Update after updated XML.

diff --git a/freeculture.nb.po b/freeculture.nb.po
index ed3edb95cf9ad43ed51e0a7e00a935ebb15ab6b0..f903a2bbf0f889577b50bd4acdb5da35e1c366e6 100644 (file)
--- a/freeculture.nb.po
+++ b/freeculture.nb.po
@@ -6,7 +6,7 @@
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 "Project-Id-Version: Free Culture by Lawrence Lessig\n"
 msgid ""
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 "Project-Id-Version: Free Culture by Lawrence Lessig\n"

-"POT-Creation-Date: 2012-07-27 11:04+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 <pere@hungry.com>\n"
 "Language-Team: Norwegian Bokmål <i18n-nb@lister.ping.uio.no>\n"
 "PO-Revision-Date: 2012-07-13 21:50+0200\n"
 "Last-Translator: Petter Reinholdtsen <pere@hungry.com>\n"
 "Language-Team: Norwegian Bokmål <i18n-nb@lister.ping.uio.no>\n"


@@ -65,13 +65,14 @@ msgstr ""
 
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-"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 <ulink url=\"http://creativecommons.org/licenses/by-nc/1.0/\">http://"
-"creativecommons.org/licenses/by-nc/1.0/</ulink>"
+"This version of <citetitle>Free Culture</citetitle> 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 <ulink url=\"http://creativecommons."
+"org/licenses/by-nc/1.0/\">http://creativecommons.org/licenses/by-nc/1.0/</"
+"ulink>"

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-"Denne versjonen av Fri Kultur er lisensert med en Creative Commons-lisens.  "
+"Denne versjonen av <citetitle>Fri Kultur</citetitle> 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 på "
 "ikonet over eller besøk <ulink url=\"http://creativecommons.org/licenses/by-"
 "Denne lisensen tillater ikke-kommersiell utnyttelse av verket, hvis "
 "opphavsinnehaveren er navngitt.  For mer informasjon om lisensen, klikk på "
 "ikonet over eller besøk <ulink url=\"http://creativecommons.org/licenses/by-"


@@ -162,13 +163,14 @@ msgstr ""
 
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 msgid "Copyright &copy; Lawrence Lessig.  All rights reserved."
 
 #. type: Content of: <book><colophon><para>
 msgid "Copyright &copy; Lawrence Lessig.  All rights reserved."

-msgstr "Opphavsrettbeskyttet &copy; Lawrence Lessig.  Alle rettigheter reservert."
+msgstr ""
+"Opphavsrettbeskyttet &copy; Lawrence Lessig.  Alle rettigheter reservert."

 
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-"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" The "
-"New York Times, January 16, 2003. Copyright &copy; 2003 by The New York "
-"Times Co.  Reprinted with permission."
+"Excerpt from an editorial titled \"The Coming of Copyright Perpetuity,\" "
+"<citetitle>The New York Times</citetitle>, January 16, 2003. Copyright "
+"&copy; 2003 by The New York Times Co.  Reprinted with permission."

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@@ -297,21 +299,21 @@ msgstr "Pogue, David"
 
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-"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:"

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-"første bok, Code: And Other Laws of Cyberspace:"
+"første bok, <citetitle>Code: And Other Laws of Cyberspace</citetitle>:"

 
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-"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."

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-"David Pogue, \"Don't Just Chat, Do Something,\" New York Times, 30. januar "
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@@ -332,28 +334,29 @@ msgid ""
 "\"code,\" functioned as a kind of law&mdash;and his review suggested the "
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-"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."

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 "Pogue might have been right in 1999&mdash;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."

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 "Pogue kan ha hatt rett i 1999 &mdash; jeg er skeptisk, men det kan hende. "

-"Men selv om han hadde rett da, så er ikke argumentet gyldig nå. Fri Kultur "
+"Men selv om han hadde rett da, så er ikke argumentet gyldig nå. <citetitle>Fri Kultur</citetitle> "

 "er om problemene internett forårsaker selv etter at modemet er slått av.  "
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@@ -361,24 +364,42 @@ msgstr ""
 
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-"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."

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-"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)."

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-"Richard M. Stallman, Fri programvare, Frie samfunn 57 (Joshua Gay, red. "
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+#, fuzzy
+#| msgid ""
+#| "That tradition is the way our culture gets made. As I explain in the "
+#| "pages that follow, we come from a tradition of \"free culture\"&mdash;not "
+#| "\"free\" as in \"free beer\" (to borrow a phrase from the founder of the "
+#| "free software movement<placeholder type=\"footnote\" id=\"0\"/>), but "
+#| "\"free\" as in \"free speech,\" \"free markets,\" \"free trade,\" \"free "
+#| "enterprise,\" \"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\"&mdash;a culture in which creators get to "
+#| "create only with the permission of the powerful, or of creators from the "
+#| "past."

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 "That tradition is the way our culture gets made. As I explain in the pages "
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 "that follow, we come from a tradition of \"free culture\"&mdash;not \"free\" "


@@ -388,12 +409,12 @@ msgid ""
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-"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\"&mdash;a culture in which creators get to create only "
+"with the permission of the powerful, or of creators from the past."

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+#, fuzzy
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+#| "William Safire, \"The Great Media Gulp,\" New York Times, 22 May 2003.  "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"

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-"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 "
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-"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, "
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-"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."
+#, fuzzy
+#| 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&mdash;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."
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+"This idea is an element of the argument of <citetitle>Free Culture</"
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+"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&mdash;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 "
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 #. type: Content of: <book><chapter><para><footnote><para>
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+#, fuzzy
+#| msgid ""
+#| "St. George Tucker, Blackstone's Commentaries 3 (South Hackensack, N.J.: "
+#| "Rothman Reprints, 1969), 18."

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+#, fuzzy
+#| msgid ""
+#| "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find "
+#| "that 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&ndash;13.  "
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+#| "\" id=\"1\"/>"

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 "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
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 "by Keith Aoki's wonderful piece, \"(Intellectual)  Property and Sovereignty: "
 msgid ""
 "United States v. Causby, U.S. 328 (1946): 256, 261. The Court did find that "
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+"<citetitle>Real Property</citetitle> (Mineola, N.Y.: Foundation Press, "
+"1984), 1112&ndash;13.  <placeholder type=\"indexterm\" id=\"0\"/> "
+"<placeholder type=\"indexterm\" id=\"1\"/>"

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+#, fuzzy
+#| msgid ""
+#| "Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong "
+#| "(Philadelphia: J. B. Lipincott Company, 1956), 209."

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-"Lawrence Lessing, Man of High Fidelity: Edwin Howard Armstrong "
-"(Philadelphia: J. B. Lipincott Company, 1956), 209."
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+#, fuzzy
+#| msgid ""
+#| "See Jessica Litman, Digital Copyright (New York: Prometheus Books, 2001), "
+#| "ch. 13."

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+"Prometheus Books, 2001), ch. 13."

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+#, fuzzy
+#| 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."

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 "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
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-"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."

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 "Amy Harmon, \"Black Hawk Download: Moving Beyond Music, Pirates Use New "
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@@ -1417,9 +1488,14 @@ msgid "Netanel, Neil Weinstock"
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+#, fuzzy
+#| msgid ""
+#| "Neil W. Netanel, \"Copyright and a Democratic Civil Society,\" Yale Law "
+#| "Journal 106 (1996): 283.  <placeholder type=\"indexterm\" id=\"0\"/>"

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@@ -1546,14 +1622,23 @@ msgstr ""
 "til fordel for seg."
 
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 "til fordel for seg."
 
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+#, fuzzy
+#| msgid ""
+#| "My hope is to push this common sense along. I have become increasingly "
+#| "amazed by the power of this idea of intellectual property and, more "
+#| "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."

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 "My hope is to push this common sense along. I have become increasingly "
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 msgid ""
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-msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
+#, fuzzy
+#| msgid "Bach v. Longman, 98 Eng. Rep. 1274 (1777) (Mansfield)."
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@@ -1762,12 +1851,19 @@ msgstr ""
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 "opphavsretter frykter delingen vil \"frata forfatteren overskuddet.\""
 
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+#, fuzzy
+#| msgid ""
+#| "The warriors have turned to the courts, to the legislatures, and "
+#| "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&mdash;our kids are becoming thieves!"

