Copyright Law and Free Speech on the Internet
copyright的英文作文
copyright的英文作文Copyright is a legal concept that gives the creator of an original work exclusive rights to its use and distribution, usually for a limited time, with theintention of enabling the creator to receive compensationfor their intellectual effort.Copyright protection applies to a wide range of creative, intellectual, or artistic forms, or "works". These include literary works, music, paintings, photographs, software, and architectural designs.The copyright owner has the exclusive right toreproduce the work, prepare derivative works, distribute copies, and perform or display the work publicly. Others must obtain permission from the copyright owner to use the work in these ways.Copyright infringement occurs when someone violates the exclusive rights of the copyright owner without permission.This can include unauthorized reproduction, distribution,or public performance of the copyrighted work.In some cases, the use of copyrighted material may be allowed under the doctrine of "fair use". This allows for limited use of copyrighted material without permission for purposes such as criticism, comment, news reporting, teaching, scholarship, or research.Copyright law varies by country, and international agreements such as the Berne Convention for the Protectionof Literary and Artistic Works and the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS)help to establish common standards for copyright protection.。
查尔斯埃德温贝克简介
查尔斯·埃德温·贝克(C. Edwin Baker,1947- ),C. Edwin Baker (May 28, 1947 –December 8, 2009),是美国宾州大学Nicholas F. Gallicchio讲座教授,专精宪法、传播法、大众传媒法。
除本书外,另著有Human Liberty and Freedom of Speech(Oxford 1989),Advertising and a Democratic Press(Princeton 1994),Media Concentration and Democracy:Why Ownership Matters(Cambridge 2007)等书。
美国宾州大学法学院的教授。
他的见解也经由中华民国大法官林子仪在专论言论自由与新闻自由的著作中所引用,因此他的见解是较新、被引入华文圈较早、又具有代表性的见解,其个人资料请见:/cf/faculty/ebaker/目录∙•纪念美国最著名的言论自由学者C.Edwin Baker教授∙•《媒体、市场与民主》∙•著作∙•参考文献纪念美国最著名的言论自由学者C.Edwin Baker教授回目录译自美国宾夕法尼亚大学法学院网站。
英文网址:ttp:///blogs/news/archives/2009/12/penn_law_professor_c_edwin_ bak.htmlAlex Kreit: "He was as fine a teacher as he was a scholar."Alex Kreit:“他是个像他的学问一样出色的教师”。
First Amendment Center: "Ed was a modern-day gadfly, albeit one who wore wide-rimmed glasses that allowed him to see things that many of the rest of us could not."宪法第一修正案中心:尽管带着宽框眼睛使他看到了我们中的许多人都看不到的事物,Ed依然是个现代的牛虻。
新媒体时代言论自由的法律边界
社科学论Social Science Theory新媒体时代言论自由的法律边界高雪丽(中国刑事警察学院辽宁•沈阳110854)摘要我国宪法明确规定公民的言论自由不受侵犯.随着互联网时代的到来,网络环境也成为人们自由发表言论的新平台之一,新媒体的出现拓宽了人们发表言论的渠道,但有时也难免突破自由的界限,发表不当言论侵犯他人的权利和自由,给“网络暴力”飾滋生提供土壤.因此,我们在网络上畅所欲言的同时,也要对言论自由进行合理的限制,并且运用法律加以规制。
关键词言论自由新媒体法律规制中图分类号:G203文献标识码:A D01:10.16400/ki.kjdkx.2019.09.082The Legal Boundary of Freedom of Speech in the New Media AgeGAO Xueli(Criminal Investigation Police University of China,Shenyang,Liaoning110854) Abstract Our constitution clearly stipulates that citizens'freedom of speech is inviolable.With the advent of the Internet era, the network environment has also become one of t he new platforms for people to freely express their opinions.The emergence of new media has broadened the channels for people to express their opinions,but sometimes it is hard to avoid breaking the boundaries of freedom and infringing on the rights and freedoms of others to express inappropriate opinions,thus providing the breeding ground for"network violence".Therefore,while we speak freely on the Internet,we should also reasonably limit the freedom of speech and regulate it by law.Keywords freedom of speech;new media;legal regulation1新媒体时代的言论自由的特点言论自由思想始于启蒙运动。
著作权法 (英文版)copyright law
Copyright Law of the People’s Republic of China(Adopted at the Fifteenth Session of the Standing Committee of the Seventh National People’s Congress on September 7, 1990 and amended in accordance with the “Decisions on Amending the Copyright Law of the People’s Republic of China” made at the Twenty-fourth Session of the Standing Committee of the Ninth National People’s Congress on October 27, 2001)ContentsChapter I General ProvisionsChapter II CopyrightSection 1 Copyright Owners and Their RightsSection 2 Ownership of CopyrightSection 3 Term of ProtectionSection 4 Limitations on RightsChapter III Contracts of Copyright Licensing and Contracts of Copyright TransferChapter IV Publication, Performance, Sound Recording, Video Recording and BroadcastingSection 1 Publication of Books, Newspapers and PeriodicalsSection 2 PerformanceSection 3 Sound Recording and Video RecordingSection 4 Broadcasting by A Radio Station or Television StationChapter V Legal Liabilities and Law Enforcement MeasuresChapter VI Supplementary ProvisionsChapter I General ProvisionsArticle 1 This Law is enacted, in accordance with the Constitution for the purposes of protecting the copyright of authors in their literary, artistic and scientific works and rights related to copyright, of encouraging the creation and dissemination of works which would contribute to the construction of socialist spiritual and material civilization, and of promoting the development andflourishing of socialist culture and sciences.Article 2 Works of Chinese citizens, legal entities or other organizations, whether published or not, shall