msgstr "" "Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" " "amerikanske økonomiske anmeldelse 81, no. 2 (1991): 242." @@ -16477,8 +16668,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" " -"Journal of Economic Literature 36 (1998): 818 (survey of compliance " -"literature)." +"<citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey " +"of compliance literature)." msgstr "" "se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" " "journal av økonomiske litteratur 36 (1998): 818 (undersøkelse av samsvar " @@ -16838,8 +17029,8 @@ msgid "" "\"If you can treat someone as a putative lawbreaker,\" von Lohmann explains, " "<placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" -"\"Hvis du kan behandle noen som en antatt lovbryter,\" forklarer von Lohmann, " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"\"Hvis du kan behandle noen som en antatt lovbryter,\" forklarer von " +"Lohmann, <placeholder type=\"indexterm\" id=\"0\"/>" #. type: Content of: <book><chapter><sect1><sect2><blockquote><para> #, mtrans, fuzzy @@ -16895,15 +17086,16 @@ msgstr "" #, mtrans, fuzzy msgid "" "See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in " -"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" Washington Post, 10 " -"September 2003, E1; Chris Cobbs, \"Worried Parents Pull Plug on File " -"`Stealing'; With the Music Industry Cracking Down on File Swapping, Parents " -"are Yanking Software from Home PCs to Avoid Being Sued,\" Orlando Sentinel " -"Tribune, 30 August 2003, C1; Jefferson Graham, \"Recording Industry Sues " -"Parents,\" USA Today, 15 September 2003, 4D; John Schwartz, \"She Says She's " -"No Music Pirate. No Snoop Fan, Either,\" New York Times, 25 September 2003, " -"C1; Margo Varadi, \"Is Brianna a Criminal?\" Toronto Star, 18 September " -"2003, P7." +"Calif., 12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington " +"Post</citetitle>, 10 September 2003, E1; Chris Cobbs, \"Worried Parents Pull " +"Plug on File `Stealing'; With the Music Industry Cracking Down on File " +"Swapping, Parents are Yanking Software from Home PCs to Avoid Being Sued,\" " +"<citetitle>Orlando Sentinel Tribune</citetitle>, 30 August 2003, C1; " +"Jefferson Graham, \"Recording Industry Sues Parents,\" <citetitle>USA Today</" +"citetitle>, 15 September 2003, 4D; John Schwartz, \"She Says She's No Music " +"Pirate. No Snoop Fan, Either,\" <citetitle>New York Times</citetitle>, 25 " +"September 2003, C1; Margo Varadi, \"Is Brianna a Criminal?\" " +"<citetitle>Toronto Star</citetitle>, 18 September 2003, P7." msgstr "" "se frank ahrens, \"riaa's søksmÃ¥l møte overrasket over mÃ¥l; enkelt mor i " "California, 12-Ã¥r gammel jente i ny blant saksøkte,\"washington post, 10 " @@ -16949,19 +17141,22 @@ msgstr "" #. f22. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" Boston " -"Globe, 18 May 2003, City Weekly, 1; Frank Ahrens, \"Four Students Sued over " -"Music Sites; Industry Group Targets File Sharing at Colleges,\" Washington " -"Post, 4 April 2003, E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at " -"Their Own Risk,\" Christian Science Monitor, 2 September 2003, 20; Robert " -"Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two Students " -"Names Are Handed Over; Lawsuit Possible,\" Chicago Tribune, 16 July 2003, " -"1C; Beth Cox, \"RIAA Trains Antipiracy Guns on Universities,\" Internet " -"News, 30 January 2003, available at <ulink url=\"http://free-culture.cc/" -"notes/\">link #48</ulink>; Benny Evangelista, \"Download Warning 101: " -"Freshman Orientation This Fall to Include Record Industry Warnings Against " -"File Sharing,\" San Francisco Chronicle, 11 August 2003, E11; \"Raid, " -"Letters Are Weapons at Universities,\" USA Today, 26 September 2000, 3D." +"See Jeff Adler, \"Cambridge: On Campus, Pirates Are Not Penitent,\" " +"<citetitle>Boston Globe</citetitle>, 18 May 2003, City Weekly, 1; Frank " +"Ahrens, \"Four Students Sued over Music Sites; Industry Group Targets File " +"Sharing at Colleges,\" <citetitle>Washington Post</citetitle>, 4 April 2003, " +"E1; Elizabeth Armstrong, \"Students `Rip, Mix, Burn' at Their Own Risk,\" " +"<citetitle>Christian Science Monitor</citetitle>, 2 September 2003, 20; " +"Robert Becker and Angela Rozas, \"Music Pirate Hunt Turns to Loyola; Two " +"Students Names Are Handed Over; Lawsuit Possible,\" <citetitle>Chicago " +"Tribune</citetitle>, 16 July 2003, 1C; Beth Cox, \"RIAA Trains Antipiracy " +"Guns on Universities,\" <citetitle>Internet News</citetitle>, 30 January " +"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #48</" +"ulink>; Benny Evangelista, \"Download Warning 101: Freshman Orientation This " +"Fall to Include Record Industry Warnings Against File Sharing,\" " +"<citetitle>San Francisco Chronicle</citetitle>, 11 August 2003, E11; \"Raid, " +"Letters Are Weapons at Universities,\" <citetitle>USA Today</citetitle>, 26 " +"September 2000, 3D." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -17066,10 +17261,10 @@ msgid "" "Now you don't know how to put it out. Next to you is a bucket, filled with " "gasoline. Obviously, gasoline won't put the fire out." msgstr "" -"SÃ¥ her er bildet: Du stÃ¥r pÃ¥ siden av veien. Bilen din er pÃ¥ brann. Du er sint " -"og opprørt fordi du delvis bidro til Ã¥ starte brannen. NÃ¥ vet du ikke hvordan " -"du slokker den. Ved siden av deg er en bøtte, fylt med bensin. bensin vil " -"selvfølgelig ikke slukke brannen." +"SÃ¥ her er bildet: Du stÃ¥r pÃ¥ siden av veien. Bilen din er pÃ¥ brann. Du er " +"sint og opprørt fordi du delvis bidro til Ã¥ starte brannen. NÃ¥ vet du ikke " +"hvordan du slokker den. Ved siden av deg er en bøtte, fylt med bensin. " +"Bensin vil Ã¥penbart ikke slukke brannen." #. type: Content of: <book><chapter><para> msgid "" @@ -17079,15 +17274,13 @@ msgid "" "gasoline is about to hit the blazing car. And the fire that gasoline will " "ignite is about to ignite everything around." msgstr "" -"Mens du tenker over situasjonen, kommer noen andre forbi. I " -"panikk griper hun bøtta, og før du har hatt sjansen til Ã¥ be henne " -"stoppe—eller før hun forstÃ¥r hvorfor hun bør stoppe—er " -"bøtten i svevet. Bensinen er pÃ¥ tur mot den brennende bilen. Og " -"brannen som bensinen vil tenne vil straks sette fyr pÃ¥ alt i " -"omgivelsene." +"Mens du tenker over situasjonen, kommer noen andre forbi. I panikk griper " +"hun bøtta, og før du har hatt sjansen til Ã¥ be henne stoppe—eller før " +"hun forstÃ¥r hvorfor hun bør stoppe—er bøtten i svevet. Bensinen er pÃ¥ " +"tur mot den brennende bilen. Og brannen som bensinen kommer til Ã¥ fyre opp " +"vil straks sette fyr pÃ¥ alt i omgivelsene." #. type: Content of: <book><chapter><para> -#, mtrans, fuzzy msgid "" "A war about copyright rages all around—and we're all focusing on the " "wrong thing. No doubt, current technologies threaten existing businesses. " @@ -17096,15 +17289,15 @@ msgid "" "themselves against the current threats of the Internet. This is a fire that " "if let alone would burn itself out." msgstr "" -"en krig om opphavsrett rages rundt— og vi alle fokuserer pÃ¥ feil. " -"ingen tvil, truer aktuell teknologi eksisterende virksomheter. de kan uten " -"tvil True kunstnere. men teknologier endre. næringen og Teknologorganisasjon " -"har masse av veier Ã¥ bruke teknologi for Ã¥ beskytte seg mot gjeldende " -"trusler pÃ¥ Internett. Dette er en brann at hvis enn si ville brenne seg." +"En krig om opphavsrett pÃ¥gÃ¥r over alt— og vi fokuserer alle pÃ¥ feil " +"ting. Det er ingen tvil om at dagens teknologier truer eksisterende " +"virksomheter. Uten tvil kan de true artister. Men teknologier endrer seg. " +"Industrien og teknologer har en rekke mÃ¥ter Ã¥ bruke teknologi til Ã¥ beskytte " +"dem selv mot dagens trusler pÃ¥ Internet. Dette er en brann som overlatt til " +"seg selv vil brenne ut." #. PAGE BREAK 219 #. type: Content of: <book><chapter><para> -#, mtrans, fuzzy msgid "" "Yet policy makers are not willing to leave this fire to itself. Primed with " "plenty of lobbyists' money, they are keen to intervene to eliminate the " @@ -17112,49 +17305,48 @@ msgid "" "this culture faces. For while we watch this small fire in the corner, there " "is a massive change in the way culture is made that is happening all around." msgstr "" -"beslutningstakere er ennÃ¥ ikke villige til Ã¥ forlate denne brann til seg " -"selv. primed med masse lobbyister penger, er de opptatt av Ã¥ intervenere for " -"Ã¥ eliminere problemet de oppfatter. men problemet de oppfatter er ikke den " -"virkelige trusselen denne kulturen stÃ¥r overfor. for mens vi se denne liten " -"brann i hjørnet, det er massiv gjøres en endring i mÃ¥ten kultur som skjer " -"rundt." +"Likevel er ikke besluttningstagere villig til Ã¥ la denne brannen i fred. " +"Ladet med masse penger fra lobbyister er de lystne pÃ¥ Ã¥ gÃ¥ i mellom for Ã¥ " +"fjerne problemet slik de oppfatter det. Men problemet slik de oppfatter det " +"er ikke den reelle trusselen som denne kulturen stÃ¥r med ansiktet mot. For " +"mens vi ser pÃ¥ denne lille brannen i hjørnet er det en massiv endring i " +"hvordan kultur blir skapt som pÃ¥gÃ¥r over alt. " #. type: Content of: <book><chapter><para> -#, mtrans, fuzzy msgid "" "Somehow we have to find a way to turn attention to this more important and " "fundamental issue. Somehow we have to find a way to avoid pouring gasoline " "onto this fire." msgstr "" -"noe har vi Ã¥ finne en mÃ¥te Ã¥ slÃ¥ oppmerksomhet til dette mer viktig og " -"grunnleggende problemet. noe har vi Ã¥ finne en mÃ¥te Ã¥ unngÃ¥ pouring bensin " -"bort pÃ¥ denne brann." +"PÃ¥ en eller annen mÃ¥te mÃ¥ vi klare Ã¥ snu oppmerksomheten mot dette mer " +"viktige og fundametale problemet. Vi mÃ¥ finne en mÃ¥te Ã¥ unngÃ¥ Ã¥ helle " +"bensin pÃ¥ denne brannen." #. type: Content of: <book><chapter><para> -#, mtrans, fuzzy msgid "" "We have not found that way yet. Instead, we seem trapped in a simpler, " "binary view. However much many people push to frame this debate more " "broadly, it is the simple, binary view that remains. We rubberneck to look " "at the fire when we should be keeping our eyes on the road." msgstr "" -"Vi har ikke funnet den mÃ¥ten ennÃ¥. i stedet synes vi fanget i en enklere, " -"binære visning. men mye mange folk skyve for Ã¥ ramme denne debatten mer " -"forstand, det er den enkle, binære visningen som gjenstÃ¥r. Vi rubberneck for " -"Ã¥ se pÃ¥ ilden nÃ¥r vi skal holde vÃ¥re øyne pÃ¥ veien." +"Vi har ikke funne denne mÃ¥ten ennÃ¥. Istedet synes vi Ã¥ være fanget i en " +"enklere og sort-hvit tenkning. Uansett hvor mange folk som presser pÃ¥ for Ã¥ " +"gjøre rammen for debatten litt bredere, er det dette enkle sort-hvit-synet " +"som bestÃ¥r. Vi kjører sakte forbi og stirrer pÃ¥ brannen nÃ¥r vi i stedet " +"burde holde øynene pÃ¥ veien." #. type: Content of: <book><chapter><para> -#, mtrans, fuzzy msgid "" "This challenge has been my life these last few years. It has also been my " "failure. In the two chapters that follow, I describe one small brace of " "efforts, so far failed, to find a way to refocus this debate. We must " "understand these failures if we're to understand what success will require." msgstr "" -"denne utfordringen har vært livet disse siste Ã¥rene. Det har ogsÃ¥ vært min " -"feil. i to kapitlene som følger, beskriver jeg en liten klammeparentes av " -"innsats, sÃ¥ langt ikke klart, Ã¥ finne en mÃ¥te Ã¥ refokusere denne debatten. " -"Hvis vi Ã¥ forstÃ¥ hva suksess vil kreve, mÃ¥ vi forstÃ¥ disse feil." +"Denne utfordringen har vært livet mitt de siste Ã¥rene. Det har ogsÃ¥ vært " +"min falitt. I de to neste kapittlene, beskriver jeg en liten innsats, sÃ¥ " +"langt uten suksess, pÃ¥ Ã¥ finne en mÃ¥te Ã¥ endre fokus pÃ¥ denne debatten. Vi " +"mÃ¥ forstÃ¥ disse mislyktede forsøkene hvis vi skal forstÃ¥ hva som kreves for " +"Ã¥ lykkes." #. type: Content of: <book><chapter><sect1><title> msgid "CHAPTER THIRTEEN: Eldred" @@ -17214,14 +17406,16 @@ msgstr "" #, mtrans, fuzzy msgid "" "Eldred's freedom to do this with Hawthorne's work grew from the same source " -"as Disney's. Hawthorne's Scarlet Letter had passed into the public domain in " -"1907. It was free for anyone to take without the permission of the Hawthorne " -"estate or anyone else. Some, such as Dover Press and Penguin Classics, take " -"works from the public domain and produce printed editions, which they sell " -"in bookstores across the country. Others, such as Disney, take these stories " -"and turn them into animated cartoons, sometimes successfully (Cinderella), " -"sometimes not (The Hunchback of Notre Dame, Treasure Planet). These are all " -"commercial publications of public domain works." +"as Disney's. Hawthorne's <citetitle>Scarlet Letter</citetitle> had passed " +"into the public domain in 1907. It was free for anyone to take without the " +"permission of the Hawthorne estate or anyone else. Some, such as Dover Press " +"and Penguin Classics, take works from the public domain and produce printed " +"editions, which they sell in bookstores across the country. Others, such as " +"Disney, take these stories and turn them into animated cartoons, sometimes " +"successfully (<citetitle>Cinderella</citetitle>), sometimes not " +"(<citetitle>The Hunchback of Notre Dame</citetitle>, <citetitle>Treasure " +"Planet</citetitle>). These are all commercial publications of public domain " +"works." msgstr "" "eldred's frihet til Ã¥ gjøre dette med hawthorne's arbeid vokste fra den " "samme kilden som disney's. hawthorne's sange hadde gÃ¥tt inn i den offentlige " @@ -17282,15 +17476,16 @@ msgstr "" #, mtrans, fuzzy msgid "" "As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection " -"of poems New Hampshire was slated to pass into the public domain. Eldred " -"wanted to post that collection in his free public library. But Congress got " -"in the way. As I described in chapter 10, in 1998, for the eleventh time in " -"forty years, Congress extended the terms of existing copyrights—this " -"time by twenty years. Eldred would not be free to add any works more recent " -"than 1923 to his collection until 2019. Indeed, no copyrighted work would " -"pass into the public domain until that year (and not even then, if Congress " -"extends the term again). By contrast, in the same period, more than 1 " -"million patents will pass into the public domain." +"of poems <citetitle>New Hampshire</citetitle> was slated to pass into the " +"public domain. Eldred wanted to post that collection in his free public " +"library. But Congress got in the way. As I described in chapter 10, in " +"1998, for the eleventh time in forty years, Congress extended the terms of " +"existing copyrights—this time by twenty years. Eldred would not be " +"free to add any works more recent than 1923 to his collection until 2019. " +"Indeed, no copyrighted work would pass into the public domain until that " +"year (and not even then, if Congress extends the term again). By contrast, " +"in the same period, more than 1 million patents will pass into the public " +"domain." msgstr "" "som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av " "dikt i new hampshire slated skjedde i public domain. Eldred ønsket Ã¥ legge " @@ -17618,10 +17813,15 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey " +#| "Mouse Effort; Congress OKs Bill Granting Creators 20 More Years,\" " +#| "Chicago Tribune, 17 October 1998, 22." msgid "" "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse " -"Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago " -"Tribune, 17 October 1998, 22." +"Effort; Congress OKs Bill Granting Creators 20 More Years,\" " +"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22." msgstr "" "Associated Press, \"Disney Lobbying for Copyright Extension No Mickey Mouse " "Effort; Congress OKs Bill Granting Creators 20 More Years,\" Chicago " @@ -17639,10 +17839,15 @@ msgstr "" #. f5. #. type: Content of: <book><chapter><sect1><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" " +#| "Congressional Quarterly This Week, 8 August 1990, available at <ulink url=" +#| "\"http://free-culture.cc/notes/\">link #50</ulink>." msgid "" -"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional " -"Quarterly This Week, 8 August 1990, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #50</ulink>." +"Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" " +"<citetitle>Congressional Quarterly This Week</citetitle>, 8 August 1990, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #50</ulink>." msgstr "" "Alan K. Ota, \"Disney in Washington: The Mouse That Roars,\" Congressional " "Quarterly This Week, 8. august 1990, tilgjengelig fra <ulink url=\"http://" @@ -17687,13 +17892,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"It was also my judgment that this Supreme Court would not allow Congress to " -"extend existing terms. As anyone close to the Supreme Court's work knows, " -"this Court has increasingly restricted the power of Congress when it has " -"viewed Congress's actions as exceeding the power granted to it by the " -"Constitution. Among constitutional scholars, the most famous example of this " -"trend was the Supreme Court's decision in 1995 to strike down a law that " -"banned the possession of guns near schools." +"It was also my judgment that <emphasis>this</emphasis> Supreme Court would " +"not allow Congress to extend existing terms. As anyone close to the Supreme " +"Court's work knows, this Court has increasingly restricted the power of " +"Congress when it has viewed Congress's actions as exceeding the power " +"granted to it by the Constitution. Among constitutional scholars, the most " +"famous example of this trend was the Supreme Court's decision in 1995 to " +"strike down a law that banned the possession of guns near schools." msgstr "" "Det var ogsÃ¥ mitt skjønn at denne Høyesterett ikke ville tillate at " "Kongressen til Ã¥ utvide eksisterende vilkÃ¥r. alle nær Høyesterett arbeid " @@ -17737,15 +17942,15 @@ msgstr "" #, mtrans, fuzzy msgid "" "The Supreme Court, under Chief Justice Rehnquist's command, changed that in " -"United States v. Lopez. The government had argued that possessing guns near " -"schools affected interstate commerce. Guns near schools increase crime, " -"crime lowers property values, and so on. In the oral argument, the Chief " -"Justice asked the government whether there was any activity that would not " -"affect interstate commerce under the reasoning the government advanced. The " -"government said there was not; if Congress says an activity affects " -"interstate commerce, then that activity affects interstate commerce. The " -"Supreme Court, the government said, was not in the position to second-guess " -"Congress." +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>. The " +"government had argued that possessing guns near schools affected interstate " +"commerce. Guns near schools increase crime, crime lowers property values, " +"and so on. In the oral argument, the Chief Justice asked the government " +"whether there was any activity that would not affect interstate commerce " +"under the reasoning the government advanced. The government said there was " +"not; if Congress says an activity affects interstate commerce, then that " +"activity affects interstate commerce. The Supreme Court, the government " +"said, was not in the position to second-guess Congress." msgstr "" "Høyesterett, under chief justice rehnquist kommando, endret som i USA v. " "lopez. regjeringen hadde hevdet at ha vÃ¥pen i nærheten av skoler berørt " @@ -17761,13 +17966,17 @@ msgstr "" #. f6. #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy -msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)." +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Lopez</citetitle>, 514 U." +"S. 549, 564 (1995)." msgstr "USA v. lopez, 514 amerikanske 549, 564 (1995)." #. f7. #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy -msgid "United States v. Morrison, 529 U.S. 598 (2000)." +msgid "" +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>, 529 " +"U.S. 598 (2000)." msgstr "USA v. morrison, 529 amerikanske 598 (2000)." #. type: Content of: <book><chapter><sect1><para> @@ -17776,7 +17985,8 @@ msgid "" "Chief Justice wrote.<placeholder type=\"footnote\" id=\"0\"/> If anything " "Congress says is interstate commerce must therefore be considered interstate " "commerce, then there would be no limit to Congress's power. The decision in " -"Lopez was reaffirmed five years later in United States v. Morrison." +"<citetitle>Lopez</citetitle> was reaffirmed five years later in " +"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>." "<placeholder type=\"footnote\" id=\"1\"/>" msgstr "" @@ -17819,12 +18029,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"If, that is, the principle announced in Lopez stood for a principle. Many " -"believed the decision in Lopez stood for politics—a conservative " -"Supreme Court, which believed in states' rights, using its power over " -"Congress to advance its own personal political preferences. But I rejected " -"that view of the Supreme Court's decision. Indeed, shortly after the " -"decision, I wrote an article demonstrating the \"fidelity\" in such an " +"<emphasis>If</emphasis>, that is, the principle announced in " +"<citetitle>Lopez</citetitle> stood for a principle. Many believed the " +"decision in <citetitle>Lopez</citetitle> stood for politics—a " +"conservative Supreme Court, which believed in states' rights, using its " +"power over Congress to advance its own personal political preferences. But I " +"rejected that view of the Supreme Court's decision. Indeed, shortly after " +"the decision, I wrote an article demonstrating the \"fidelity\" in such an " "interpretation of the Constitution. The idea that the Supreme Court decides " "cases based upon its politics struck me as extraordinarily boring. I was " "not going to devote my life to teaching constitutional law if these nine " @@ -17845,19 +18056,19 @@ msgstr "" #, mtrans, fuzzy msgid "" "Now let's pause for a moment to make sure we understand what the argument in " -"Eldred was not about. By insisting on the Constitution's limits to " -"copyright, obviously Eldred was not endorsing piracy. Indeed, in an obvious " -"sense, he was fighting a kind of piracy—piracy of the public domain. " -"When Robert Frost wrote his work and when Walt Disney created Mickey Mouse, " -"the maximum copyright term was just fifty-six years. Because of interim " -"changes, Frost and Disney had already enjoyed a seventy-five-year monopoly " -"for their work. They had gotten the benefit of the bargain that the " -"Constitution envisions: In exchange for a monopoly protected for fifty-six " -"years, they created new work. But now these entities were using their " -"power—expressed through the power of lobbyists' money—to get " -"another twenty-year dollop of monopoly. That twenty-year dollop would be " -"taken from the public domain. Eric Eldred was fighting a piracy that affects " -"us all." +"<citetitle>Eldred</citetitle> was not about. By insisting on the " +"Constitution's limits to copyright, obviously Eldred was not endorsing " +"piracy. Indeed, in an obvious sense, he was fighting a kind of piracy—" +"piracy of the public domain. When Robert Frost wrote his work and when Walt " +"Disney created Mickey Mouse, the maximum copyright term was just fifty-six " +"years. Because of interim changes, Frost and Disney had already enjoyed a " +"seventy-five-year monopoly for their work. They had gotten the benefit of " +"the bargain that the Constitution envisions: In exchange for a monopoly " +"protected for fifty-six years, they created new work. But now these entities " +"were using their power—expressed through the power of lobbyists' " +"money—to get another twenty-year dollop of monopoly. That twenty-year " +"dollop would be taken from the public domain. Eric Eldred was fighting a " +"piracy that affects us all." msgstr "" "NÃ¥ la oss pause for et øyeblikk Ã¥ sørge for at vi forstÃ¥r hva argumentet i " "eldred ikke var om. ved Ã¥ insistere pÃ¥ grunnlovens grenser for opphavsrett, " @@ -17877,9 +18088,10 @@ msgstr "" #. f9. #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" -"Brief of the Nashville Songwriters Association, Eldred v. Ashcroft, 537 U." -"S. 186 (2003) (No. 01-618), n.10, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #51</ulink>." +"Brief of the Nashville Songwriters Association, <citetitle>Eldred</" +"citetitle> v. <citetitle>Ashcroft</citetitle>, 537 U.S. 186 (2003) (No. " +"01-618), n.10, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #51</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -17938,8 +18150,9 @@ msgstr "" msgid "" "The figure of 2 percent is an extrapolation from the study by the " "Congressional Research Service, in light of the estimated renewal ranges. " -"See Brief of Petitioners, Eldred v. Ashcroft, 7, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #52</ulink>." +"See Brief of Petitioners, <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 7, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #52</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -18036,12 +18249,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Well, actually, if you think about it, there are plenty of lists of who owns " -"what property. Think about deeds on houses, or titles to cars. And where " -"there isn't a list, the code of real space is pretty good at suggesting who " -"the owner of a bit of property is. (A swing set in your backyard is probably " -"yours.) So formally or informally, we have a pretty good way to know who " -"owns what tangible property." +"Well, actually, if you think about it, there <emphasis>are</emphasis> plenty " +"of lists of who owns what property. Think about deeds on houses, or titles " +"to cars. And where there isn't a list, the code of real space is pretty " +"good at suggesting who the owner of a bit of property is. (A swing set in " +"your backyard is probably yours.) So formally or informally, we have a " +"pretty good way to know who owns what tangible property." msgstr "" "Vel, egentlig, er Hvis du tenker pÃ¥ det, det masse av lister av hvem som " "eier hva egenskapen. Tenk pÃ¥ gjerninger pÃ¥ hus eller titler til biler. og " @@ -18116,10 +18329,11 @@ msgstr "Agee, Michael" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" Los " -"Angeles Times, 6 October 2002; David Streitfeld, \"Classic Movies, Songs, " -"Books at Stake; Supreme Court Hears Arguments Today on Striking Down " -"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002." +"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" " +"<citetitle>Los Angeles Times</citetitle>, 6 October 2002; David Streitfeld, " +"\"Classic Movies, Songs, Books at Stake; Supreme Court Hears Arguments Today " +"on Striking Down Copyright Extension,\" <citetitle>Orlando Sentinel Tribune</" +"citetitle>, 9 October 2002." msgstr "" "Hvis du vil se david g. savage, \"high court scene av showdown pÃ¥ lov om " "opphavsrett\" los angeles times, 6 oktober 2002; David streitfeld, " @@ -18136,13 +18350,13 @@ msgid "" "Consider the story of Michael Agee, chairman of Hal Roach Studios, which " "owns the copyrights for the Laurel and Hardy films. Agee is a direct " "beneficiary of the Bono Act. The Laurel and Hardy films were made between " -"1921 and 1951. Only one of these films, The Lucky Dog, is currently out of " -"copyright. But for the CTEA, films made after 1923 would have begun entering " -"the public domain. Because Agee controls the exclusive rights for these " -"popular films, he makes a great deal of money. According to one estimate, " -"\"Roach has sold about 60,000 videocassettes and 50,000 DVDs of the duo's " -"silent films.