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 "The warriors have turned to the courts, to the legislatures, and "
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@@ -1811,9 +1907,14 @@ msgstr "Dreyfuss, Rochelle"
 
 #.  f2
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+#, fuzzy
+#| msgid ""
+#| "See Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in "
+#| "the Pepsi Generation,\" Notre Dame Law Review 65 (1990): 397."

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 "Se Rochelle Dreyfuss, \"Expressive Genericity: Trademarks as Language in the "
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 msgstr ""
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@@ -1823,12 +1924,21 @@ msgid "Zittrain, Jonathan"
 msgstr "Zittrain, Jonathan"
 
 #. type: Content of: <book><chapter><para><footnote><para>
 msgstr "Zittrain, Jonathan"
 
 #. type: Content of: <book><chapter><para><footnote><para>

+#, fuzzy
+#| 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\"/>"

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 "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "
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 "Lisa Bannon, \"The Birds May Sing, but Campers Can't Unless They Pay Up,\" "

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+"<citetitle>Wall Street Journal</citetitle>, 21 August 1996, available at "
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@@ -1923,14 +2033,23 @@ msgid "Florida, Richard"
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+#, fuzzy
+#| msgid ""
+#| "In The Rise of the Creative Class (New York: Basic Books, 2002), Richard "
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@@ -1976,12 +2095,20 @@ msgid "CHAPTER ONE: Creators"
 msgstr "Kapittel en: Skaperne"
 
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 msgstr "Kapittel en: Skaperne"
 
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+#| "In 1928, a cartoon character was born. An early Mickey Mouse made his "
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 "Mikke Mus."
 
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+#, fuzzy
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+#| "Synchronized sound had been introduced to film a year earlier in the "
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+#, fuzzy
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+#| "Leonard Maltin, Of Mice and Magic: A History of American Animated "
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+#| "This much is familiar. What you might not know is that 1928 also marks "
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+#| "I am grateful to David Gerstein and his careful history, described at "
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@@ -2202,6 +2367,24 @@ msgstr ""
 
 #.  PAGE BREAK 37
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 #.  PAGE BREAK 37
 #. type: Content of: <book><chapter><sect1><para>

+#, fuzzy
+#| msgid ""
+#| "Disney took these stories and retold them in a way that carried them into "
+#| "a new age. He animated the stories, with both characters and light. "
+#| "Without removing the elements of fear and danger altogether, he made "
+#| "funny what was 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)&mdash;not to mention a recent example that we should "
+#| "perhaps quickly forget, Treasure Planet (2003). In all of these cases, "
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 "Disney took these stories and retold them in a way that carried them into a "
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-"together: Snow White (1937), Fantasia (1940), Pinocchio (1940), Dumbo "
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-"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)&mdash;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)"
+"&mdash;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."

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@@ -2335,12 +2523,12 @@ msgstr ""
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 "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."

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 msgstr ""
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 "amerikanere, men det er uunngåelig i japansk kultur: manga, eller "


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-"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&mdash;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&mdash;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."

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@@ -2442,10 +2631,10 @@ 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 "
 "\"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 å eksistere i det hele tatt. under japansk lov om "
 msgstr ""
 "funksjonen mest underlige i doujinshi markedet, for de jurist, minst, er at "
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@@ -2465,9 +2654,13 @@ msgstr "Winick, Judd"
 
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 #.  f5
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+#, fuzzy
+#| msgid ""
+#| "For an excellent history, see Scott McCloud, Reinventing Comics (New "
+#| "York: Perennial, 2000)."

 msgid ""
 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)."
 msgstr ""
 "For en utmerket historie, se Scott McCloud, Reinventing Comics (New York: "
 "Perennial, 2000)."


@@ -2506,13 +2699,13 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "See Salil K. Mehra, \"Copyright and Comics in Japan: Does Law Explain Why "
 #, 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 "
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 msgstr ""
 "se salil k. mehra, \"copyright og tegneserier i japan: gjør loven forklare "
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@@ -2612,9 +2805,10 @@ msgstr "Vaidhyanathan, Siva"
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-"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&mdash;copyright, patents, trademark, and trade-"
 "secret&mdash;but the nature of those rights is very different.  <placeholder "
 "Random House, 2001), 293 n. 26. The term accurately describes a set of "
 "\"property\" rights&mdash;copyright, patents, trademark, and trade-"
 "secret&mdash;but the nature of those rights is very different.  <placeholder "


@@ -2704,12 +2898,12 @@ 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 "
 "or paying for the privilege. (\"Excuse me, Professor Einstein, but may I "
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 "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."

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 "Det er det samme med tusen eksempler som vises overalt når du begynner å se. "
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-"The hard question is therefore not whether a culture is free. All cultures "
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-"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?"

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@@ -2851,9 +3046,13 @@ msgstr ""
 
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+#, fuzzy
+#| msgid ""
+#| "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins "
+#| "University Press, 1975), 112."

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-"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 "
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 msgstr ""
 "Reese V. Jenkins, Images and Enterprise (Baltimore: Johns Hopkins University "
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@@ -2863,7 +3062,8 @@ msgid ""
 "Eastman developed flexible, emulsion-coated paper film and placed rolls of "
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-"type=\"footnote\" id=\"0\"/> As he described in The Kodak Primer:"
+"type=\"footnote\" id=\"0\"/> As he described in <citetitle>The Kodak Primer</"
+"citetitle>:"

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@@ -2873,8 +3073,8 @@ msgstr "Coe, Brian"
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-"Brian Coe, The Birth of Photography (New York: Taplinger Publishing, 1977), "
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@@ -2962,13 +3162,13 @@ msgstr ""
 
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-"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)."

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 #. type: Content of: <book><chapter><sect1><para>
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@@ -3007,9 +3207,9 @@ msgstr "Warren, Samuel D."
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-"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,\" "
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-"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."

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-"See Melville B. Nimmer, \"The Right of Publicity,\" Law and Contemporary "
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+"Contemporary Problems</citetitle> 19 (1954): 203; William L. Prosser, "
+"\"Privacy,\" <citetitle>California Law Review</citetitle> 48 (1960) "
+"398&ndash;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)."

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-"Judith Van Evra, Television and Child Development (Hillsdale, N.J.: Lawrence "
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+"Judith Van Evra, <citetitle>Television and Child Development</citetitle> "
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 "Judith van evra, TV og barn utvikling (hillsdale, NJ: lawrence erlbaum "
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@@ -3430,9 +3632,9 @@ msgid ""
 "students, `you have to do it in text,' they would've just thrown their hands "
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@@ -3587,9 +3789,9 @@ msgid ""
 "shows with text. Some offered open letters. There were sound recordings. "
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 msgstr ""
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-"trans.  Henry Reeve (New York: Bantam Books, 2000), ch. 16."
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+"citetitle>, bk. 1, trans.  Henry Reeve (New York: Bantam Books, 2000), ch. "
+"16."

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+#, fuzzy
+#| msgid ""
+#| "Bruce Ackerman and James Fishkin, \"Deliberation Day,\" Journal of "
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+#, fuzzy
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+#| "Cass Sunstein, Republic.com (Princeton: Princeton University Press, "
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 "with a reporter in Iraq. The New York headquarters was telling the reporter "
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-"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 "
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-"who started a blog about his reporting of the war on March 9, stopped "
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-"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 "
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+"Last year Steve Olafson, a <citetitle>Houston Chronicle</citetitle> "
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+#, fuzzy
+#| msgid ""
+#| "Tim Goral, \"Recording Industry Goes After Campus P-2-P Networks: Suit "
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 "detail, the bottom line in each was exactly the same: huge demands for "
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@@ -4559,7 +4779,7 @@ msgstr ""
 msgid ""
 "Occupational Employment Survey, U.S. Dept. of Labor (2001)  "
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+#, fuzzy
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+#| "Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall "
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-"Douglas Lichtman makes a related point in \"KaZaA and Punishment,\" Wall "
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+"history. See also Siva Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
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-"J. A. Aberdeen, Hollywood Renegades: The Society of Independent Motion "
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-"University of Chicago Law School, James M. Olin Program in Law and "
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+"J. A. Aberdeen, <citetitle>Hollywood Renegades: The Society of Independent "
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+"\"http://free-culture.cc/notes/\">link #11</ulink>. For a discussion of the "
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+"phonographs, see Randal C. Picker, \"From Edison to the Broadcast Flag: "
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-"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 ""
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 msgstr ""
 "men når radiostasjonen spiller en post, det er ikke bare utføre en kopi av "
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@@ -5224,8 +5456,8 @@ 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 "
 "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 ""
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-"See, for example, National Music Publisher's Association, The Engine of Free "
-"Expression: Copyright on the Internet&mdash;The Myth of Free Information, "
-"available at <ulink url=\"http://free-culture.cc/notes/\">link #13</ulink>. "
-"\"The threat of piracy&mdash;the use of someone else's creative work without "
-"permission or compensation&mdash;has grown with the Internet.\""
+"See, for example, National Music Publisher's Association, <citetitle>The "
+"Engine of Free Expression: Copyright on the Internet&mdash;The Myth of Free "
+"Information</citetitle>, available at <ulink url=\"http://free-culture.cc/"
+"notes/\">link #13</ulink>. \"The threat of piracy&mdash;the use of someone "
+"else's creative work without permission or compensation&mdash;has grown with "
+"the Internet.\""

 msgstr ""
 