enjoy copyright in accordance with this Law.Any work of a foreigner or stateless person which enjoys copyright under an agreement concluded between the country to which the author belongs or in which the author permanently resides and China, or under an international treaty to which both countries are parties, shall be protected by this Law.Any work of a foreigner or stateless person published for the first time and within the territory of China shall enjoy copyright in accordance with this Law.Any work of an author from a country not having concluded an agreement with China or entered into an international treaty jointly with China or of a stateless person, which is published for the first time in a country as a member of the international treaty into which China has entered or published in a member country and non- member country at the same time, shall be protected by this Law.Article 3 “Works” mentioned in this Law shall include works of literature, art, natural science, social science, engineering technology and the like made in the following forms:(1) written works;(2) oral works;(3) musical, dramatic, quyi*, choreographic and acrobatic art works;(4) works of fine art and architecture(5) photographic works;(6) cinematographic works and works created in a way similar to cinematography(7) drawings of engineering designs and product designs, maps, sketches and other graphic works as well as model works;(8) computer software;(9) other works as provided in laws and administrative regulations.Article 4 Works the publication or dissemination of which is prohibited by law shall not be protected by this law.Copyright owners, in exercising their copyright, shall not violate the Constitution or laws or infringe upon the public interests.Article 5 This Law shall not be applicable to:(1) laws, regulations, resolutions, decisions and orders of state organs; other documents of legislative, administrative or judicial nature; and their official translations;(2) news on current affairs;(3) calendars, numerical tables, forms of general use and formulas.Article 6 Regulations for the protection of copyright in expressions of folklore shall be separately established by the State Council.Article 7 The copyright administration department under the State Council shall be responsible for the nationwide administration of copyright. The copyright administration department of the people’s government of each province, autonomous region or municipality directly under the Central Government shall be responsible for the administration of copyright within its own jurisdiction.Article 8 Copyright owners and the obligees related to copyright may authorize a collective management organization of copyright to exercise the copyright or the rights related to copyright. The collective management organization of copyright may, after being authorized, claim rights in its own name for the copyright owners and the obligees related to copyright, and may, as a party concerned, participate in the litigation and arbitration activities involved with copyright or the rights related to copyright.A collective management organization of copyright shall be a non-profit organization, and the method of its establishment, its rights and obligations, the collection and distribution of the royalty for copyright licensing, as well as the supervision and management over it shall be separately provided by the State Council.Chapter II CopyrightSection 1 Copyright Owners and Their RightsArticle 9 “Copyright owners” shall include:(1) authors;(2) other citizens, legal entities and organizations enjoying copyright in accordance with this Law.Article 10 “Copyright” shall include the following personal rights and property rights:(1) the right of publication, that is, the right to decide whether to male a work available to the public;(2) the right of authorship, that is, the right to claim authorship and to have the author’s name mentioned in connection with the work;(3) the right of alteration, that is, the right to alter or authorize others to alter one’s work;(4) the right of integrity, that is, the right to protect one’s work against distortion and mutilation;(5) the right of reproduction, that is, the right to produce one or more copies of the work by means of printing, Xeroxing, rubbing, sound recording, video recording, duplicating, or re-shooting, etc.;(6) the right of distribution, that is, the right to provide the public with original copies or reproduced copies of works by means of selling or donating;(7) the right of lease, that is, the right to nongratuitously permit others to temporarily exploit a cinematographic work, a work created in a way similar to cinematography or computer software, unless the computer software is not the main object under the lease;(8) the right of exhibition, that is, the right to publicly display the original copies or reproduced copies of works of fine art and cinematographic works;(9) the right of performance, that is, the right to publicly perform works, and to publicly transmit the performance of works by various means;(10) the right of projection, that is, the right to make, by such technical equipment as projector, episcope, etc., the works of fine art, photographic