\"<placeholder type=\"footnote\" id=\"0\"/> <placeholder type=" -"\"indexterm\" id=\"1\"/>" +"1921 and 1951. Only one of these films, <citetitle>The Lucky Dog</" +"citetitle>, is currently out of copyright. But for the CTEA, films made " +"after 1923 would have begun entering the public domain. Because Agee " +"controls the exclusive rights for these popular films, he makes a great deal " +"of money. According to one estimate, \"Roach has sold about 60,000 " +"videocassettes and 50,000 DVDs of the duo's silent films.\"<placeholder type=" +"\"footnote\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -18180,10 +18394,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> msgid "" "Brief of Hal Roach Studios and Michael Agee as Amicus Curiae Supporting the " -"Petitoners, Eldred v. Ashcroft, 537 U.S. 186 (2003) (No. 01- 618), 12. See " -"also Brief of Amicus Curiae filed on behalf of Petitioners by the Internet " -"Archive, Eldred v. Ashcroft, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #53</ulink>." +"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</" +"citetitle>, 537 U.S. 186 (2003) (No. 01- 618), 12. See also Brief of Amicus " +"Curiae filed on behalf of Petitioners by the Internet Archive, " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, available " +"at <ulink url=\"http://free-culture.cc/notes/\">link #53</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -18214,11 +18429,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"Or more accurately, owners. As we've seen, there isn't only a single " -"copyright associated with a film; there are many. There isn't a single " -"person whom you can contact about those copyrights; there are as many as can " -"hold the rights, which turns out to be an extremely large number. Thus the " -"costs of clearing the rights to these films is exceptionally high." +"Or more accurately, <emphasis>owners</emphasis>. As we've seen, there isn't " +"only a single copyright associated with a film; there are many. There isn't " +"a single person whom you can contact about those copyrights; there are as " +"many as can hold the rights, which turns out to be an extremely large " +"number. Thus the costs of clearing the rights to these films is " +"exceptionally high." msgstr "" "eller mer nøyaktig, eiere. som vi har sett, det er ikke bare en enkelt " "copyright tilknyttet en film; Det er mange. Det er ikke en eneste person " @@ -18347,13 +18563,13 @@ msgstr "" #, mtrans, fuzzy msgid "" "Yet, for most of our history, they also did little harm. For most of our " -"history, when a work ended its commercial life, there was no copyright-" -"related use that would be inhibited by an exclusive right. When a book went " -"out of print, you could not buy it from a publisher. But you could still " -"buy it from a used book store, and when a used book store sells it, in " -"America, at least, there is no need to pay the copyright owner anything. " -"Thus, the ordinary use of a book after its commercial life ended was a use " -"that was independent of copyright law." +"history, when a work ended its commercial life, there was no " +"<emphasis>copyright-related use</emphasis> that would be inhibited by an " +"exclusive right. When a book went out of print, you could not buy it from a " +"publisher. But you could still buy it from a used book store, and when a " +"used book store sells it, in America, at least, there is no need to pay the " +"copyright owner anything. Thus, the ordinary use of a book after its " +"commercial life ended was a use that was independent of copyright law." msgstr "" "Likevel, for det meste av vÃ¥r historie, de ogsÃ¥ gjorde lite skade. for de " "fleste av vÃ¥r historie, nÃ¥r et arbeid endte sin kommersielle liv, var det " @@ -18450,12 +18666,12 @@ msgstr "" msgid "" "Here is the core of the harm that comes from extending terms: Now that " "technology enables us to rebuild the library of Alexandria, the law gets in " -"the way. And it doesn't get in the way for any useful copyright purpose, for " -"the purpose of copyright is to enable the commercial market that spreads " -"culture. No, we are talking about culture after it has lived its commercial " -"life. In this context, copyright is serving no purpose at all related to the " -"spread of knowledge. In this context, copyright is not an engine of free " -"expression. Copyright is a brake." +"the way. And it doesn't get in the way for any useful <emphasis>copyright</" +"emphasis> purpose, for the purpose of copyright is to enable the commercial " +"market that spreads culture. No, we are talking about culture after it has " +"lived its commercial life. In this context, copyright is serving no purpose " +"<emphasis>at all</emphasis> related to the spread of knowledge. In this " +"context, copyright is not an engine of free expression. Copyright is a brake." msgstr "" "Her er kjernen av skade kommer fra utvide vilkÃ¥r: nÃ¥ som teknologi gjør det " "mulig for oss Ã¥ gjenoppbygge biblioteket i alexandria, loven kommer i veien. " @@ -18776,11 +18992,11 @@ msgid "" "the case was not to demonstrate how bad the Sonny Bono Act was but to " "demonstrate that it was unconstitutional, my hope was to make this argument " "against a background of briefs that covered the full range of political " -"views. To show that this claim against the CTEA was grounded in law and not " -"politics, then, we tried to gather the widest range of credible " -"critics—credible not because they were rich and famous, but because " -"they, in the aggregate, demonstrated that this law was unconstitutional " -"regardless of one's politics." +"views. To show that this claim against the CTEA was grounded in " +"<emphasis>law</emphasis> and not politics, then, we tried to gather the " +"widest range of credible critics—credible not because they were rich " +"and famous, but because they, in the aggregate, demonstrated that this law " +"was unconstitutional regardless of one's politics." msgstr "" "Det var en mÃ¥te, men i som jeg følte politikk ville saken og som jeg trodde " "et svar var riktig. Jeg var overbevist om at domstolen ikke ville høre vÃ¥re " @@ -19013,8 +19229,8 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para><footnote><para> #, mtrans, fuzzy msgid "" -"Brief of Amici Dr. Seuss Enterprise et al., Eldred v. Ashcroft, 537 U.S. " -"(2003) (No. 01-618), 19." +"Brief of Amici Dr. Seuss Enterprise et al., <citetitle>Eldred</citetitle> v. " +"<citetitle>Ashcroft</citetitle>, 537 U.S. (2003) (No. 01-618), 19." msgstr "" "kort av gikk dr. seuss enterprise et al., eldred v. ashcroft, 537 " "amerikanske (2003) (nr 01-618), 19." @@ -19024,7 +19240,7 @@ msgstr "" #, mtrans, fuzzy msgid "" "Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins " -"the Fray,\" New York Times, 28 March 1998, B7." +"the Fray,\" <citetitle>New York Times</citetitle>, 28 March 1998, B7." msgstr "" "dinitia smith, \"udødelig ord, udødelig royalties? selv Mikke Mus tiltrer " "fray,\"new york times, 28 mars 1998, b7." @@ -19042,10 +19258,11 @@ msgid "" "drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> " "That was also the motive of the Gershwin estate, which defended its " "\"protection\" of the work of George Gershwin. They refuse, for example, to " -"license Porgy and Bess to anyone who refuses to use African Americans in the " -"cast.<placeholder type=\"footnote\" id=\"1\"/> That's their view of how this " -"part of American culture should be controlled, and they wanted this law to " -"help them effect that control. <placeholder type=\"indexterm\" id=\"2\"/>" +"license <citetitle>Porgy and Bess</citetitle> to anyone who refuses to use " +"African Americans in the cast.<placeholder type=\"footnote\" id=\"1\"/> " +"That's their view of how this part of American culture should be controlled, " +"and they wanted this law to help them effect that control. <placeholder " +"type=\"indexterm\" id=\"2\"/>" msgstr "" #. type: Content of: <book><chapter><sect1><para> @@ -19098,9 +19315,10 @@ msgid "" "\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives " "included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice " "Kennedy, and Justice Thomas. These five had been the most consistent in " -"limiting Congress's power. They were the five who had supported the Lopez/" -"Morrison line of cases that said that an enumerated power had to be " -"interpreted to assure that Congress's powers had limits." +"limiting Congress's power. They were the five who had supported the " +"<citetitle>Lopez/Morrison</citetitle> line of cases that said that an " +"enumerated power had to be interpreted to assure that Congress's powers had " +"limits." msgstr "" #. type: Content of: <book><chapter><sect1><indexterm><primary> @@ -19206,13 +19424,14 @@ msgstr "" #, mtrans, fuzzy msgid "" "This then was the core of our strategy—a strategy for which I am " -"responsible. We would get the Court to see that just as with the Lopez case, " -"under the government's argument here, Congress would always have unlimited " -"power to extend existing terms. If anything was plain about Congress's power " -"under the Progress Clause, it was that this power was supposed to be " -"\"limited.\" Our aim would be to get the Court to reconcile Eldred with " -"Lopez: If Congress's power to regulate commerce was limited, then so, too, " -"must Congress's power to regulate copyright be limited." +"responsible. We would get the Court to see that just as with the " +"<citetitle>Lopez</citetitle> case, under the government's argument here, " +"Congress would always have unlimited power to extend existing terms. If " +"anything was plain about Congress's power under the Progress Clause, it was " +"that this power was supposed to be \"limited.\" Our aim would be to get the " +"Court to reconcile <citetitle>Eldred</citetitle> with <citetitle>Lopez</" +"citetitle>: If Congress's power to regulate commerce was limited, then so, " +"too, must Congress's power to regulate copyright be limited." msgstr "" "Dette var deretter kjernen i vÃ¥r strategi—en strategi som jeg er " "ansvarlig. Vi ville fÃ¥ retten Ã¥ se at akkurat som du er med under " @@ -19510,8 +19729,8 @@ msgstr "" #, mtrans, fuzzy msgid "" "The second came from the Chief, for whom the whole case had been crafted. " -"For the Chief Justice had crafted the Lopez ruling, and we hoped that he " -"would see this case as its second cousin." +"For the Chief Justice had crafted the <citetitle>Lopez</citetitle> ruling, " +"and we hoped that he would see this case as its second cousin." msgstr "" "andre kom fra sjefen, som hele saken hadde blitt utformet. for " "justisministeren hadde utformet lopez avgjørelse, og vi hÃ¥pet at ville han " @@ -19669,9 +19888,9 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"My reasoning. Here was a case that pitted all the money in the world against " -"reasoning. And here was the last naïve law professor, scouring the pages, " -"looking for reasoning." +"My <emphasis>reasoning</emphasis>. Here was a case that pitted all the money " +"in the world against <emphasis>reasoning</emphasis>. And here was the last " +"naïve law professor, scouring the pages, looking for reasoning." msgstr "" "mitt resonnement. Her var en sak som pitted alle pengene i verden mot " "resonnement. og her var den siste naivt lov professoren, scouring sider, pÃ¥ " @@ -19681,9 +19900,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "I first scoured the opinion, looking for how the Court would distinguish the " -"principle in this case from the principle in Lopez. The argument was nowhere " -"to be found. The case was not even cited. The argument that was the core " -"argument of our case did not even appear in the Court's opinion." +"principle in this case from the principle in <citetitle>Lopez</citetitle>. " +"The argument was nowhere to be found. The case was not even cited. The " +"argument that was the core argument of our case did not even appear in the " +"Court's opinion." msgstr "" "Jeg scoured først mening, ser for hvordan domstol vil skille prinsippet i " "dette tilfellet fra prinsippet i lopez. argumentet var ingensteds Ã¥ bli " @@ -19706,9 +19926,9 @@ msgstr "" #, mtrans, fuzzy msgid "" "Her opinion was perfectly reasonable—for her, and for Justice Souter. " -"Neither believes in Lopez. It would be too much to expect them to write an " -"opinion that recognized, much less explained, the doctrine they had worked " -"so hard to defeat." +"Neither believes in <citetitle>Lopez</citetitle>. It would be too much to " +"expect them to write an opinion that recognized, much less explained, the " +"doctrine they had worked so hard to defeat." msgstr "" "hennes mening var helt rimelig—for henne, og for rettferdighet souter. " "Ingen av dem tror pÃ¥ lopez. det ville være for mye Ã¥ forvente dem til Ã¥ " @@ -19722,10 +19942,11 @@ msgid "" "reading. I had said there was no way this Court could reconcile limited " "powers with the Commerce Clause and unlimited powers with the Progress " "Clause. It had never even occurred to me that they could reconcile the two " -"simply by not addressing the argument. There was no inconsistency because " -"they would not talk about the two together. There was therefore no " -"principle that followed from the Lopez case: In that context, Congress's " -"power would be limited, but in this context it would not." +"simply <emphasis>by not addressing the argument</emphasis>. There was no " +"inconsistency because they would not talk about the two together. There was " +"therefore no principle that followed from the <citetitle>Lopez</citetitle> " +"case: In that context, Congress's power would be limited, but in this " +"context it would not." msgstr "" "men som jeg hva som hadde skjedd, jeg kunne ikke helt tro hva jeg leser. Jeg " "hadde sagt det var ingen mÃ¥te denne retten kan avstemme begrenset krefter " @@ -19807,10 +20028,10 @@ msgstr "" #, mtrans, fuzzy msgid "" "These two justices understood all the arguments we had made. But because " -"neither believed in the Lopez case, neither was willing to push it as a " -"reason to reject this extension. The case was decided without anyone having " -"addressed the argument that we had carried from Judge Sentelle. It was " -"Hamlet without the Prince." +"neither believed in the <citetitle>Lopez</citetitle> case, neither was " +"willing to push it as a reason to reject this extension. The case was " +"decided without anyone having addressed the argument that we had carried " +"from Judge Sentelle. It was <citetitle>Hamlet</citetitle> without the Prince." msgstr "" "disse to justiariusene forstÃ¥tt alle argumentene vi hadde gjort. men fordi " "ingen trodde i lopez-saken, heller ikke var villig til Ã¥ skyve den som en " @@ -19833,14 +20054,15 @@ msgstr "" #, mtrans, fuzzy msgid "" "It was first anger with the five \"Conservatives.