 #. type: Content of: <book><chapter><sect1><sect2><para>
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@@ -5463,11 +5696,11 @@ msgid ""
 "These separate stories sing a common theme. If \"piracy\" means using value "
 "from someone else's creative property without permission from that "
 "creator&mdash;as it is increasingly described today<placeholder type="
 "These separate stories sing a common theme. If \"piracy\" means using value "
 "from someone else's creative property without permission from that "
 "creator&mdash;as it is increasingly described today<placeholder type="

-"\"footnote\" id=\"0\"/> &mdash; 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&mdash;"
-"until now."
+"\"footnote\" id=\"0\"/> &mdash; 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&mdash;until now."

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@@ -5515,11 +5748,11 @@ msgstr "piratkopiering jeg"
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 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
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-"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>
 msgstr ""
 
 #. type: Content of: <book><chapter><sect1><sect2><para>


@@ -5606,20 +5839,20 @@ msgstr "Drahos, Peter"
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 #, mtrans, fuzzy
 msgid ""
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-"See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns the "
-"Knowledge Economy? (New York: The New Press, 2003), 10&ndash;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&ndash;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 ""
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 msgstr ""
 "se peter drahos med john braithwaite, informasjon Føydalisme: hvem som eier "
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@@ -5653,12 +5886,12 @@ msgstr "Liebowitz, Stan"
 #, mtrans, fuzzy
 msgid ""
 "For an analysis of the economic impact of copying technology, see Stan "
 #, mtrans, fuzzy
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 "For an analysis of the economic impact of copying technology, see Stan "

-"Liebowitz, Rethinking the Network Economy (New York: Amacom, 2002), "
-"144&ndash;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&ndash;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"
 msgstr ""
 "for en analyse av økonomiske virkningen av kopiering teknologi, kan du se "
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@@ -5707,18 +5940,18 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "This argument is still very weak. However, although copyright is a property "
 #, mtrans, fuzzy
 msgid ""
 "This argument is still very weak. However, although copyright is a property "

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-"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."

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 msgstr ""
 "Dette argumentet er fortsatt veldig svak. men selv om opphavsrett er en "
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@@ -5867,7 +6100,11 @@ msgstr "piratkopiering ii"
 
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-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
 msgstr "Bach v. Longman, 98 Eng. Rep. 1274 (1777)."
 
 #.  PAGE BREAK 80


@@ -5887,14 +6124,15 @@ msgstr "Christensen, Clayton M."
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 #, mtrans, fuzzy
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 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
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-"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&ndash;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&ndash;92, "
+"139.  <placeholder type=\"indexterm\" id=\"0\"/>"

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 "se clayton m christensen, nyskapers dilemma: revolusjonerende nasjonale "
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-"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."

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 "se carolyn lochhead, \"silicon valley dream, hollywood mareritt\" san "
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-"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."

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 "se ipsos-innsikt, tempo: å holde tritt med online musikk distribusjon "
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 "se ipsos-innsikt, tempo: å holde tritt med online musikk distribusjon "
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@@ -5969,8 +6210,8 @@ msgstr ""
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-"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" New York "
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+"Amy Harmon, \"Industry Offers a Carrot in Online Music Fight,\" "
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 "tasted file-sharing technology. A study by Ipsos-Insight in September 2002 "
 "estimated that 60 million Americans had downloaded music&mdash;28 percent of "
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-"by the NPD group quoted in The New York Times estimated that 43 million "
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-"<placeholder type=\"footnote\" id=\"1\"/> The vast majority of these are not "
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-"networks have inspired millions to enjoy music in a way that they hadn't "
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+"by the NPD group quoted in <citetitle>The New York Times</citetitle> "
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 msgstr "Hvordan balanserer disse ulike delingstypene?"
 
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 msgstr "Hvordan balanserer disse ulike delingstypene?"
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>

+#, fuzzy
+#| msgid ""
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-"See Cap Gemini Ernst &amp; 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 "
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-"Assessment, Copyright and Home Copying: Technology Challenges the Law, OTA-"
-"CIT-422 (Washington, D.C.: U.S.  Government Printing Office, October 1989), "
-"145&ndash;56."
+"See Cap Gemini Ernst &amp; 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&ndash;56."

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 #.  f11
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-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."
 
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 "in particular, and society in general&mdash;or at least the society that "
 "inherits the tradition that gave us the film industry, the record industry, "
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-"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>
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 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para><indexterm><primary>


@@ -6285,10 +6532,10 @@ 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 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
 msgstr ""
 
 #.  PAGE BREAK 84


@@ -6369,7 +6616,7 @@ 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 "
 "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
 msgstr ""
 
 #.  f16


@@ -6377,12 +6624,12 @@ 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, "
 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 ""
 
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@@ -6392,11 +6639,11 @@ 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 "
 "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>
 msgstr ""
 
 #. type: Content of: <book><chapter><sect1><sect2><indexterm><primary>


@@ -6451,14 +6698,14 @@ msgid ""
 "sharing to occur&mdash;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, "
 "sharing to occur&mdash;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 ""
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 msgstr ""
 "til slutt, og kanskje viktigst, tillater fildelings-nettverk typen d deling "
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@@ -6538,9 +6785,9 @@ 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 "
 "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&ndash;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&ndash;82."

 msgstr ""
 
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@@ -6647,8 +6894,8 @@ 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 "
 "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 ""
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 "denne sårbarheten, som kompromiss som påvirker poster og spilleren pianoer, "
 "servert to viktige mål&mdash;faktisk to sentrale målene noen opphavsrett "


@@ -6744,8 +6991,8 @@ msgstr "opphavsrett infringements (lyd og video-opptakere), 475."
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-"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. "
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 msgstr ""
 "Universal city studios, inc. v. sony Corporation of america, 480 f. supp. "
 "429, (klientadgangslisens CAL (CD), 1979)."


@@ -6788,8 +7035,8 @@ msgstr ""
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-"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 "
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 msgstr ""
 "Universal city studios, inc. v. sony Corporation of america, 659 f. 2d 963 "
 "(9 cir. 1981)."


@@ -6803,9 +7050,9 @@ msgid ""
 "liable for the copyright infringement made possible by its machines. Under "
 "the Ninth Circuit's rule, this totally familiar technology&mdash;which Jack "
 "Valenti had called \"the Boston Strangler of the American film industry"
 "liable for the copyright infringement made possible by its machines. Under "
 "the Ninth Circuit's rule, this totally familiar technology&mdash;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)&mdash;was an illegal technology.<placeholder type=\"footnote\" id="
-"\"0\"/>"
+"\" (worse yet, it was a <emphasis>Japanese</emphasis> Boston Strangler of "
+"the American film industry)&mdash;was an illegal technology.<placeholder "
+"type=\"footnote\" id=\"0\"/>"

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 #.  PAGE BREAK 90
 msgstr ""
 
 #.  PAGE BREAK 90


@@ -6824,8 +7071,8 @@ msgstr ""
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-"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 ""
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 msgstr ""
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@@ -6927,12 +7174,13 @@ 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 "
 "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&ndash;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&ndash;96.  <placeholder type=\"indexterm\" id="
+"\"0\"/>"

 msgstr ""
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 msgstr ""
 "disse er de viktigste forekomstene i vår historie, men det finnes andre "
 "tilfeller også. teknologi for digital audio tape (dat), for eksempel var "


@@ -6957,14 +7205,14 @@ msgstr ""
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-"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."

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@@ -7001,7 +7249,8 @@ msgstr ""
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-"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 "
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@@ -7014,9 +7263,9 @@ 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 "
 "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."