works, cinematographic works and works created in a way similar to cinematography, etc. reappear publicly;(11) the right of broadcasting, that is, the right to publicly broadcast or disseminate works by wireless means, to disseminate broadcast works to the public by wired dissemination or rebroadcast, and to disseminate broadcast works to the public by audio amplifier or other similar instruments for transmission of signs, sounds or images;(12) the right of information network dissemination, that is, the right to provide the public with works by wired or wireless means, so as to make the public able to respectively obtain the works at the individually selected time and place;(13) the right of production, that is, the right to fix works on the carrier by cinematography or in a way similar to cinematography;(14) the right of adaptation, that is, the right to modify a work for the purpose of creating a newwork of original creation;(15) the right of translation, that is, the right to transform the language of a work into another language;(16) the right of compilation, that is, the right to choose or edit some works or fragments of works so as to form a new work;(17) other rights which shall be enjoyed by the copyright owners.A copyright owner may permit others to exercise the rights provided in Items (5) through (17) of the preceding paragraph, and may receive remuneration as agreed upon in the contract or in accordance with the relevant provisions in this Law.A copyright owner may wholly or partially transfer the rights provided in Items (5) through (17) of Paragraph 1 of this Article, and may receive remuneration as agreed upon in the contract or in accordance with the relevant provisions in this Law.Section 2 Ownership of CopyrightArticle 11 Except otherwise provided in this Law, the copyright in a work shall belong to its author.The author of a work is the citizen who has created the work.Where a work is created according to the intention and under the supervision and responsibility ofa legal entity or another organization, such legal entity or organization shall be the author of the work.The citizen, legal entity or organization whose name is affixed to a work shall, without the contrary proof, be the author of the work.Article 12 Where a work is created by adaptation, translation, annotation or arrangement of a pre-existing work, the copyright in the work thus created shall be enjoyed by the adapter, translator, annotator or arranger, provided that the copyright in the original work is not infringed upon.Article 13 Where a work is created jointly by two or more co-authors, the copyright in the work shall be enjoyed jointly by those co-authors. Co-authorship may not be claimed by anyone who has not participated in the creation of the work.If a work of joint authorship can be separated into independent parts and exploited separately, each co-author shall be entitled to independent copyright in the parts that he has created, provided that the exercise of such copyright does not infringe upon the copyright in the joint work as a whole.Article 14 A work created by compilation shall refer to the work which is compiled of some works, fragments of works or the data or other materials not constituting a work, and the choice or layout of the contents of which embodies the original creation. The copyright of the compilation work shall be enjoyed by the compiler, provided that the exercise of such copyright does not infringe upon the copyright of the pre-existing works included in the compilation.Article 15 The copyright of a cinematographic work or a work created in a way similar to cinematography shall be enjoyed by the producer, while any of the playwright, director, cameraman, words-writer, composer and other authors of the work shall enjoy the right of authorship, and shall be entitled to obtain remuneration as agreed upon in the contract between him and the producer.The authors of the screenplay, musical works and other works that are included in a cinematographic work or a work created in a way similar to cinematography and can be exploited separately shall be entitled to exercise their copyright independently.Article 16 A work created by a citizen when fulfilling the tasks assigned to him by a legal entity or another organization shall be deemed to be a service work. Unless otherwise provided in Paragraph 2 of this Article, the copyright of such a work shall be enjoyed by the author, but the legal entity or organization shall have a priority right to exploit the work within the scope of its professional activities. During the two years after the completion of the work, the author shall not, without the consent of the legal entity or organization, authorize a third party to exploit the work in the same way as the legal entity or organization does.In the following cases the author of a service work shall enjoy the right of authorship, while the legal entity or organization shall enjoy other rights included in the copyright and may reward the author:(1) drawings of engineering designs and product designs, maps, computer software and other service works, which are created mainly with the materials and technical resources of the legal entity or