\" It would have been one " -"thing for them to have explained why the principle of Lopez didn't apply in " -"this case. That wouldn't have been a very convincing argument, I don't " -"believe, having read it made by others, and having tried to make it myself. " -"But it at least would have been an act of integrity. These justices in " -"particular have repeatedly said that the proper mode of interpreting the " -"Constitution is \"originalism\"—to first understand the framers' text, " -"interpreted in their context, in light of the structure of the Constitution. " -"That method had produced Lopez and many other \"originalist\" rulings. Where " +"thing for them to have explained why the principle of <citetitle>Lopez</" +"citetitle> didn't apply in this case. That wouldn't have been a very " +"convincing argument, I don't believe, having read it made by others, and " +"having tried to make it myself. But it at least would have been an act of " +"integrity. These justices in particular have repeatedly said that the " +"proper mode of interpreting the Constitution is \"originalism\"—to " +"first understand the framers' text, interpreted in their context, in light " +"of the structure of the Constitution. That method had produced " +"<citetitle>Lopez</citetitle> and many other \"originalist\" rulings. Where " "was their \"originalism\" now?" msgstr "" "Det var første sinne pÃ¥ fem \"konservative.\" det ville ha vært en ting for " @@ -20019,7 +20241,7 @@ msgid "" "been skeptical of the Court's activism in other cases. Deference was a good " "thing, even if it left standing a silly law. But where the decision was " "attacked, it was attacked because it left standing a silly and harmful law. " -"The New York Times wrote in its editorial," +"<citetitle>The New York Times</citetitle> wrote in its editorial," msgstr "" "etter argumentet og etter vedtaket sa peter til meg, og offentlig, at han " "var galt. men hvis faktisk at domstolen ikke kunne er blitt overtalt, " @@ -20076,12 +20298,12 @@ msgstr "" #, mtrans, fuzzy msgid "" "The image that will always stick in my head is that evoked by the quote from " -"The New York Times. That \"grand experiment\" we call the \"public domain\" " -"is over? When I can make light of it, I think, \"Honey, I shrunk the " -"Constitution.\" But I can rarely make light of it. We had in our " -"Constitution a commitment to free culture. In the case that I fathered, the " -"Supreme Court effectively renounced that commitment. A better lawyer would " -"have made them see differently." +"<citetitle>The New York Times</citetitle>. That \"grand experiment\" we call " +"the \"public domain\" is over? When I can make light of it, I think, " +"\"Honey, I shrunk the Constitution.\" But I can rarely make light of it. We " +"had in our Constitution a commitment to free culture. In the case that I " +"fathered, the Supreme Court effectively renounced that commitment. A better " +"lawyer would have made them see differently." msgstr "" "bildet som vil alltid holde i hodet mitt er som utløste ved sitat fra new " "york times. at \"store eksperimentet\" vi kaller \"public domain\" er over? " @@ -20097,13 +20319,13 @@ msgstr "Kapittel fjorten: Eldred II" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"The day Eldred was decided, fate would have it that I was to travel to " -"Washington, D.C. (The day the rehearing petition in Eldred was denied—" -"meaning the case was really finally over—fate would have it that I was " -"giving a speech to technologists at Disney World.) This was a particularly " -"long flight to my least favorite city. The drive into the city from Dulles " -"was delayed because of traffic, so I opened up my computer and wrote an op-" -"ed piece." +"The day <citetitle>Eldred</citetitle> was decided, fate would have it that I " +"was to travel to Washington, D.C. (The day the rehearing petition in " +"<citetitle>Eldred</citetitle> was denied—meaning the case was really " +"finally over—fate would have it that I was giving a speech to " +"technologists at Disney World.) This was a particularly long flight to my " +"least favorite city. The drive into the city from Dulles was delayed because " +"of traffic, so I opened up my computer and wrote an op-ed piece." msgstr "" "dag-eldred ble besluttet, men skjebnen ville at som jeg var Ã¥ reise til " "washington, DC (dagen rehearing protestskriv i eldred ble nektet—noe " @@ -20138,11 +20360,11 @@ msgstr "" #. type: Content of: <book><chapter><sect1><para> #, mtrans, fuzzy msgid "" -"The New York Times published the piece. In it, I proposed a simple fix: " -"Fifty years after a work has been published, the copyright owner would be " -"required to register the work and pay a small fee. If he paid the fee, he " -"got the benefit of the full term of copyright. If he did not, the work " -"passed into the public domain." +"<citetitle>The New York Times</citetitle> published the piece. In it, I " +"proposed a simple fix: Fifty years after a work has been published, the " +"copyright owner would be required to register the work and pay a small fee. " +"If he paid the fee, he got the benefit of the full term of copyright. If he " +"did not, the work passed into the public domain." msgstr "" "new york times publisert arb. i den, jeg foreslÃ¥tt en enkel Fiks: femti Ã¥r " "etter at et arbeid er publisert, eieren av opphavsretten ville være " @@ -20253,8 +20475,9 @@ msgid "" "books published in the United Kingdom must be deposited in the British " "Library. The German Copyright Act provides for a Registrar of Authors where " "the author's true name can be filed in the case of anonymous or pseudonymous " -"works. Paul Goldstein, International Intellectual Property Law, Cases and " -"Materials (New York: Foundation Press, 2001), 153–54." +"works. Paul Goldstein, <citetitle>International Intellectual Property Law, " +"Cases and Materials</citetitle> (New York: Foundation Press, 2001), " +"153–54." msgstr "" "før det 1908 berlin handle av berne konvensjonen, nasjonal opphavsrett " "lovgivning noen ganger gjort beskyttelse som er avhengige av samsvar med " @@ -20308,8 +20531,9 @@ msgid "" "to require copyright terms of life plus fifty years, as well as the " "abolition of copyright formalities. The formalities were hated because the " "stories of inadvertent loss were increasingly common. It was as if a Charles " -"Dickens character ran all copyright offices, and the failure to dot an i or " -"cross a t resulted in the loss of widows' only income." +"Dickens character ran all copyright offices, and the failure to dot an " +"<citetitle>i</citetitle> or cross a <citetitle>t</citetitle> resulted in the " +"loss of widows' only income." msgstr "" "kampen mot formaliteter oppnÃ¥dde sin første virkelige seier i berlin i 1908. " "internasjonal opphavsrett advokater endret berne konvensjonen i 1908, til Ã¥ " @@ -20428,8 +20652,8 @@ msgid "" "And like a car, there's no way to buy and sell creative property with " "confidence unless there is some simple way to authenticate who is the author " "and what rights he has. Simple transactions are destroyed in a world without " -"formalities. Complex, expensive, lawyer transactions take their place. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"formalities. Complex, expensive, <emphasis>lawyer</emphasis> transactions " +"take their place. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "pÃ¥ samme mÃ¥te er det spesielle fysikk som gjør formaliteter viktig i lov om " "opphavsrett. i motsetning til en snekker tabell er det ingenting i naturen " @@ -20468,7 +20692,8 @@ msgid "" "burden on the creative process. If the only way a library can offer an " "Internet exhibit about the New Deal is to hire a lawyer to clear the rights " "to every image and sound, then the copyright system is burdening creativity " -"in a way that has never been seen before because there are no formalities." +"in a way that has never been seen before <emphasis>because there are no " +"formalities</emphasis>." msgstr "" "men nÃ¥ som opphavsrett kan være omtrent et Ã¥rhundre lang, manglende evne til " "Ã¥ vite hva er beskyttet og hva er ikke beskyttet blir en stor og Ã¥penbare " @@ -20527,15 +20752,15 @@ msgid "" "completely agree that the Copyright Office has done a terrible job (no doubt " "because they are terribly funded) in enabling simple and cheap " "registrations. Any real solution to the problem of formalities must address " -"the real problem of governments standing at the core of any system of " -"formalities. In this book, I offer such a solution. That solution " -"essentially remakes the Copyright Office. For now, assume it was Amazon that " -"ran the registration system. Assume it was one-click registration. The " -"Eldred Act would propose a simple, one-click registration fifty years after " -"a work was published. Based upon historical data, that system would move up " -"to 98 percent of commercial work, commercial work that no longer had a " -"commercial life, into the public domain within fifty years. What do you " -"think?" +"the real problem of <emphasis>governments</emphasis> standing at the core of " +"any system of formalities. In this book, I offer such a solution. That " +"solution essentially remakes the Copyright Office. For now, assume it was " +"Amazon that ran the registration system. Assume it was one-click " +"registration. The Eldred Act would propose a simple, one-click registration " +"fifty years after a work was published. Based upon historical data, that " +"system would move up to 98 percent of commercial work, commercial work that " +"no longer had a commercial life, into the public domain within fifty years. " +"What do you think?" msgstr "" "Det stemmer. Ekstraarbeidet er forferdelig. Systemet som finnes nÃ¥ er " "grufult. Jeg helt enig at opphavsrettkontoret har gjort en dÃ¥rlig jobb " @@ -20743,11 +20968,12 @@ msgstr "Hva ønsker denne industrien egentlig?" msgid "" "With very little effort, the warriors could protect their content. So the " "effort to block something like the Eldred Act is not really about protecting " -"their content. The effort to block the Eldred Act is an effort to assure " -"that nothing more passes into the public domain. It is another step to " -"assure that the public domain will never compete, that there will be no use " -"of content that is not commercially controlled, and that there will be no " -"commercial use of content that doesn't require their permission first." +"<emphasis>their</emphasis> content. The effort to block the Eldred Act is an " +"effort to assure that nothing more passes into the public domain. It is " +"another step to assure that the public domain will never compete, that there " +"will be no use of content that is not commercially controlled, and that " +"there will be no commercial use of content that doesn't require " +"<emphasis>their</emphasis> permission first." msgstr "" "med svært liten innsats, kunne warriors beskytte deres innhold. sÃ¥ innsatsen " "for Ã¥ blokkere noe som eldred loven er ikke virkelig om Ã¥ beskytte sitt " @@ -20763,8 +20989,8 @@ msgid "" "The opposition to the Eldred Act reveals how extreme the other side is. The " "most powerful and sexy and well loved of lobbies really has as its aim not " "the protection of \"property\" but the rejection of a tradition. Their aim " -"is not simply to protect what is theirs. Their aim is to assure that all " -"there is is what is theirs." +"is not simply to protect what is theirs. <emphasis>Their aim is to assure " +"that all there is is what is theirs</emphasis>." msgstr "" "motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. " "mektigste og sexy og godt elsket av lobbies virkelig har som mÃ¥let ikke " @@ -20947,10 +21173,16 @@ msgid "Braithwaite, John" msgstr "Braithwaite, John" #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns " +#| "the Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder " +#| "type=\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" msgid "" -"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the " -"Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder type=" -"\"indexterm\" id=\"0\"/> <placeholder type=\"indexterm\" id=\"1\"/>" +"See Peter Drahos with John Braithwaite, Information Feudalism: " +"<citetitle>Who Owns the Knowledge Economy?</citetitle> (New York: The New " +"Press, 2003), 37. <placeholder type=\"indexterm\" id=\"0\"/> <placeholder " +"type=\"indexterm\" id=\"1\"/>" msgstr "" "Se Peter Drahos og John Braithwaite, Information Feudalism: Who Owns the " "Knowledge Economy? (New York: The New Press, 2003), 37. <placeholder type=" @@ -20977,23 +21209,30 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><para><footnote><para> msgid "" -"International Intellectual Property Institute (IIPI), Patent Protection and " -"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared " -"for the World Intellectual Property Organization (Washington, D.C., 2000), " -"14, available at <ulink url=\"http://free-culture.cc/notes/\">link #56</" -"ulink>. For a firsthand account of the struggle over South Africa, see " -"Hearing Before the Subcommittee on Criminal Justice, Drug Policy, and Human " -"Resources, House Committee on Government Reform, H. Rep., 1st sess., Ser. " -"No. 106-126 (22 July 1999), 150–57 (statement of James Love)." +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 14, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #56</ulink>. For a firsthand account of the struggle over " +"South Africa, see Hearing Before the Subcommittee on Criminal Justice, Drug " +"Policy, and Human Resources, House Committee on Government Reform, H. Rep., " +"1st sess., Ser. No. 106-126 (22 July 1999), 150–57 (statement of James " +"Love)." msgstr "" #. f4. #. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"International Intellectual Property Institute (IIPI), Patent Protection and " -"Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report Prepared " -"for the World Intellectual Property Organization (Washington, D.C., 2000), " -"15." +#, fuzzy +#| msgid "" +#| "International Intellectual Property Institute (IIPI), Patent Protection " +#| "and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a Report " +#| "Prepared for the World Intellectual Property Organization (Washington, D." +#| "C., 2000), 15." +msgid "" +"International Intellectual Property Institute (IIPI), <citetitle>Patent " +"Protection and Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, a " +"Report Prepared for the World Intellectual Property Organization</citetitle> " +"(Washington, D.C., 2000), 15." msgstr "" "International Intellectual Property Institute (IIPI), Patent Protection and " "Access to HIV/AIDS Pharmaceuticals in Sub-Saharan Africa, en rapport " @@ -21095,16 +21334,17 @@ msgstr "" #. type: Content of: <book><chapter><para><footnote><para> msgid "" "See Sabin Russell, \"New Crusade to Lower AIDS Drug Costs: Africa's Needs at " -"Odds with Firms' Profit Motive,\" San Francisco Chronicle, 24 May 1999, A1, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #57</ulink> " -"(\"compulsory licenses and gray markets pose a threat to the entire system " -"of intellectual property protection\"); Robert Weissman, \"AIDS and " -"Developing Countries: Democratizing Access to Essential Medicines,\" Foreign " -"Policy in Focus 4:23 (August 1999), available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #58</ulink> (describing U.S. policy); John A. " -"Harrelson, \"TRIPS, Pharmaceutical Patents, and the HIV/AIDS Crisis: Finding " -"the Proper Balance Between Intellectual Property Rights and Compassion, a " -"Synopsis,\" Widener Law Symposium Journal (Spring 2001): 175." +"Odds with Firms' Profit Motive,\" <citetitle>San Francisco Chronicle</" +"citetitle>, 24 May 1999, A1, available at <ulink url=\"http://free-culture." +"cc/notes/\">link #57</ulink> (\"compulsory licenses and gray markets pose a " +"threat to the entire system of intellectual property protection\"); Robert " +"Weissman, \"AIDS and Developing Countries: Democratizing Access to Essential " +"Medicines,\" <citetitle>Foreign Policy in Focus</citetitle> 4:23 (August " +"1999), available at <ulink url=\"http://free-culture.cc/notes/\">link #58</" +"ulink> (describing U.S. policy); John A. Harrelson, \"TRIPS, Pharmaceutical " +"Patents, and the HIV/AIDS Crisis: Finding the Proper Balance Between " +"Intellectual Property Rights and Compassion, a Synopsis,\" " +"<citetitle>Widener Law Symposium Journal</citetitle> (Spring 2001): 175." msgstr "" #. type: Content of: <book><chapter><para> @@ -21302,15 +21542,26 @@ msgstr "" #. f6. #. type: Content of: <book><chapter><para><footnote><para> -msgid "" -"Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, August " -"2003, E1, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#59</ulink>; William New, \"Global Group's Shift on `Open Source' Meeting " -"Spurs Stir,\" National Journal's Technology Daily, 19 August 2003, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #60</ulink>; William " -"New, \"U.S. Official Opposes `Open Source' Talks at WIPO,\" National " -"Journal's Technology Daily, 19 August 2003, available at <ulink url=\"http://" -"free-culture.cc/notes/\">link #61</ulink>." +#, fuzzy +#| msgid "" +#| "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, " +#| "August 2003, E1, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #59</ulink>; William New, \"Global Group's Shift on `Open Source' " +#| "Meeting Spurs Stir,\" National Journal's Technology Daily, 19 August " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #60</" +#| "ulink>; William New, \"U.S. Official Opposes `Open Source' Talks at WIPO," +#| "\" National Journal's Technology Daily, 19 August 2003, available at " +#| "<ulink url=\"http://free-culture.cc/notes/\">link #61</ulink>." +msgid "" +"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington " +"Post</citetitle>, August 2003, E1, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #59</ulink>; William New, \"Global Group's Shift on " +"`Open Source' Meeting Spurs Stir,\" <citetitle>National Journal's Technology " +"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #60</ulink>; William New, \"U.S. Official Opposes " +"`Open Source' Talks at WIPO,\" <citetitle>National Journal's Technology " +"Daily</citetitle>, 19 August 2003, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #61</ulink>." msgstr "" "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, august " "2003, E1, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " @@ -21483,6 +21734,22 @@ msgstr "" #. f8. #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Microsoft's position about free and open source software is more " +#| "sophisticated. As it has repeatedly asserted, it has no problem with " +#| "\"open source\" software or software in the public domain. Microsoft's " +#| "principal opposition is to \"free software\" licensed under a \"copyleft" +#| "\" license, meaning a license that requires the licensee to adopt the " +#| "same terms on any derivative work. See Bradford L. Smith, \"The Future of " +#| "Software: Enabling the Marketplace to Decide,\" Government Policy Toward " +#| "Open Source Software (Washington, D.C.: AEI-Brookings Joint Center for " +#| "Regulatory Studies, American Enterprise Institute for Public Policy " +#| "Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/" +#| "notes/\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice " +#| "president, The Commercial Software Model, discussion at New York " +#| "University Stern School of Business (3 May 2001), available at <ulink url=" +#| "\"http://free-culture.cc/notes/\">link #63</ulink>." msgid "" "Microsoft's position about free and open source software is more " "sophisticated. As it has repeatedly asserted, it has no problem with \"open " @@ -21490,14 +21757,14 @@ msgid "" "opposition is to \"free software\" licensed under a \"copyleft\" license, " "meaning a license that requires the licensee to adopt the same terms on any " "derivative work. See Bradford L. Smith, \"The Future of Software: Enabling " -"the Marketplace to Decide,\" Government Policy Toward Open Source Software " -"(Washington, D.C.: AEI-Brookings Joint Center for Regulatory Studies, " -"American Enterprise Institute for Public Policy Research, 2002), 69, " -"available at <ulink url=\"http://free-culture.cc/notes/\">link #62</ulink>. " -"See also Craig Mundie, Microsoft senior vice president, The Commercial " -"Software Model, discussion at New York University Stern School of Business " -"(3 May 2001), available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#63</ulink>." +"the Marketplace to Decide,\" <citetitle>Government Policy Toward Open Source " +"Software</citetitle> (Washington, D.C.: AEI-Brookings Joint Center for " +"Regulatory Studies, American Enterprise Institute for Public Policy " +"Research, 2002), 69, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #62</ulink>. See also Craig Mundie, Microsoft senior vice president, " +"<citetitle>The Commercial Software Model</citetitle>, discussion at New York " +"University Stern School of Business (3 May 2001), available at <ulink url=" +"\"http://free-culture.cc/notes/\">link #63</ulink>." msgstr "" "Microsofts posisjon om Ã¥pen kildekode og fri programvare er mer " "sofistikert. De har flere ganger forklart at de har ikke noe problem med " @@ -21584,17 +21851,19 @@ msgid "" "Microsoft would oppose this WIPO meeting, and understandable that it would " "use its lobbyists to get the United States government to oppose it, as well. " "And indeed, that is just what was reported to have happened. According to " -"Jonathan Krim of the Washington Post, Microsoft's lobbyists succeeded in " -"getting the United States government to veto the meeting.<placeholder type=" -"\"footnote\" id=\"0\"/> And without U.S. backing, the meeting was canceled." +"Jonathan Krim of the <citetitle>Washington Post</citetitle>, Microsoft's " +"lobbyists succeeded in getting the United States government to veto the " +"meeting.<placeholder type=\"footnote\" id=\"0\"/> And without U.S. backing, " +"the meeting was canceled." msgstr "" "Det er dermed forstÃ¥elig at Microsoft, som utviklere av proprietær " "programvare, gikk imot et slikt WIPO-møte, og like fullt forstÃ¥elig at de " "bruker sine lobbyister til Ã¥ fÃ¥ USAs myndigheter til Ã¥ gÃ¥ imot møtet. Og " "ganske riktig, det er akkurat dette som i følge rapporter hadde skjedd. I " -"følge Jonathan Krim i Washington Post, lyktes Microsofts lobbyister i Ã¥ fÃ¥ " -"USAs myndigheter til Ã¥ legge ned veto mot et slikt møte.<placeholder type=" -"\"footnote\" id=\"0\"/> Og uten støtte fra USA ble møtet avlyst." +"følge Jonathan Krim i <citetitle>Washington Post</citetitle>, lyktes " +"Microsofts lobbyister i Ã¥ fÃ¥ USAs myndigheter til Ã¥ legge ned veto mot et " +"slikt møte.<placeholder type=\"footnote\" id=\"0\"/> Og uten støtte fra USA " +"ble møtet avlyst." #. type: Content of: <book><chapter><para> msgid "" @@ -21682,24 +21951,26 @@ msgid "" "Third, even if one believed that the purpose of WIPO was to maximize " "intellectual property rights, in our tradition, intellectual property rights " "are held by individuals and corporations. They get to decide what to do with " -"those rights because, again, they are their rights. If they want to \"waive" -"\" or \"disclaim\" their rights, that is, within our tradition, totally " -"appropriate. When Bill Gates gives away more than $20 billion to do good in " -"the world, that is not inconsistent with the objectives of the property " -"system. That is, on the contrary, just what a property system is supposed to " -"be about: giving individuals the right to decide what to do with their " -"property. <placeholder type=\"indexterm\" id=\"0\"/>" +"those rights because, again, they are <emphasis>their</emphasis> rights. If " +"they want to \"waive\" or \"disclaim\" their rights, that is, within our " +"tradition, totally appropriate. When Bill Gates gives away more than $20 " +"billion to do good in the world, that is not inconsistent with the " +"objectives of the property system. That is, on the contrary, just what a " +"property system is supposed to be about: giving individuals the right to " +"decide what to do with <emphasis>their</emphasis> property. <placeholder " +"type=\"indexterm\" id=\"0\"/>" msgstr "" "For det tredje, selv om en tror at formÃ¥let med WIPO var Ã¥ maksimere " "immaterielle rettigheter, sÃ¥ innehas immaterielle rettigheter, i vÃ¥r " "tradisjon, av individer og selskaper. De fÃ¥r bestemme hva som skal gjøres " -"med disse rettighetene, igjen fordi det er de som eier rettigetene. Hvis de " -"ønsker Ã¥ \"frafalle\" eller \"frasi\" seg sine rettigheter, sÃ¥ er det helt " -"etter boka i vÃ¥r tradisjon. NÃ¥r Bill Gates gir bort mer enn $20 milliarder " -"til gode formÃ¥l, sÃ¥ er ikke det uforenelig med mÃ¥lene til eiendomssystemet. " -"Det er heller tvert i mot, akkurat hva eiendomssysstemet er ment Ã¥ oppnÃ¥, at " -"individer har retten til Ã¥ bestemme hva de vil gjøre med sin eiendom. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"med disse rettighetene, igjen fordi det er <emphasis>de</emphasis> som eier " +"rettigetene. Hvis de ønsker Ã¥ \"frafalle\" eller \"frasi\" seg sine " +"rettigheter, sÃ¥ er det helt etter boka i vÃ¥r tradisjon. NÃ¥r Bill Gates gir " +"bort mer enn $20 milliarder til gode formÃ¥l, sÃ¥ er ikke det uforenelig med " +"mÃ¥lene til eiendomssystemet. Det er heller tvert i mot, akkurat hva " +"eiendomssysstemet er ment Ã¥ oppnÃ¥, at individer har retten til Ã¥ bestemme " +"hva de vil gjøre med <emphasis>sin</emphasis> eiendom. <placeholder type=" +"\"indexterm\" id=\"0\"/>" #. PAGE BREAK 274 #. type: Content of: <book><chapter><para> @@ -21743,9 +22014,13 @@ msgstr "" "som kunne forstyrre denne kontrollen." #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "See Drahos with Braithwaite, Information Feudalism, 210–20. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"See Drahos with Braithwaite, Information Feudalism, 210–20. " -"<placeholder type=\"indexterm\" id=\"0\"/>" +"See Drahos with Braithwaite, <citetitle>Information Feudalism</citetitle>, " +"210–20. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Se Drahos og Braithwaite, Information Feudalism, 210–20. <placeholder " "type=\"indexterm\" id=\"0\"/>" @@ -21755,14 +22030,15 @@ msgid "" "As Peter Drahos and John Braithwaite relate, this is precisely the choice we " "are now making about intellectual property.<placeholder type=\"footnote\" id=" "\"0\"/> We will have an information society. That much is certain. Our only " -"choice now is whether that information society will be free or feudal. The " -"trend is toward the feudal." +"choice now is whether that information society will be <emphasis>free</" +"emphasis> or <emphasis>feudal</emphasis>. The trend is toward the feudal." msgstr "" "Som Peter Drahos og John Braithwaite beskriver, dette er nøyaktig det valget " "vi nÃ¥ gjør om immaterielle rettigheter.