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@@ -7051,7 +7300,7 @@ msgstr ""
 #, mtrans, fuzzy
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 "John Schwartz, \"New Economy: The Attack on Peer-to-Peer Software Echoes "
 #, mtrans, fuzzy
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 "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 ""
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 msgstr ""
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 "reflekterer forbi innsats,\" new york times, 22 september 2003, c3."


@@ -7062,23 +7311,23 @@ 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 "
 "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?\""

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-"\"It is our property,\" the warriors insist. \"And it should be protected "
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+"\"It is <emphasis>our property</emphasis>,\" the warriors insist. \"And it "
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 msgstr ""
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 "Indeed, the very idea of property in any idea or any expression is very odd. "
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 "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&mdash;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&mdash;by, for "
+"example, going to Sears, buying a table, and putting it in my backyard? What "
+"is the thing I am taking then?"

 msgstr ""
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@@ -7126,9 +7376,9 @@ msgstr ""
 #. type: Content of: <book><chapter><para><footnote><para>
 #, mtrans, fuzzy
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 #. type: Content of: <book><chapter><para><footnote><para>
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-"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&ndash;34."
+"Letter from Thomas Jefferson to Isaac McPherson (13 August 1813) in "
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+"Lipscomb and Albert Ellery Bergh, eds., 1903), 330, 333&ndash;34."

 msgstr ""
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@@ -7171,8 +7421,8 @@ 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 "
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-"Is Property? Putting the Pieces Back Together,\" Arizona Law Review 45 "
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+"Is Property? Putting the Pieces Back Together,\" <citetitle>Arizona Law "
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@@ -7215,15 +7465,25 @@ msgid "CHAPTER SIX: Founders"
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+#, fuzzy
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+#| "William Shakespeare wrote Romeo and Juliet in 1595. The play was first "
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+#| "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 "
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+#, fuzzy
+#| 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&ndash;31."

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+#, fuzzy
+#| msgid ""
+#| "Lyman Ray Patterson, Copyright in Historical Perspective (Nashville: "
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+#, fuzzy
+#| msgid ""
+#| "In 1774, almost 180 years after Romeo and Juliet was written, the \"copy-"
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@@ -7288,16 +7576,33 @@ msgstr ""
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+#, fuzzy
+#| msgid ""
+#| "As Siva Vaidhyanathan nicely argues, it is erroneous to call this a "
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+#| "<placeholder type=\"indexterm\" id=\"0\"/>"

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 #. type: Content of: <book><chapter><sect1><para>

+#, fuzzy
+#| msgid ""
+#| "Now, there's something puzzling about the year 1774 to anyone who knows a "
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@@ -7306,9 +7611,9 @@ msgid ""
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@@ -7341,16 +7646,29 @@ msgstr ""
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+#, fuzzy
+#| msgid ""
+#| "There was no positive law, but that didn't mean that there was no law. "
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+#, fuzzy
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+#| "Now, the thing to puzzle about for a moment is this: Why would Parliament "
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+#, fuzzy
+#| msgid ""
+#| "For the booksellers, and the authors whom they represented, had a very "
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+#, fuzzy
+#| msgid ""
+#| "First, about copyright. In the last three hundred years, we have come to "
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+#, fuzzy
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+#| "Philip Wittenberg, The Protection and Marketing of Literary Property (New "
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+#, fuzzy
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+#| "A Letter to a Member of Parliament concerning the Bill now depending in "
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+#| "Learning, by Vesting the Copies of Printed Books in the Authors or "
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+#, fuzzy
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+#| "The London booksellers quickly brought suit to block \"piracy\" like "
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+#| "Howard B. Abrams, \"The Historic Foundation of American Copyright Law: "
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-"<placeholder type=\"indexterm\" id=\"1\"/>"
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@@ -8292,13 +8753,14 @@ msgstr ""
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+"For example, \"public performance\" is a use of <citetitle>The Simpsons</"
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+"see \"My Favorite <citetitle>Simpsons</citetitle>,\" then you need to get "
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@@ -8333,9 +8796,9 @@ 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 "
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+"<citetitle>Eldred</citetitle>\" (draft on file with author), University of "
+"Chicago Law School, 5 August 2003."

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@@ -8402,13 +8866,13 @@ msgstr "Lucas, George"
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+"free or cheap license to four seconds of <citetitle>Simpsons</citetitle>. As "
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+"Or at least, is this <emphasis>how</emphasis> the artist should be "
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-"That's not quite correct. We all forget history. The key is whether we have "
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-"whether an objective past can keep us honest. Libraries help do that, by "
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-"grandma. A free society presumes this knowedge."
+"That's not quite correct. We <emphasis>all</emphasis> forget history. The "
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@@ -9366,9 +9838,9 @@ msgid ""
 "that back and forth surreal experience of a politician interacting with a "
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@@ -9712,15 +10185,15 @@ msgstr ""
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 "Kahle is not the only librarian. The Internet Archive is not the only "
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+"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 "
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+"the Library of Alexandria real again."

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 #.  PAGE BREAK 129
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 #.  PAGE BREAK 129


@@ -9932,12 +10405,13 @@ msgid ""
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-"tradition, even if the subtle pull of his Texan charm has slowly redefined "
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+"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."

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@@ -9958,8 +10432,8 @@ 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, "
 "\"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&ndash;27."
+"<citetitle>Private Property and the Constitution</citetitle> (New Haven: "
+"Yale University Press, 1977), 26&ndash;27."

 msgstr ""
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 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 "


@@ -10050,8 +10524,9 @@ msgid ""
 "house, or acquires a slice of land from your farm&mdash;it is required, "
 "under the Fifth Amendment's \"Takings Clause,\" to pay you \"just "
 "compensation\" for that taking. The Constitution thus guarantees that "
 "house, or acquires a slice of land from your farm&mdash;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."

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@@ -10068,14 +10543,15 @@ msgstr ""
 msgid ""
 "Yet the very same Constitution speaks very differently about what Valenti "
 "calls \"creative property.\" In the clause granting Congress the power to "
 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 ""
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 msgstr ""
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@@ -10132,10 +10608,10 @@ msgstr ""
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 msgid ""
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 #, mtrans, fuzzy
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 "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 ""
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@@ -10150,11 +10626,12 @@ 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 "
 "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 ""
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 msgstr ""
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@@ -10172,11 +10649,11 @@ 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 "
 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 ""
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 msgstr ""
 "Hvis du vil svare på disse spørsmålene, trenger vi en mer generell måte å "
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@@ -10362,9 +10839,10 @@ 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 "
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 "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&ndash;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&ndash;95; Lawrence "
+"Lessig, \"The New Chicago School,\" <citetitle>Journal of Legal Studies</"
+"citetitle>, June 1998."

 msgstr ""
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 "ved å beskrive hvordan trenger ikke loven påvirker andre tre metoder, jeg "
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@@ -10416,22 +10894,23 @@ 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 "
 "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\"/>"

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@@ -10655,20 +11134,22 @@ 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 "
 "<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?)"

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-msgid "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170&ndash;71."
+msgid ""
+"Fred Warshofsky, <citetitle>The Patent Wars</citetitle> (New York: Wiley, "
+"1994), 170&ndash;71."

 msgstr ""
 "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170&ndash;71."
 
 msgstr ""
 "Fred Warshofsky, The Patent Wars (New York: Wiley, 1994), 170&ndash;71."
 


@@ -10806,11 +11287,11 @@ msgstr ""
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-"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 ""
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 msgstr ""
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@@ -10837,9 +11318,14 @@ msgstr ""
 
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+#, fuzzy
+#| msgid ""
+#| "See, for example, James Boyle, \"A Politics of Intellectual Property: "
+#| "Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."

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 "See, for example, James Boyle, \"A Politics of Intellectual Property: "
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-"Environmentalism for the Net?\" Duke Law Journal 47 (1997): 87."
+"Environmentalism for the Net?\" <citetitle>Duke Law Journal</citetitle> 47 "
+"(1997): 87."

 msgstr ""
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 msgstr ""
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@@ -10931,9 +11417,10 @@ 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 "
 "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 ""
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@@ -10975,9 +11462,9 @@ msgid ""
 "federal government, they built structures to reinforce the power of the "
 "states&mdash;including the Senate, whose members were at the time selected "
 "by the states, and an electoral college, also selected by the states, to "
 "federal government, they built structures to reinforce the power of the "
 "states&mdash;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 ""
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@@ -11046,12 +11533,12 @@ msgstr "Crosskey, William W."
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
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 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
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-"William W. Crosskey, Politics and the Constitution in the History of the "
-"United States (London: Cambridge University Press, 1953), vol. 1, "
-"485&ndash;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&ndash;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: "
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@@ -11110,13 +11597,14 @@ 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 "
 #. 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&ndash;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&ndash;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&ndash;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&ndash;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 "
 "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 "


@@ -11163,11 +11651,12 @@ 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, "
 "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&ndash;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&ndash;501, and "
+"accompanying figures."