<placeholder type=\"footnote\" id=" "\"0\"/> Vi kommer til Ã¥ fÃ¥ et informasjonssamfunn. SÃ¥ mye er sikkert. VÃ¥rt " -"eneste valg nÃ¥ er hvorvidt dette informasjonssamfunnet skal være fritt eller " -"føydalt. Trenden er mot det føydale." +"eneste valg nÃ¥ er hvorvidt dette informasjonssamfunnet skal være " +"<emphasis>fritt</emphasis> eller <emphasis>føydalt</emphasis>. Trenden er " +"mot det føydale." #. type: Content of: <book><chapter><para> msgid "" @@ -21995,18 +22271,33 @@ msgstr "Dylan, Bob" #. f11. #. type: Content of: <book><chapter><para><footnote><para> +#, fuzzy +#| msgid "" +#| "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September " +#| "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</" +#| "ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 " +#| "September 2003, available at <ulink url=\"http://free-culture.cc/notes/" +#| "\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, " +#| "\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New " +#| "York Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits " +#| "Meet Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. " +#| "Among Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, " +#| "\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, " +#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #67</" +#| "ulink>." msgid "" "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, September " "2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #65</" "ulink>; Paul R. La Monica, \"Music Industry Sues Swappers,\" CNN/Money, 8 " "September 2003, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #66</ulink>; Soni Sangha and Phyllis Furman with Robert Gearty, " -"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" New York " -"Daily News, 9 September 2003, 3; Frank Ahrens, \"RIAA's Lawsuits Meet " -"Surprised Targets; Single Mother in Calif., 12-Year-Old Girl in N.Y. Among " -"Defendants,\" Washington Post, 10 September 2003, E1; Katie Dean, " -"\"Schoolgirl Settles with RIAA,\" Wired News, 10 September 2003, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>." +"\"Sued for a Song, N.Y.C. 12-Yr-Old Among 261 Cited as Sharers,\" " +"<citetitle>New York Daily News</citetitle>, 9 September 2003, 3; Frank " +"Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in Calif., " +"12-Year-Old Girl in N.Y. Among Defendants,\" <citetitle>Washington Post</" +"citetitle>, 10 September 2003, E1; Katie Dean, \"Schoolgirl Settles with " +"RIAA,\" <citetitle>Wired News</citetitle>, 10 September 2003, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #67</ulink>." msgstr "" "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, september " "2003, tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link " @@ -22397,12 +22688,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" "See, for example, Marc Rotenberg, \"Fair Information Practices and the " -"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law " -"Review 1 (2001): par. 6–18, available at <ulink url=\"http://free-" -"culture.cc/notes/\">link #72</ulink> (describing examples in which " -"technology defines privacy policy). See also Jeffrey Rosen, The Naked Crowd: " -"Reclaiming Security and Freedom in an Anxious Age (New York: Random House, " -"2004) (mapping tradeoffs between technology and privacy)." +"Architecture of Privacy (What Larry Doesn't Get),\" <citetitle>Stanford " +"Technology Law Review</citetitle> 1 (2001): par. 6–18, available at " +"<ulink url=\"http://free-culture.cc/notes/\">link #72</ulink> (describing " +"examples in which technology defines privacy policy). See also Jeffrey " +"Rosen, <citetitle>The Naked Crowd: Reclaiming Security and Freedom in an " +"Anxious Age</citetitle> (New York: Random House, 2004) (mapping tradeoffs " +"between technology and privacy)." msgstr "" #. PAGE BREAK 284 @@ -22724,11 +23016,12 @@ msgstr "" msgid "" "Enter the Creative Commons. The Creative Commons is a nonprofit corporation " "established in Massachusetts, but with its home at Stanford University. Its " -"aim is to build a layer of reasonable copyright on top of the extremes that " -"now reign. It does this by making it easy for people to build upon other " -"people's work, by making it simple for creators to express the freedom for " -"others to take and build upon their work. Simple tags, tied to human-" -"readable descriptions, tied to bulletproof licenses, make this possible." +"aim is to build a layer of <emphasis>reasonable</emphasis> copyright on top " +"of the extremes that now reign. It does this by making it easy for people to " +"build upon other people's work, by making it simple for creators to express " +"the freedom for others to take and build upon their work. Simple tags, tied " +"to human-readable descriptions, tied to bulletproof licenses, make this " +"possible." msgstr "" "Angi creative commons. creative commons er et nonprofit selskap etablert i " "massachusetts, men med sitt hjem ved stanford university. MÃ¥let er Ã¥ bygge " @@ -22742,19 +23035,19 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Simple—which means without a middleman, or without a lawyer. By " -"developing a free set of licenses that people can attach to their content, " -"Creative Commons aims to mark a range of content that can easily, and " -"reliably, be built upon. These tags are then linked to machine-readable " -"versions of the license that enable computers automatically to identify " -"content that can easily be shared. These three expressions together—a " -"legal license, a human-readable description, and machine-readable tags—" -"constitute a Creative Commons license. A Creative Commons license " -"constitutes a grant of freedom to anyone who accesses the license, and more " -"importantly, an expression of the ideal that the person associated with the " -"license believes in something different than the \"All\" or \"No\" extremes. " -"Content is marked with the CC mark, which does not mean that copyright is " -"waived, but that certain freedoms are given." +"<emphasis>Simple</emphasis>—which means without a middleman, or " +"without a lawyer. By developing a free set of licenses that people can " +"attach to their content, Creative Commons aims to mark a range of content " +"that can easily, and reliably, be built upon. These tags are then linked to " +"machine-readable versions of the license that enable computers automatically " +"to identify content that can easily be shared. These three expressions " +"together—a legal license, a human-readable description, and machine-" +"readable tags—constitute a Creative Commons license. A Creative " +"Commons license constitutes a grant of freedom to anyone who accesses the " +"license, and more importantly, an expression of the ideal that the person " +"associated with the license believes in something different than the \"All\" " +"or \"No\" extremes. Content is marked with the CC mark, which does not mean " +"that copyright is waived, but that certain freedoms are given." msgstr "" "enkel, noe som betyr at uten en mellommann, eller uten en advokat. ved Ã¥ " "utvikle et gratis sett av lisenser som folk kan knytte til deres innhold, " @@ -22866,9 +23159,9 @@ msgstr "" msgid "" "Why would creators participate in giving up total control? Some participate " "to better spread their content. Cory Doctorow, for example, is a science " -"fiction author. His first novel, Down and Out in the Magic Kingdom, was " -"released on-line and for free, under a Creative Commons license, on the same " -"day that it went on sale in bookstores." +"fiction author. His first novel, <citetitle>Down and Out in the Magic " +"Kingdom</citetitle>, was released on-line and for free, under a Creative " +"Commons license, on the same day that it went on sale in bookstores." msgstr "" "Hvorfor ville skaperne delta i Ã¥ gi opp full kontroll? noen delta for Ã¥ " "bedre spre innholdet. Cory doctorow, for eksempel er en science fiction-" @@ -22887,7 +23180,7 @@ msgid "" "bad-(1)s. Some part of (2) will download Cory's book, like it, and then " "decide to buy it. Call them (2)-goods. If there are more (2)-goods than bad-" "(1)s, the strategy of releasing Cory's book free on-line will probably " -"increase sales of Cory's book." +"<emphasis>increase</emphasis> sales of Cory's book." msgstr "" "Hvorfor ville en utgiver noensinne samtykker til dette? Jeg mistenker at " "hans publisher begrunnet som dette: det finnes to grupper av mennesker der " @@ -22916,11 +23209,11 @@ msgstr "" msgid "" "The idea that free content might increase the value of nonfree content was " "confirmed by the experience of another author. Peter Wayner, who wrote a " -"book about the free software movement titled Free for All, made an " -"electronic version of his book free on-line under a Creative Commons license " -"after the book went out of print. He then monitored used book store prices " -"for the book. As predicted, as the number of downloads increased, the used " -"book price for his book increased, as well." +"book about the free software movement titled <citetitle>Free for All</" +"citetitle>, made an electronic version of his book free on-line under a " +"Creative Commons license after the book went out of print. He then monitored " +"used book store prices for the book. As predicted, as the number of " +"downloads increased, the used book price for his book increased, as well." msgstr "" "idéen at gratis innhold kan øke verdien av nonfree innhold ble bekreftet av " "opplevelsen av en annen forfatter. Peter wayner, som skrev en bok om fri " @@ -22933,10 +23226,10 @@ msgstr "" #. f2. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"Willful Infringement: A Report from the Front Lines of the Real Culture Wars " -"(2003), produced by Jed Horovitz, directed by Greg Hittelman, a Fiat Lucre " -"production, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#72</ulink>." +"<citetitle>Willful Infringement: A Report from the Front Lines of the Real " +"Culture Wars</citetitle> (2003), produced by Jed Horovitz, directed by Greg " +"Hittelman, a Fiat Lucre production, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #72</ulink>." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -22949,12 +23242,13 @@ msgid "" "noncommercial purposes, to sample content from the licensed work; they are " "just not free to make full copies of the licensed work available to others. " "This is consistent with their own art—they, too, sample from others. " -"Because the legal costs of sampling are so high (Walter Leaphart, manager of " -"the rap group Public Enemy, which was born sampling the music of others, has " -"stated that he does not \"allow\" Public Enemy to sample anymore, because " -"the legal costs are so high<placeholder type=\"footnote\" id=\"0\"/>), these " -"artists release into the creative environment content that others can build " -"upon, so that their form of creativity might grow." +"Because the <emphasis>legal</emphasis> costs of sampling are so high (Walter " +"Leaphart, manager of the rap group Public Enemy, which was born sampling the " +"music of others, has stated that he does not \"allow\" Public Enemy to " +"sample anymore, because the legal costs are so high<placeholder type=" +"\"footnote\" id=\"0\"/>), these artists release into the creative " +"environment content that others can build upon, so that their form of " +"creativity might grow." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -23131,8 +23425,8 @@ msgid "" "records, there is no system to trace— there is no simple way to know " "how to get permission. Yet given the massive increase in the scope of " "copyright's rule, getting permission is a necessary step for any work that " -"builds upon our past. And thus, the lack of formalities forces many into " -"silence where they otherwise could speak." +"builds upon our past. And thus, the <emphasis>lack</emphasis> of formalities " +"forces many into silence where they otherwise could speak." msgstr "" "men Internett endrer alt dette. formaliteter trenger i dag ikke være en " "byrde. verden uten formaliteter er heller verden som byrder kreativitet. i " @@ -23378,11 +23672,11 @@ msgid "" "marking CDs, it would propose that to the Copyright Office. The Copyright " "Office would hold a hearing, at which other proposals could be made. The " "Copyright Office would then select the proposal that it judged preferable, " -"and it would base that choice solely upon the consideration of which method " -"could best be integrated into the registration and renewal system. We would " -"not count on the government to innovate; but we would count on the " -"government to keep the product of innovation in line with its other " -"important functions." +"and it would base that choice <emphasis>solely</emphasis> upon the " +"consideration of which method could best be integrated into the registration " +"and renewal system. We would not count on the government to innovate; but we " +"would count on the government to keep the product of innovation in line with " +"its other important functions." msgstr "" "for eksempel hvis en recording industry association devises en metode for Ã¥ " "merke CDer, ville det foreslÃ¥ som til opphavsrett kontoret. opphavsrett " @@ -23454,9 +23748,15 @@ msgstr "" #. f3. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, " +#| "available at <ulink url=\"http://free-culture.cc/notes/\">link #74</" +#| "ulink>." msgid "" -"\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, available " -"at <ulink url=\"http://free-culture.cc/notes/\">link #74</ulink>." +"\"A Radical Rethink,\" <citetitle>Economist</citetitle>, 366:8308 (25 " +"January 2003): 15, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #74</ulink>." msgstr "" "\"A Radical Rethink,\" Economist, 366:8308 (25. januar 2003): 15, " "tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #74</" @@ -23464,12 +23764,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" -"In The Future of Ideas, I proposed a seventy-five-year term, granted in five-" -"year increments with a requirement of renewal every five years. That seemed " -"radical enough at the time. But after we lost Eldred v. Ashcroft, the " -"proposals became even more radical. The Economist endorsed a proposal for a " -"fourteen-year copyright term.