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@@ -11197,10 +11686,10 @@ 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 "
 "actual commercial life of just a couple of years. Most books fall out of "
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+"sell the books as used books; that use&mdash;because it does not involve "
+"publication&mdash;is effectively free."

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@@ -11424,9 +11913,9 @@ 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 &copy; or the word "
 "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 &copy; 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 ""
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 "begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig "
 msgstr ""
 "på samme tid som har utvidet omfanget av copyright, er fremgangsmåter for "
 "begrensninger til høyre avslappet. Jeg har allerede beskrevet fullstendig "


@@ -11492,9 +11981,9 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "See Thomas Bender and David Sampliner, \"Poets, Pirates, and the Creation of "
 #, 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&ndash;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&ndash;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 "
 msgstr ""
 "se thomas bender og david sampliner, \"poeter, pirater og etableringen av "
 "amerikansk litteratur,\" 29 new york university journal of internasjonal lov "


@@ -11537,10 +12026,10 @@ 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 "
 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&mdash;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&mdash;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 "
 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 "


@@ -11605,10 +12094,15 @@ msgstr ""
 "endringer, så vel som ordrett opprinnelige arbeidet."
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 "endringer, så 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 ""
 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</"
 msgstr ""
 "Jonathan Zittrain, \"The Copyright Cage,\" Legal Affairs, juli/august 2003, "
 "tilgjengelig fra <ulink url=\"http://free-culture.cc/notes/\">link #26</"


@@ -11620,12 +12114,12 @@ msgid ""
 "culture&mdash;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 "
 "culture&mdash;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&mdash;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&mdash;"
+"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
 msgstr ""
 
 #.  f15


@@ -11636,7 +12130,8 @@ 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,\" "
 "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&ndash;60 (see especially pp. 53&ndash;59)."
+"<citetitle>Yale Law Journal</citetitle> 112 (2002): 1&ndash;60 (see "
+"especially pp. 53&ndash;59)."

 msgstr ""
 "professor rubenfeld har presentert en kraftig konstitusjonelle argument om "
 "forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den "
 msgstr ""
 "professor rubenfeld har presentert en kraftig konstitusjonelle argument om "
 "forskjellen som lov om opphavsrett bør trekke (fra perspektivet til den "


@@ -11691,10 +12186,11 @@ msgid ""
 "This is a simplification of the law, but not much of one. The law certainly "
 "regulates more than \"copies\"&mdash;a public performance of a copyrighted "
 "song, for example, is regulated even though performance per se doesn't make "
 "This is a simplification of the law, but not much of one. The law certainly "
 "regulates more than \"copies\"&mdash;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\"&mdash;en offentlig fremføring av en "
 msgstr ""
 "Dette er en forenkling av loven, men ikke mye av en. loven absolutt "
 "regulerer mer enn \"Kopier\"&mdash;en offentlig fremføring av en "


@@ -11717,14 +12213,15 @@ msgstr ""
 #. type: Content of: <book><chapter><sect1><sect2><para>
 #, mtrans, fuzzy
 msgid ""
 #. 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 åpenbare tingen for opphavsrett å "
 "copyright law."
 msgstr ""
 "\"Kopier.\" som absolutt høres ut som det åpenbare tingen for opphavsrett å "


@@ -11780,15 +12277,15 @@ msgstr "<graphic fileref=\"images/1521.png\"></graphic>"
 #, mtrans, fuzzy
 msgid ""
 "Think about a book in real space, and imagine this circle to represent all "
 #, 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 på en bok i virkelige rommet, og tenke denne sirkelen til å "
 "representere alle dens potensial bruker. de fleste av disse bruksområdene er "
 msgstr ""
 "Tenk på en bok i virkelige rommet, og tenke denne sirkelen til å "
 "representere alle dens potensial bruker. de fleste av disse bruksområdene er "


@@ -11935,11 +12432,12 @@ 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 "
 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&mdash;reading&mdash; 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&mdash;"
+"reading&mdash; could be regulated by copyright law because none of those "
+"uses produced a copy."

 msgstr ""
 "så la oss være svært spesifikke å gjøre herfra Generelt og fjerner. før "
 "Internett, hvis du kjøpte en bok og Les det ti ganger, ville det ikke "
 msgstr ""
 "så la oss være svært spesifikke å gjøre herfra Generelt og fjerner. før "
 "Internett, hvis du kjøpte en bok og Les det ti ganger, ville det ikke "


@@ -11955,13 +12453,13 @@ 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 "
 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. "
 "nå hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller "
 msgstr ""
 "men den samme bok som en e-bok styres effektivt av et annet sett med regler. "
 "nå hvis eieren av opphavsretten sier du kan lese boken bare én gang, eller "


@@ -12007,13 +12505,13 @@ 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 "
 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 forstå feil i kommersielle "
 msgstr ""
 "andre, dette skiftet er spesielt troubling i sammenheng med transformative "
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@@ -12055,8 +12553,9 @@ msgid ""
 "culture. We have been cornered into arguing that our rights depend upon fair "
 "use&mdash;never even addressing the earlier question about the expansion in "
 "effective regulation. A thin protection grounded in fair use makes sense "
 "culture. We have been cornered into arguing that our rights depend upon fair "
 "use&mdash;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 våre rettigheter er avhengige "
 msgstr ""
 "dette punktet om rimelig bruk er helt ignorert, selv av talsmenn gratis "
 "kultur. Vi har vært cornered til kranglet at våre rettigheter er avhengige "


@@ -12275,20 +12774,31 @@ msgstr "Casablanca"
 
 #.  f19
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 
 #.  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&ndash;73."

 msgid ""
 msgid ""

-"See David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
-"Problems 44 (1981): 172&ndash;73."
+"See David Lange, \"Recognizing the Public Domain,\" <citetitle>Law and "
+"Contemporary Problems</citetitle> 44 (1981): 172&ndash;73."

 msgstr ""
 "Se David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
 "Problems 44 (1981): 172&ndash;73."
 
 #. type: Content of: <book><chapter><sect1><sect2><para>
 msgstr ""
 "Se David Lange, \"Recognizing the Public Domain,\" Law and Contemporary "
 "Problems 44 (1981): 172&ndash;73."
 
 #. type: Content of: <book><chapter><sect1><sect2><para>

+#, fuzzy
+#| 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\"/>"

 msgid ""
 "There's a famous story about a battle between the Marx Brothers and Warner "
 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 å lage en parodi av "
 msgstr ""
 "Det er en berømt historie om en kamp mellom Marx-brødrene (the Marx "
 "Brothers) og Warner Brothers.  Marx-brødrene planla å lage en parodi av "


@@ -12297,20 +12807,33 @@ msgstr ""
 "hvis de gikk videre med sin plan.<placeholder type=\"footnote\" id=\"0\"/>"
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 "hvis de gikk videre med sin plan.<placeholder type=\"footnote\" id=\"0\"/>"
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>

+#, fuzzy
+#| msgid ""
+#| "Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1&ndash;3.  "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"

 msgid ""
 msgid ""

-"Ibid. See also Vaidhyanathan, Copyrights and Copywrongs, 1&ndash;3.  "
-"<placeholder type=\"indexterm\" id=\"0\"/>"
+"Ibid. See also Vaidhyanathan, <citetitle>Copyrights and Copywrongs</"
+"citetitle>, 1&ndash;3.  <placeholder type=\"indexterm\" id=\"0\"/>"

 msgstr ""
 "Ibid. Se også Vaidhyanathan, Copyrights and Copywrongs, 1&ndash;3.  "
 "<placeholder type=\"indexterm\" id=\"0\"/>"
 
 #. type: Content of: <book><chapter><sect1><sect2><para>
 msgstr ""
 "Ibid. Se også Vaidhyanathan, Copyrights and Copywrongs, 1&ndash;3.  "
 "<placeholder type=\"indexterm\" id=\"0\"/>"
 
 #. type: Content of: <book><chapter><sect1><sect2><para>

+#, fuzzy
+#| 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."

 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 "
 msgid ""
 "This led the Marx Brothers to respond in kind. They warned Warner Brothers "
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-"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 å svare tilbake med samme mynt.  De advarte "
 "Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"."
 msgstr ""
 "Dette fikk Marx-brødrene til å svare tilbake med samme mynt.  De advarte "
 "Warner Brothers om at Marx-brødrene \"var brødre lenge før dere var det\"."


@@ -12379,11 +12902,12 @@ 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: "
 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 "
 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 "


@@ -12428,7 +12952,8 @@ 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 "
 "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 å kopiere til utklippstavlen på "
 "datamaskinen ti tekstområder ti dager. (så langt jeg har kopiert ingen tekst "
 msgstr ""
 "Ifølge min eBok-leser har jeg tillatelse til å kopiere til utklippstavlen på "
 "datamaskinen ti tekstområder ti dager. (så langt jeg har kopiert ingen tekst "


@@ -12440,7 +12965,7 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "Here's the e-book for another work in the public domain (including the "
 #, 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."
 msgstr ""
 "Her er e-bok for et annet arbeid i den offentlige sfæren (inkludert "
 "oversettelse): Aristoteles politikk."


@@ -12474,7 +12999,7 @@ msgstr "<graphic fileref=\"images/1622.png\"></graphic>"
 #, mtrans, fuzzy
 msgid ""
 "Finally (and most embarrassingly), here are the permissions for the original "
 #, 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:"
 msgstr ""
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@@ -12517,11 +13042,11 @@ msgid ""
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-"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 "
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+"control that the law would enable."

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@@ -12560,9 +13085,9 @@ msgstr ""
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-"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."
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-"This is the future of copyright law: not so much copyright law as copyright "
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-"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 "
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@@ -12615,9 +13141,9 @@ msgstr ""
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 "Early in the life of the Adobe eBook Reader, Adobe suffered a public "
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-"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. "
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-"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 "
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-"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. "
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+"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 "

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 "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 "
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@@ -12824,8 +13351,8 @@ msgid ""
 "dance jazz. Nor is it a crime to teach your dog to dance jazz. Nor should it "
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+"that the owner of aibopet.com thought, <emphasis>What possible problem could "
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@@ -12867,13 +13394,15 @@ msgstr "Elektronisk forpost-stiftelsen (EFF)"
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 msgid ""
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-"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 "
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@@ -13031,8 +13560,9 @@ msgid ""
 "response was to find technologies that might compensate.  These new "
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 "technologies would be copyright protection technologies&mdash; 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."

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+"designed to protect copyrighted material. It was, we could say, "
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@@ -13121,8 +13652,8 @@ 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 "
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+"\"<citetitle>Mr. Rogers</citetitle>,\" for example, had testified in that "
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 "bizarreness av disse argumentene er fanget i en tegneserie tegnet i 1981 av "
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-"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 "
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+"<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&ndash;71."
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 "Sony corporation of america v. universal city studios, inc., 464 amerikanske "
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@@ -13232,10 +13764,10 @@ msgstr "<graphic fileref=\"images/1711.png\"></graphic>"
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-"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 "
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+"absolutely, despite the potential that they might do some good, but permits "
+"guns, despite the obvious and tragic harm they do."

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-"Molly Ivins, \"Media Consolidation Must Be Stopped,\" Charleston Gazette, 31 "
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@@ -13512,11 +14045,11 @@ msgstr ""
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 "The story with radio is even more dramatic. Before deregulation, the "
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 msgstr ""
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@@ -13562,9 +14095,13 @@ msgstr ""
 "artikkel om rupert murdoch,"
 
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+#, 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>."

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-"\"Barry Diller Takes on Media Deregulation,\" Now with Bill Moyers, Bill "
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+"\"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 ""
 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>."

 
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 #. type: Content of: <book><chapter><sect1><sect2><blockquote><para>
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@@ -13808,15 +14354,16 @@ msgstr "Clark, Kim B."
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-"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&ndash;51. For a more recent study, see Richard Foster "
-"and Sarah Kaplan, Creative Destruction: Why Companies That Are Built to Last "
-"Underperform the Market&mdash;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&ndash;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&mdash;and How to Successfully Transform Them</"
+"citetitle> (New York: Currency/Doubleday, 2001)."

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@@ -13988,21 +14535,23 @@ 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 "
 "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&ndash;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&ndash;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\"/>"

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 #. type: Content of: <book><chapter><sect1><sect2><para>
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@@ -14125,9 +14674,9 @@ 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 "
 "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 ""
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@@ -14146,9 +14695,9 @@ 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, "
 "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>."

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 "for enkeltpunkt som er tapt i denne krigen mot pirater er et punkt som vi "
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@@ -14174,14 +14723,14 @@ 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. "
 "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&mdash;a tiny regulation of a tiny part of the creative energy of "
-"a nation at the founding&mdash;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&mdash;a tiny regulation of a tiny part of the "
+"creative energy of a nation at the founding&mdash;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\"/>"

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@@ -14351,8 +14900,8 @@ 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,"
 "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)."

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 msgstr ""
 "Det var enkelt viktigste bidrag av juridiske realist-bevegelse for å "
 "demonstrere at alle eiendomsrettigheter alltid er laget for å balansere "


@@ -14370,9 +14919,10 @@ 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 "
 "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."

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 #.  PAGE BREAK 184
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-"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 "
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 msgstr ""
 "h. g. wells, \"land for blind\" (1904, 1911). se h. g. wells, landet av "
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@@ -14483,12 +15033,12 @@ msgstr ""
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-"They don't have the word blind. They think he's just thick.  Indeed, as they "
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-"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!'\""

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@@ -14718,15 +15268,16 @@ 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, "
 "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 "
 "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 "


@@ -14735,9 +15286,9 @@ 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 "
 "\">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\"/>"

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 #. type: Content of: <book><chapter><sect1><para>
 msgstr ""
 
 #. type: Content of: <book><chapter><sect1><para>


@@ -14775,8 +15326,9 @@ 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 "
 "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."

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@@ -15077,11 +15629,12 @@ msgstr "Worldcom"
 
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-"See Lynne W. Jeter, Disconnected: Deceit and Betrayal at WorldCom (Hoboken, "
-"N.J.: John Wiley &amp; Sons, 2003), 176, 204; for details of the settlement, "
-"see MCI press release, \"MCI Wins U.S. District Court Approval for SEC "
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-"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 &amp; 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 "
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-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>."

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 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>."

 
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 #. type: Content of: <book><chapter><sect1><sect2><para>
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+"<citetitle>The Future of Ideas</citetitle> and which has progressed in a way "
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-"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."

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 "in the marketplace, but in the courtroom as well.  Your investment buys you "
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-"Rafe Needleman, \"Driving in Cars with MP3s,\" Business 2.0, 16 June 2003, "
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-"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</"
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 "tilgjengelig via <ulink url=\"http://free-culture.cc/notes/\">link #43</"
 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</"


@@ -15827,7 +16397,8 @@ msgstr ""
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-"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)."
 
 msgstr ""
 "Jessica litman, digitale copyright (amherst, n.y.: prometheus bøker, 2001)."
 


@@ -15835,12 +16406,12 @@ msgstr ""
 msgid ""
 "As I described in chapter 10, despite this feature of copyright as "
 "regulation, and subject to important qualifications outlined by Jessica "
 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."

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@@ -15862,17 +16433,18 @@ msgstr ""
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-"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 "
 "liability."
 msgstr ""
 "Det eneste unntaket fra circuit court er funnet i innspillingen industry "


@@ -16079,9 +16651,9 @@ 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, "
 "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&mdash;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&mdash;the law actually burdens Internet radio more "
+"than it burdens terrestrial radio."

 msgstr ""
 "men her kraften i lobbyister tilbakeføres. Internett-radio er en ny "
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 msgstr ""
 "men her kraften i lobbyister tilbakeføres. Internett-radio er en ny "
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@@ -16108,13 +16680,14 @@ 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 "
 "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\"/>"

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 #. type: Content of: <book><chapter><sect1><sect2><para>


@@ -16131,8 +16704,9 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "The burden is not financial only. Under the original rules that were "
 #, 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 "
 "foreslått, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) "
 msgstr ""
 "byrden er ikke økonomiske bare. under de opprinnelige reglene som ble "
 "foreslått, Internett-radiostasjonen (men ikke en terrestriske radiostasjon) "


@@ -16274,7 +16848,8 @@ 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 "
 "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, "
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 msgstr ""
 "bibliotekaren til Kongressen stoppet til slutt disse rapportering krav, "
 "ventende videre studium. og han endret også de opprinnelige prisene ved "


@@ -16332,9 +16907,9 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "And the RIAA experts said, \"Well, we don't really model this as an industry "
 #, 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.)"