<placeholder type=\"footnote\" id=\"0\"/> " -"Others have proposed tying the term to the term for patents." +"In <citetitle>The Future of Ideas</citetitle>, I proposed a seventy-five-" +"year term, granted in five-year increments with a requirement of renewal " +"every five years. That seemed radical enough at the time. But after we lost " +"<citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</citetitle>, the " +"proposals became even more radical. <citetitle>The Economist</citetitle> " +"endorsed a proposal for a fourteen-year copyright term.<placeholder type=" +"\"footnote\" id=\"0\"/> Others have proposed tying the term to the term for " +"patents." msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> @@ -23487,12 +23789,12 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> #, mtrans, fuzzy msgid "" -"Keep it short: The term should be as long as necessary to give incentives to " -"create, but no longer. If it were tied to very strong protections for " -"authors (so authors were able to reclaim rights from publishers), rights to " -"the same work (not derivative works) might be extended further. The key is " -"not to tie the work up with legal regulations when it no longer benefits an " -"author." +"<emphasis>Keep it short:</emphasis> The term should be as long as necessary " +"to give incentives to create, but no longer. If it were tied to very strong " +"protections for authors (so authors were able to reclaim rights from " +"publishers), rights to the same work (not derivative works) might be " +"extended further. The key is not to tie the work up with legal regulations " +"when it no longer benefits an author." msgstr "" "holde det kort: begrepet skal være sÃ¥ lenge som nødvendig for Ã¥ gi " "insentiver til Ã¥ opprette, men ikke lenger. Hvis det var knyttet til veldig " @@ -23505,23 +23807,24 @@ msgstr "" #. PAGE BREAK 298 #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> msgid "" -"Keep it simple: The line between the public domain and protected content " -"must be kept clear. Lawyers like the fuzziness of \"fair use,\" and the " -"distinction between \"ideas\" and \"expression.\" That kind of law gives " -"them lots of work. But our framers had a simpler idea in mind: protected " -"versus unprotected. The value of short terms is that there is little need " -"to build exceptions into copyright when the term itself is kept short. A " -"clear and active \"lawyer-free zone\" makes the complexities of \"fair use\" " -"and \"idea/expression\" less necessary to navigate." -msgstr "" -"Gjør det enkelt: Skillelinjen mellom verker uten opphavsrettslig vern og " -"innhold som er beskyttet mÃ¥ forbli klart. Advokater liker uklarheten som " -"\"rimelig bruk\" og forskjellen mellom \"idéer\" og \"uttrykk\" har. Denne " -"type lovverk gir dem en masse arbeid. Men de som skrev grunnloven hadde en " -"enklere idé: vernet versus ikke vernet. Verdien av korte vernetider er at " -"det er lite behov for Ã¥ bygge inn unntak i opphavsretten nÃ¥r vernetiden " -"holdes kort. En klar og aktiv \"advokat-fri sone\" gjør komplesiteten av " -"\"rimelig bruk\" og \"idé/uttrykk\" mindre nødvendig Ã¥ hÃ¥ndtere." +"<emphasis>Keep it simple:</emphasis> The line between the public domain and " +"protected content must be kept clear. Lawyers like the fuzziness of \"fair " +"use,\" and the distinction between \"ideas\" and \"expression.\" That kind " +"of law gives them lots of work. But our framers had a simpler idea in mind: " +"protected versus unprotected. The value of short terms is that there is " +"little need to build exceptions into copyright when the term itself is kept " +"short. A clear and active \"lawyer-free zone\" makes the complexities of " +"\"fair use\" and \"idea/expression\" less necessary to navigate." +msgstr "" +"<emphasis>Gjør det enkelt:</emphasis> Skillelinjen mellom verker uten " +"opphavsrettslig vern og innhold som er beskyttet mÃ¥ forbli klart. Advokater " +"liker uklarheten som \"rimelig bruk\" og forskjellen mellom \"idéer\" og " +"\"uttrykk\" har. Denne type lovverk gir dem en masse arbeid. Men de som " +"skrev grunnloven hadde en enklere idé: vernet versus ikke vernet. Verdien av " +"korte vernetider er at det er lite behov for Ã¥ bygge inn unntak i " +"opphavsretten nÃ¥r vernetiden holdes kort. En klar og aktiv \"advokat-fri " +"sone\" gjør komplesiteten av \"rimelig bruk\" og \"idé/uttrykk\" mindre " +"nødvendig Ã¥ hÃ¥ndtere." #. f4. #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><footnote><para> @@ -23534,34 +23837,39 @@ msgstr "" "or Pension, VA Form 21-526 (OMB Approved No. 2900-0001), tilgjengelig fra " "<ulink url=\"http://free-culture.cc/notes/\">link #75</ulink>." +#. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para><indexterm><primary> +msgid "veterans' pensions" +msgstr "" + #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> msgid "" -"Keep it alive: Copyright should have to be renewed. Especially if the " -"maximum term is long, the copyright owner should be required to signal " -"periodically that he wants the protection continued. This need not be an " -"onerous burden, but there is no reason this monopoly protection has to be " -"granted for free. On average, it takes ninety minutes for a veteran to apply " -"for a pension.<placeholder type=\"footnote\" id=\"0\"/> If we make veterans " -"suffer that burden, I don't see why we couldn't require authors to spend ten " -"minutes every fifty years to file a single form." +"<emphasis>Keep it alive:</emphasis> Copyright should have to be renewed. " +"Especially if the maximum term is long, the copyright owner should be " +"required to signal periodically that he wants the protection continued. This " +"need not be an onerous burden, but there is no reason this monopoly " +"protection has to be granted for free. On average, it takes ninety minutes " +"for a veteran to apply for a pension.<placeholder type=\"footnote\" id=\"0\"/" +"> If we make veterans suffer that burden, I don't see why we couldn't " +"require authors to spend ten minutes every fifty years to file a single " +"form. <placeholder type=\"indexterm\" id=\"1\"/>" msgstr "" #. (4) #. type: Content of: <book><chapter><sect1><sect2><orderedlist><listitem><para> #, mtrans, fuzzy msgid "" -"Keep it prospective: Whatever the term of copyright should be, the clearest " -"lesson that economists teach is that a term once given should not be " -"extended. It might have been a mistake in 1923 for the law to offer authors " -"only a fifty-six-year term. I don't think so, but it's possible. If it was a " -"mistake, then the consequence was that we got fewer authors to create in " -"1923 than we otherwise would have. But we can't correct that mistake today " -"by increasing the term. No matter what we do today, we will not increase the " -"number of authors who wrote in 1923. Of course, we can increase the reward " -"that those who write now get (or alternatively, increase the copyright " -"burden that smothers many works that are today invisible). But increasing " -"their reward will not increase their creativity in 1923. What's not done is " -"not done, and there's nothing we can do about that now." +"<emphasis>Keep it prospective:</emphasis> Whatever the term of copyright " +"should be, the clearest lesson that economists teach is that a term once " +"given should not be extended. It might have been a mistake in 1923 for the " +"law to offer authors only a fifty-six-year term. I don't think so, but it's " +"possible. If it was a mistake, then the consequence was that we got fewer " +"authors to create in 1923 than we otherwise would have. But we can't correct " +"that mistake today by increasing the term. No matter what we do today, we " +"will not increase the number of authors who wrote in 1923. Of course, we can " +"increase the reward that those who write now get (or alternatively, increase " +"the copyright burden that smothers many works that are today invisible). But " +"increasing their reward will not increase their creativity in 1923. What's " +"not done is not done, and there's nothing we can do about that now." msgstr "" "holde det potensielle: hva begrepet av opphavsrett skal være, klareste " "lærdommen om at økonomer lære er at en term nÃ¥r gitt ikke bør utvides. Det " @@ -23577,13 +23885,14 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" -"These changes together should produce an average copyright term that is much " -"shorter than the current term. Until 1976, the average term was just 32.2 " -"years. We should be aiming for the same." +"These changes together should produce an <emphasis>average</emphasis> " +"copyright term that is much shorter than the current term. Until 1976, the " +"average term was just 32.2 years. We should be aiming for the same." msgstr "" -"Disse endringene vil sammen gi en gjennomsnittlig opphavsrettslig vernetid " -"som er mye kortere enn den gjeldende vernetiden. Frem til 1976 var " -"gjennomsnittelig vernetid kun 32.2 Ã¥r. VÃ¥rt mÃ¥l bør være det samme." +"Disse endringene vil sammen gi en <emphasis>gjennomsnittlig</emphasis> " +"opphavsrettslig vernetid som er mye kortere enn den gjeldende vernetiden. " +"Frem til 1976 var gjennomsnittelig vernetid kun 32.2 Ã¥r. VÃ¥rt mÃ¥l bør være " +"det samme." #. type: Content of: <book><chapter><sect1><sect2><para> msgid "" @@ -23637,9 +23946,13 @@ msgstr "" #. f5. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " +#| "University Press, 1967), 32." msgid "" -"Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " -"University Press, 1967), 32." +"Benjamin Kaplan, <citetitle>An Unhurried View of Copyright</citetitle> (New " +"York: Columbia University Press, 1967), 32." msgstr "" "Benjamin Kaplan, An Unhurried View of Copyright (New York: Columbia " "University Press, 1967), 32." @@ -23686,13 +23999,13 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Term: If Congress wants to grant a derivative right, then that right should " -"be for a much shorter term. It makes sense to protect John Grisham's right " -"to sell the movie rights to his latest novel (or at least I'm willing to " -"assume it does); but it does not make sense for that right to run for the " -"same term as the underlying copyright. The derivative right could be " -"important in inducing creativity; it is not important long after the " -"creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" +"<emphasis>Term:</emphasis> If Congress wants to grant a derivative right, " +"then that right should be for a much shorter term. It makes sense to protect " +"John Grisham's right to sell the movie rights to his latest novel (or at " +"least I'm willing to assume it does); but it does not make sense for that " +"right to run for the same term as the underlying copyright. The derivative " +"right could be important in inducing creativity; it is not important long " +"after the creative work is done. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "begrepet: Hvis Kongressen vil gi et derivat rett, og at høyre skal være for " "en mye kortere sikt. Det er fornuftig Ã¥ beskytte john grisham's rett til Ã¥ " @@ -23705,16 +24018,16 @@ msgstr "" #. type: Content of: <book><chapter><sect1><sect2><para> #, mtrans, fuzzy msgid "" -"Scope: Likewise should the scope of derivative rights be narrowed. Again, " -"there are some cases in which derivative rights are important. Those should " -"be specified. But the law should draw clear lines around regulated and " -"unregulated uses of copyrighted material. When all \"reuse\" of creative " -"material was within the control of businesses, perhaps it made sense to " -"require lawyers to negotiate the lines. It no longer makes sense for lawyers " -"to negotiate the lines. Think about all the creative possibilities that " -"digital technologies enable; now imagine pouring molasses into the machines. " -"That's what this general requirement of permission does to the creative " -"process. Smothers it." +"<emphasis>Scope:</emphasis> Likewise should the scope of derivative rights " +"be narrowed. Again, there are some cases in which derivative rights are " +"important. Those should be specified. But the law should draw clear lines " +"around regulated and unregulated uses of copyrighted material. When all " +"\"reuse\" of creative material was within the control of businesses, perhaps " +"it made sense to require lawyers to negotiate the lines. It no longer makes " +"sense for lawyers to negotiate the lines. Think about all the creative " +"possibilities that digital technologies enable; now imagine pouring molasses " +"into the machines. That's what this general requirement of permission does " +"to the creative process. Smothers it." msgstr "" "omrÃ¥de: pÃ¥ samme mÃ¥te bør omfanget av avledede rettigheter bli innsnevret. " "igjen, det er noen tilfeller der avledede rettigheter er viktig. de skal " @@ -23747,10 +24060,15 @@ msgid "Goldstein, Paul" msgstr "Goldstein, Paul" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial " +#| "Jukebox (Stanford: Stanford University Press, 2003), 187–216. " +#| "<placeholder type=\"indexterm\" id=\"0\"/>" msgid "" -"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox " -"(Stanford: Stanford University Press, 2003), 187–216. <placeholder " -"type=\"indexterm\" id=\"0\"/>" +"Paul Goldstein, <citetitle>Copyright's Highway: From Gutenberg to the " +"Celestial Jukebox</citetitle> (Stanford: Stanford University Press, 2003), " +"187–216. <placeholder type=\"indexterm\" id=\"0\"/>" msgstr "" "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox " "(Stanford: Stanford University Press, 2003), 187–216. <placeholder " @@ -24005,17 +24323,18 @@ msgid "" "In that world, it will be extremely easy to connect to services that give " "you access to content on the fly—such as Internet radio, content that " "is streamed to the user when the user demands. Here, then, is the critical " -"point: When it is extremely easy to connect to services that give access to " -"content, it will be easier to connect to services that give you access to " -"content than it will be to download and store content on the many devices " -"you will have for playing content. It will be easier, in other words, to " -"subscribe than it will be to be a database manager, as everyone in the " -"download-sharing world of Napster-like technologies essentially is. Content " -"services will compete with content sharing, even if the services charge " -"money for the content they give access to. Already cell-phone services in " -"Japan offer music (for a fee) streamed over cell phones (enhanced with plugs " -"for headphones). The Japanese are paying for this content even though \"free" -"\" content is available in the form of MP3s across the Web.