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 msgstr ""
 "og riaa eksperter sa, \"Vel, vi ikke virkelig modell dette som industri med "
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@@ -16401,24 +16976,24 @@ 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 "
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 "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."

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 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
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-"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,\" "
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 msgstr ""
 "Alex pham, \"etikettene streik tilbake: ny jente settles riaa tilfelle,\" "
 "los angeles times, 10 september 2003, business."


@@ -16449,7 +17024,8 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "Jeffrey A. Miron and Jeffrey Zwiebel, \"Alcohol Consumption During "
 #, 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,\" "
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 msgstr ""
 "Jeffrey a. miron og jeffrey zwiebel, \"alkoholforbruk under forbudstiden,\" "
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@@ -16471,8 +17047,8 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "
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 "See James Andreoni, Brian Erard, and Jonathon Feinstein, \"Tax Compliance,\" "

-"Journal of Economic Literature 36 (1998): 818 (survey of compliance "
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+"<citetitle>Journal of Economic Literature</citetitle> 36 (1998): 818 (survey "
+"of compliance literature)."

 msgstr ""
 "se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" "
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 msgstr ""
 "se james andreoni, brian Eberhard og jonathon feinstein, \"skatt samsvar,\" "
 "journal av økonomiske litteratur 36 (1998): 818 (undersøkelse av samsvar "


@@ -16889,15 +17465,16 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "See Frank Ahrens, \"RIAA's Lawsuits Meet Surprised Targets; Single Mother in "
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 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."

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 #.  f22.
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-"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 "
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-"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."

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 #. type: Content of: <book><chapter><sect1><sect2><para>
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 #. type: Content of: <book><chapter><sect1><sect2><para>


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 "themselves against the current threats of the Internet. This is a fire that "
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 msgstr ""
 "themselves against the current threats of the Internet. This is a fire that "
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 msgstr ""

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-"Internet.  Dette er en brann som overlatt til seg selv vil brenne ut."
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+"virksomheter.  Uten tvil kan de true artister.  Men teknologier endrer seg.  "
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 #.  PAGE BREAK 219
 #. type: Content of: <book><chapter><para>
 
 #.  PAGE BREAK 219
 #. type: Content of: <book><chapter><para>


@@ -17104,12 +17684,12 @@ msgid ""
 "this culture faces. For while we watch this small fire in the corner, there "
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 #. type: Content of: <book><chapter><para>
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 #. type: Content of: <book><chapter><para>
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 #. type: Content of: <book><chapter><sect1><title>
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-"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 ""
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@@ -17273,15 +17855,16 @@ msgstr ""
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 "As I said, Eldred lives in New Hampshire. In 1998, Robert Frost's collection "
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 "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&mdash;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&mdash;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."

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 "som jeg sa, bor eldred i new hampshire. i 1998, var robert frost samling av "
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+#, 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."

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+"<citetitle>Chicago Tribune</citetitle>, 17 October 1998, 22."

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+#, 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>."

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-"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>."

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-"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."

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+"<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."

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-msgid "United States v. Lopez, 514 U.S. 549, 564 (1995)."
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-msgid "United States v. Morrison, 529 U.S. 598 (2000)."
+msgid ""
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+"<citetitle>Lopez</citetitle> was reaffirmed five years later in "
+"<citetitle>United States</citetitle> v. <citetitle>Morrison</citetitle>."

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-"If, that is, the principle announced in Lopez stood for a principle.  Many "
-"believed the decision in Lopez stood for politics&mdash;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 "
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+"<emphasis>If</emphasis>, that is, the principle announced in "
+"<citetitle>Lopez</citetitle> stood for a principle.  Many believed the "
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+"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 "
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 "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 "


@@ -17836,19 +18435,19 @@ msgstr ""
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-"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&mdash;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&mdash;expressed through the power of lobbyists' money&mdash;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&mdash;"
+"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&mdash;expressed through the power of lobbyists' "
+"money&mdash;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."

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-"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>."

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+"See Brief of Petitioners, <citetitle>Eldred</citetitle> v. "
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-"Well, actually, if you think about it, there are plenty of lists of who owns "
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-"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."

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-"Copyright Extension,\" Orlando Sentinel Tribune, 9 October 2002."
+"See David G. Savage, \"High Court Scene of Showdown on Copyright Law,\" "
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+"Petitoners, <citetitle>Eldred</citetitle> v. <citetitle>Ashcroft</"
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-"Or more accurately, owners. As we've seen, there isn't only a single "
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-"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 "
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@@ -18767,11 +19371,11 @@ msgid ""
 "the case was not to demonstrate how bad the Sonny Bono Act was but to "
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 "the case was not to demonstrate how bad the Sonny Bono Act was but to "
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-"critics&mdash;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&mdash;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."

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@@ -19015,7 +19619,7 @@ msgstr ""
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 "Dinitia Smith, \"Immortal Words, Immortal Royalties? Even Mickey Mouse Joins "
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+"the Fray,\" <citetitle>New York Times</citetitle>, 28 March 1998, B7."

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@@ -19033,10 +19637,11 @@ msgid ""
 "drugs or to create pornography.\"<placeholder type=\"footnote\" id=\"0\"/> "
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@@ -19089,9 +19694,10 @@ msgid ""
 "\"the Conservatives.\" The other we called \"the Rest.\" The Conservatives "
 "included Chief Justice Rehnquist, Justice O'Connor, Justice Scalia, Justice "
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-"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 "
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@@ -19197,13 +19803,14 @@ msgstr ""
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+"citetitle>: If Congress's power to regulate commerce was limited, then so, "
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@@ -19501,8 +20108,8 @@ msgstr ""
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@@ -19713,10 +20321,11 @@ msgid ""
 "reading. I had said there was no way this Court could reconcile limited "
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@@ -20010,7 +20620,7 @@ msgid ""
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 "books published in the United Kingdom must be deposited in the British "
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 "to require copyright terms of life plus fifty years, as well as the "
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 "And like a car, there's no way to buy and sell creative property with "
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 "burden on the creative process. If the only way a library can offer an "
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+"Amazon that ran the registration system. Assume it was one-click "
+"registration.  The Eldred Act would propose a simple, one-click registration "
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+"system would move up to 98 percent of commercial work, commercial work that "
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@@ -20734,11 +21347,12 @@ msgstr "Hva ønsker denne industrien egentlig?"
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 msgid ""
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-"their content. The effort to block the Eldred Act is an effort to assure "
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-"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 "
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@@ -20754,8 +21368,8 @@ msgid ""
 "The opposition to the Eldred Act reveals how extreme the other side is. The "
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 msgstr ""
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 msgstr ""
 "motstanden mot loven eldred avslører hvordan ekstreme den andre siden er. "
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@@ -20938,10 +21552,16 @@ msgid "Braithwaite, John"
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+#, fuzzy
+#| msgid ""
+#| "See Peter Drahos with John Braithwaite, Information Feudalism: Who Owns "
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@@ -20968,23 +21588,30 @@ msgstr ""
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-"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</"
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-"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&ndash;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&ndash;57 (statement of James "
+"Love)."

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-"International Intellectual Property Institute (IIPI), Patent Protection and "
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+#, 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 "
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+"(Washington, D.C., 2000), 15."

 msgstr ""
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@@ -21086,16 +21713,17 @@ msgstr ""
 #. type: Content of: <book><chapter><para><footnote><para>
 msgid ""
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 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, "
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-"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 "
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+"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>
 msgstr ""
 
 #. type: Content of: <book><chapter><para>


@@ -21293,15 +21921,26 @@ msgstr ""
 
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-"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>."
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+"Jonathan Krim, \"The Quiet War over Open-Source,\" <citetitle>Washington "
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+"culture.cc/notes/\">link #60</ulink>; William New, \"U.S. Official Opposes "
+"`Open Source' Talks at WIPO,\" <citetitle>National Journal's Technology "
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 msgstr ""
 "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, august "
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 "Jonathan Krim, \"The Quiet War over Open-Source,\" Washington Post, august "
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@@ -21474,6 +22113,22 @@ msgstr ""
 
 #.  f8.
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 #.  f8.
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+#, fuzzy
+#| msgid ""
+#| "Microsoft's position about free and open source software is more "
+#| "sophisticated.  As it has repeatedly asserted, it has no problem with "
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+#| "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>."