<placeholder type=" +"point: When it is <emphasis>extremely</emphasis> easy to connect to services " +"that give access to content, it will be <emphasis>easier</emphasis> to " +"connect to services that give you access to content than it will be to " +"download and store content <emphasis>on the many devices you will have for " +"playing content</emphasis>. It will be easier, in other words, to subscribe " +"than it will be to be a database manager, as everyone in the download-" +"sharing world of Napster-like technologies essentially is. Content services " +"will compete with content sharing, even if the services charge money for the " +"content they give access to. Already cell-phone services in Japan offer " +"music (for a fee) streamed over cell phones (enhanced with plugs for " +"headphones). The Japanese are paying for this content even though \"free\" " +"content is available in the form of MP3s across the Web.<placeholder type=" "\"footnote\" id=\"0\"/>" msgstr "" @@ -24232,10 +24551,11 @@ msgstr "Fisher, William" #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> msgid "" -"William Fisher, Digital Music: Problems and Possibilities (last revised: 10 " -"October 2000), available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #77</ulink>; William Fisher, Promises to Keep: Technology, Law, and " -"the Future of Entertainment (forthcoming) (Stanford: Stanford University " +"William Fisher, <citetitle>Digital Music: Problems and Possibilities</" +"citetitle> (last revised: 10 October 2000), available at <ulink url=\"http://" +"free-culture.cc/notes/\">link #77</ulink>; William Fisher, " +"<citetitle>Promises to Keep: Technology, Law, and the Future of " +"Entertainment</citetitle> (forthcoming) (Stanford: Stanford University " "Press, 2004), ch. 6, available at <ulink url=\"http://free-culture.cc/notes/" "\">link #78</ulink>. Professor Netanel has proposed a related idea that " "would exempt noncommercial sharing from the reach of copyright and would " @@ -24243,19 +24563,20 @@ msgid "" "Netanel, \"Impose a Noncommercial Use Levy to Allow Free P2P File Sharing,\" " "available at <ulink url=\"http://free-culture.cc/notes/\">link #79</ulink>. " "For other proposals, see Lawrence Lessig, \"Who's Holding Back Broadband?\" " -"Washington Post, 8 January 2002, A17; Philip S. Corwin on behalf of Sharman " -"Networks, A Letter to Senator Joseph R. Biden, Jr., Chairman of the Senate " -"Foreign Relations Committee, 26 February 2002, available at <ulink url=" -"\"http://free-culture.cc/notes/\">link #80</ulink>; Serguei Osokine, A Quick " -"Case for Intellectual Property Use Fee (IPUF), 3 March 2002, available at " -"<ulink url=\"http://free-culture.cc/notes/\">link #81</ulink>; Jefferson " -"Graham, \"Kazaa, Verizon Propose to Pay Artists Directly,\" USA Today, 13 " -"May 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link " -"#82</ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum " -"Online, 1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/" -"\">link #83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" " -"CNET News.com, 27 August 2002, available at <ulink url=\"http://free-culture." -"cc/notes/\">link #84</ulink>. Fisher's proposal is very similar to Richard " +"<citetitle>Washington Post</citetitle>, 8 January 2002, A17; Philip S. " +"Corwin on behalf of Sharman Networks, A Letter to Senator Joseph R. Biden, " +"Jr., Chairman of the Senate Foreign Relations Committee, 26 February 2002, " +"available at <ulink url=\"http://free-culture.cc/notes/\">link #80</ulink>; " +"Serguei Osokine, <citetitle>A Quick Case for Intellectual Property Use Fee " +"(IPUF)</citetitle>, 3 March 2002, available at <ulink url=\"http://free-" +"culture.cc/notes/\">link #81</ulink>; Jefferson Graham, \"Kazaa, Verizon " +"Propose to Pay Artists Directly,\" <citetitle>USA Today</citetitle>, 13 May " +"2002, available at <ulink url=\"http://free-culture.cc/notes/\">link #82</" +"ulink>; Steven M. Cherry, \"Getting Copyright Right,\" IEEE Spectrum Online, " +"1 July 2002, available at <ulink url=\"http://free-culture.cc/notes/\">link " +"#83</ulink>; Declan McCullagh, \"Verizon's Copyright Campaign,\" CNET News." +"com, 27 August 2002, available at <ulink url=\"http://free-culture.cc/notes/" +"\">link #84</ulink>. Fisher's proposal is very similar to Richard " "Stallman's proposal for DAT. Unlike Fisher's, Stallman's proposal would not " "pay artists directly proportionally, though more popular artists would get " "more than the less popular. As is typical with Stallman, his proposal " @@ -24282,17 +24603,17 @@ msgstr "" #, mtrans, fuzzy msgid "" "Fisher's proposal is careful and comprehensive. It raises a million " -"questions, most of which he answers well in his upcoming book, Promises to " -"Keep. The modification that I would make is relatively simple: Fisher " -"imagines his proposal replacing the existing copyright system. I imagine it " -"complementing the existing system. The aim of the proposal would be to " -"facilitate compensation to the extent that harm could be shown. This " -"compensation would be temporary, aimed at facilitating a transition between " -"regimes. And it would require renewal after a period of years. If it " -"continues to make sense to facilitate free exchange of content, supported " -"through a taxation system, then it can be continued. If this form of " -"protection is no longer necessary, then the system could lapse into the old " -"system of controlling access." +"questions, most of which he answers well in his upcoming book, " +"<citetitle>Promises to Keep</citetitle>. The modification that I would make " +"is relatively simple: Fisher imagines his proposal replacing the existing " +"copyright system. I imagine it complementing the existing system. The aim " +"of the proposal would be to facilitate compensation to the extent that harm " +"could be shown. This compensation would be temporary, aimed at facilitating " +"a transition between regimes. And it would require renewal after a period of " +"years. If it continues to make sense to facilitate free exchange of content, " +"supported through a taxation system, then it can be continued. If this form " +"of protection is no longer necessary, then the system could lapse into the " +"old system of controlling access." msgstr "" "fisher's forslag er grundige og omfattende. det reiser en million " "spørsmÃ¥lene, mest av som han svarer godt i hans kommende bok, lover Ã¥ holde. " @@ -24460,25 +24781,26 @@ msgid "" "develop. These changes may not eliminate type A sharing. But the real issue " "is not whether it eliminates sharing in the abstract. The real issue is its " "effect on the market. Is it better (a) to have a technology that is 95 " -"percent secure and produces a market of size x, or (b) to have a technology " -"that is 50 percent secure but produces a market of five times x? Less secure " -"might produce more unauthorized sharing, but it is likely to also produce a " -"much bigger market in authorized sharing. The most important thing is to " -"assure artists' compensation without breaking the Internet. Once that's " -"assured, then it may well be appropriate to find ways to track down the " -"petty pirates." +"percent secure and produces a market of size <citetitle>x</citetitle>, or " +"(b) to have a technology that is 50 percent secure but produces a market of " +"five times <citetitle>x</citetitle>? Less secure might produce more " +"unauthorized sharing, but it is likely to also produce a much bigger market " +"in authorized sharing. The most important thing is to assure artists' " +"compensation without breaking the Internet. Once that's assured, then it may " +"well be appropriate to find ways to track down the petty pirates." msgstr "" "Ja, det bør den. Men, nok en gang, hva den bør gjøre avhenger hvordan " "realitetene utvikler seg. Disse endringene fjerner kanskje ikke all type-A-" "deling. Men det virkelige spørmÃ¥let er ikke om de eliminerer deling i " "abstrakt betydning. Det virkelige spørsmÃ¥let er hvilken effekt det har pÃ¥ " "markedet. Er det bedre (a) Ã¥ ha en teknologi som er 95 prosent sikker og " -"gir et marked av størrelse x, eller (b) Ã¥ ha en teknologi som er 50 prosent " -"sikker, og som gir et marked som er fem ganger større enn x? Mindre sikker " -"kan gi mer uautorisert deling, men det vil sannsynligvis ogsÃ¥ gi et mye " -"større marked for autorisert deling. Det viktigste er Ã¥ sikre kunstneres " -"kompensasjon uten Ã¥ ødelegge internettet. NÃ¥r det er pÃ¥ plass, kan det " -"hende det er riktig Ã¥ finne mÃ¥ter Ã¥ spore opp de smÃ¥lige piratene." +"gir et marked av størrelse <citetitle>x</citetitle>, eller (b) Ã¥ ha en " +"teknologi som er 50 prosent sikker, og som gir et marked som er fem ganger " +"større enn <citetitle>x</citetitle>? Mindre sikker kan gi mer uautorisert " +"deling, men det vil sannsynligvis ogsÃ¥ gi et mye større marked for " +"autorisert deling. Det viktigste er Ã¥ sikre kunstneres kompensasjon uten Ã¥ " +"ødelegge internettet. NÃ¥r det er pÃ¥ plass, kan det hende det er riktig Ã¥ " +"finne mÃ¥ter Ã¥ spore opp de smÃ¥lige piratene." #. PAGE BREAK 309 #. type: Content of: <book><chapter><sect1><sect2><para> @@ -24528,9 +24850,14 @@ msgstr "" #. f10. #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " +#| "Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069–70." msgid "" "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " -"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069–70." +"Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, " +"1069–70." msgstr "" "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer " "Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069–70." @@ -24566,21 +24893,39 @@ msgstr "" "om vÃ¥r manglende evne til Ã¥ faktisk ta inn over oss hva loven koster." #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para> +#, fuzzy +#| msgid "" +#| "A good example is the work of Professor Stan Liebowitz. Liebowitz is to " +#| "be commended for his careful review of data about infringement, leading " +#| "him to question his own publicly stated position—twice. He " +#| "initially predicted that downloading would substantially harm the " +#| "industry. He then revised his view in light of the data, and he has since " +#| "revised his view again. Compare Stan J. Liebowitz, Rethinking the " +#| "Network Economy: The True Forces That Drive the Digital Marketplace (New " +#| "York: Amacom, 2002), (reviewing his original view but expressing " +#| "skepticism) with Stan J. Liebowitz, \"Will MP3s Annihilate the Record " +#| "Industry?\" working paper, June 2003, available at <ulink url=\"http://" +#| "free-culture.cc/notes/\">link #86</ulink>. Liebowitz's careful analysis " +#| "is extremely valuable in estimating the effect of file-sharing " +#| "technology. In my view, however, he underestimates the costs of the legal " +#| "system. See, for example, Rethinking, 174–76. <placeholder type=" +#| "\"indexterm\" id=\"0\"/>" msgid "" "A good example is the work of Professor Stan Liebowitz. Liebowitz is to be " "commended for his careful review of data about infringement, leading him to " "question his own publicly stated position—twice. He initially " "predicted that downloading would substantially harm the industry. He then " "revised his view in light of the data, and he has since revised his view " -"again. Compare Stan J. Liebowitz, Rethinking the Network Economy: The True " -"Forces That Drive the Digital Marketplace (New York: Amacom, 2002), " -"(reviewing his original view but expressing skepticism) with Stan J. " -"Liebowitz, \"Will MP3s Annihilate the Record Industry?\" working paper, June " -"2003, available at <ulink url=\"http://free-culture.cc/notes/\">link #86</" -"ulink>. Liebowitz's careful analysis is extremely valuable in estimating " -"the effect of file-sharing technology. In my view, however, he " -"underestimates the costs of the legal system. See, for example, Rethinking, " -"174–76. <placeholder type=\"indexterm\" id=\"0\"/>" +"again. Compare Stan J. Liebowitz, <citetitle>Rethinking the Network " +"Economy: The True Forces That Drive the Digital Marketplace</citetitle> (New " +"York: Amacom, 2002), (reviewing his original view but expressing skepticism) " +"with Stan J. Liebowitz, \"Will MP3s Annihilate the Record Industry?\" " +"working paper, June 2003, available at <ulink url=\"http://free-culture.cc/" +"notes/\">link #86</ulink>. Liebowitz's careful analysis is extremely " +"valuable in estimating the effect of file-sharing technology. In my view, " +"however, he underestimates the costs of the legal system. See, for example, " +"<citetitle>Rethinking</citetitle>, 174–76. <placeholder type=" +"\"indexterm\" id=\"0\"/>" msgstr "" "Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør fÃ¥ " "ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til "