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@@ -21481,14 +22136,14 @@ msgid ""
 "opposition is to \"free software\" licensed under a \"copyleft\" license, "
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 "opposition is to \"free software\" licensed under a \"copyleft\" license, "
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-"(3 May 2001), available at <ulink url=\"http://free-culture.cc/notes/\">link "
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+"University Stern School of Business (3 May 2001), available at <ulink url="
+"\"http://free-culture.cc/notes/\">link #63</ulink>."

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@@ -21570,14 +22225,25 @@ msgstr ""
 "\"http://free-culture.cc/notes/\">link #64</ulink>."
 
 #. type: Content of: <book><chapter><para>
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 #. type: Content of: <book><chapter><para>

+#, fuzzy
+#| msgid ""
+#| "It is therefore understandable that as a proprietary software developer, "
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@@ -21669,17 +22335,31 @@ msgstr ""
 "hadde vært patentert?"
 
 #. type: Content of: <book><chapter><para>
 "hadde vært patentert?"
 
 #. type: Content of: <book><chapter><para>

+#, fuzzy
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+#| "Third, even if one believed that the purpose of WIPO was to maximize "
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+#, fuzzy
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+#, fuzzy
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+#| "As Peter Drahos and John Braithwaite relate, this is precisely the choice "
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@@ -21986,18 +22677,33 @@ msgstr "Dylan, Bob"
 
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 #.  f11.
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+#, 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>."

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 "John Borland, \"RIAA Sues 261 File Swappers,\" CNET News.com, september "
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@@ -22388,12 +23094,13 @@ msgstr ""
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-"Architecture of Privacy (What Larry Doesn't Get),\" Stanford Technology Law "
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-"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&ndash;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 "
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+#, fuzzy
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+#| "\"A Radical Rethink,\" Economist, 366:8308 (25 January 2003): 15, "
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-"In The Future of Ideas, I proposed a seventy-five-year term, granted in five-"
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+"<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 ""
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 msgstr ""
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@@ -23701,16 +24437,16 @@ msgstr ""
 #. type: Content of: <book><chapter><sect1><sect2><para>
 #, mtrans, fuzzy
 msgid ""
 #. 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 ""
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 msgstr ""
 "område: på samme måte bør omfanget av avledede rettigheter bli innsnevret. "
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@@ -23743,10 +24479,15 @@ msgid "Goldstein, Paul"
 msgstr "Goldstein, Paul"
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 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&ndash;216.  "
+#| "<placeholder type=\"indexterm\" id=\"0\"/>"

 msgid ""
 msgid ""

-"Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox "
-"(Stanford: Stanford University Press, 2003), 187&ndash;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&ndash;216.  <placeholder type=\"indexterm\" id=\"0\"/>"

 msgstr ""
 "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox "
 "(Stanford: Stanford University Press, 2003), 187&ndash;216.  <placeholder "
 msgstr ""
 "Paul Goldstein, Copyright's Highway: From Gutenberg to the Celestial Jukebox "
 "(Stanford: Stanford University Press, 2003), 187&ndash;216.  <placeholder "


@@ -24001,17 +24742,18 @@ msgid ""
 "In that world, it will be extremely easy to connect to services that give "
 "you access to content on the fly&mdash;such as Internet radio, content that "
 "is streamed to the user when the user demands. Here, then, is the critical "
 "In that world, it will be extremely easy to connect to services that give "
 "you access to content on the fly&mdash;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 ""
 
 "\"footnote\" id=\"0\"/>"
 msgstr ""
 


@@ -24228,10 +24970,11 @@ msgstr "Fisher, William"
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 msgid ""
 
 #. 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 "
 "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 "


@@ -24239,19 +24982,20 @@ 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?\" "
 "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 "
 "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 "


@@ -24278,17 +25022,17 @@ msgstr ""
 #, mtrans, fuzzy
 msgid ""
 "Fisher's proposal is careful and comprehensive. It raises a million "
 #, 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 "
 "spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. "
 msgstr ""
 "fisher's forslag er grundige og omfattende. det reiser en million "
 "spørsmålene, mest av som han svarer godt i hans kommende bok, lover å holde. "


@@ -24451,18 +25195,31 @@ msgstr ""
 "Burde loven gjøre noe da?"
 
 #. type: Content of: <book><chapter><sect1><sect2><para>
 "Burde loven gjøre noe da?"
 
 #. type: Content of: <book><chapter><sect1><sect2><para>

+#, fuzzy
+#| msgid ""
+#| "Yes, it should. But, again, what it should do depends upon how the facts "
+#| "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."

 msgid ""
 "Yes, it should. But, again, what it should do depends upon how the facts "
 "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 "
 msgid ""
 "Yes, it should. But, again, what it should do depends upon how the facts "
 "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-"
 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-"


@@ -24524,9 +25281,14 @@ msgstr ""
 
 #.  f10.
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 
 #.  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&ndash;70."

 msgid ""
 "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
 msgid ""
 "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "

-"Memorial Lecture), UCLA Law Review 48 (2001): 1057, 1069&ndash;70."
+"Memorial Lecture), <citetitle>UCLA Law Review</citetitle> 48 (2001): 1057, "
+"1069&ndash;70."

 msgstr ""
 "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
 "Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069&ndash;70."
 msgstr ""
 "Lawrence Lessig, \"Copyright's First Amendment\" (Melville B. Nimmer "
 "Memorial Lecture), UCLA law Review 48 (2001): 1057, 1069&ndash;70."


@@ -24562,21 +25324,39 @@ msgstr ""
 "om vår manglende evne til å faktisk ta inn over oss hva loven koster."
 
 #. type: Content of: <book><chapter><sect1><sect2><para><footnote><para>
 "om vår manglende evne til å 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&mdash;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&ndash;76.  <placeholder type="
+#| "\"indexterm\" id=\"0\"/>"

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 "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&mdash;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 "
 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&mdash;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&ndash;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&ndash;76.  <placeholder type="
+"\"indexterm\" id=\"0\"/>"

 msgstr ""
 "Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør få "
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 msgstr ""
 "Et godt eksempel er arbeidet til professor Stan Liebowitz. Liebowitz bør få "
 "ros for sin nøye gjennomgang av data om opphavsrettsbrudd, som fikk ham til "


@@ -24864,3 +25644,11 @@ msgstr ""
 "på at det ville være endeløs lykke utenfor disse kampene, og som alltid har "
 "hatt rett.  Denne trege eleven er som alltid takknemlig for hennes "
 "evigvarende tålmodighet og kjærlighet."
 "på at det ville være endeløs lykke utenfor disse kampene, og som alltid har "
 "hatt rett.  Denne trege eleven er som alltid takknemlig for hennes "
 "evigvarende tålmodighet og kjærlighet."

+
+#, fuzzy
+#~ msgid ""
+#~ "For illustrative cases, see, for example, Pavesich v. N.E. Life Ins. Co., "
+#~ "50 S.E."
+#~ msgstr ""
+#~ "for illustrerende tilfeller, se, for eksempel pavesich v. ne livet ins. "
+#~ "co, 50 se"

diff --git a/stats.txt b/stats.txt
index 32787b08ce1d2102ea4127554f14078ed72ac8dd..6f0caf353726d30d613dd068c3b8de91d5e80e8c 100644 (file)
--- a/stats.txt
+++ b/stats.txt
@@ -67,3 +67,5 @@
 2012-07-26T2125 586 oversatte meldinger, 937 antatte oversettelser, 246 uoversatte meldinger.
 2012-07-26T2202 592 oversatte meldinger, 931 antatte oversettelser, 246 uoversatte meldinger.
 2012-07-27T1123 592 oversatte meldinger, 929 antatte oversettelser, 247 uoversatte meldinger.
 2012-07-26T2125 586 oversatte meldinger, 937 antatte oversettelser, 246 uoversatte meldinger.
 2012-07-26T2202 592 oversatte meldinger, 931 antatte oversettelser, 246 uoversatte meldinger.
 2012-07-27T1123 592 oversatte meldinger, 929 antatte oversettelser, 247 uoversatte meldinger.

+2012-07-27T1155 596 oversatte meldinger, 925 antatte oversettelser, 247 uoversatte meldinger.
+2012-07-27T2030 513 oversatte meldinger, 1009 antatte oversettelser, 246 uoversatte meldinger.