organization and under its responsibility;(2) service works of which the copyright is, in accordance with the laws or administrative regulations or as agreed upon in the contract, enjoyed by the legal entity or organization.Article 17 The ownership of copyright in a commissioned work shall be agreed upon in a contract between the commissioning and the commissioned parties. In the absence of such a contract or of an explicit agreement in the contract, the copyright in such a work shall belong to the commissioned party.Article 18 The transfer of ownership of the original copy of a work of fine art or another work shall not be deemed to include the transfer of the copyright in such a work, however, the right to exhibit the original copy of a work of fine art shall be enjoyed by the owner of such original copy.Article 19 Where the copyright of a work belongs to a citizen, his rights in respect of the work as provided in Items (5) through (17) of Paragraph 1 of Article 10 of this Law shall, after his death, during the term of protection provided in this Law, be transferred in accordance with the Inheritance Law.Where the copyright of a work belongs to a legal entity or another organization, its rights in respect of the work as provided in Items (5) through (17) of Paragraph 1 of Article 10 of this Law shall, after the change or the termination of the status of the legal entity or organization, during the term of protection provided in this Law, be enjoyed by the succeeding legal entity or organization which has taken over the rights and obligations of the previous legal entity or organization, or, in the absence of such succeeding legal entity or organization, by the State.Section 3 Term of ProtectionArticle 20 The rights of authorship, alteration and integrity of an author shall be unlimited in time.Article 21 In respect of a work of a citizen, the term of protection of the right of publication and of the rights provided in Items (5) through (17) of Paragraph 1 of Article 10 of this Law shall be the lifetime of the author and fifty years after his death, expiring on December 31 of the fiftieth year after his death. In the case of a work of joint authorship, such term shall expire on December 31 of the fiftieth year after the death of the last surviving author.The term of protection of the right of publication and of the rights provided in Items (5) through (17) of Paragraph 1 of Article 10 of this Law where the copyright belongs to a legal entity or another organization, or in respect of a service work where the legal entity or organization enjoys the copyright (except the right of authorship), shall be fifty years, expiring on December 31 of the fiftieth year after the first publication of such a work, however, any such work that has not been published within fifty years after the completion of its creation shall no longer be protected by this Law.The term of protection of the right of publication and of the rights provided in Items (5) through (17) of Paragraph 1 of Article 10 of this Law in respect of a cinematographic work or a work created in a way similar to cinematography shall be fifty years, expiring on December 31 of the fiftieth year after the first publication of such a work, however, any such work that has not been published within fifty years after the completion of its creation shall no longer be protected by this Law.Section 4 Limitations on RightsArticle 22 In the following cases, a work may be exploited without the permission from, and without payment of remuneration to, the copyright owner, provided that the name of the author and the title of the work are mentioned and the other rights enjoyed by the copyright owner by virtue of this Law are not infringed upon:(1) use of a published work for the purposes of the user’s own private study, research or self-entertainment;(2) appropriate quotation from a published work in one’s own work for the purposes of introduction of, or comment on, a work, or demonstration of a point;(3) inevitable reappearance or citation of a published work in newspapers, periodicals, radio stations, television stations or other media for the purpose of reporting current events;(4) reprinting by newspapers or periodicals or other media, or rebroadcasting by radio stations or television stations or other media, of the current event articles on the issues of politics, economy and religion, which have been published by other newspapers, periodicals, radio stations or television stations or other media, except where the author has declared that publication or broadcasting is not permitted;(5) publication in newspapers or periodicals or other media, or broadcasting by radio stations or television stations or other media, of a speech delivered at a public assembly, except where the author has declared that publication or broadcasting is not permitted;(6) translation or reproduction, in a small quality of copies, of a published work for use by teachers or scientific researchers in classroom teaching or scientific research, provided that the translation or reproduction is not published or distributed;(7) use of a published work by a State organ within the reasonable scope for the purpose of fulfilling its official duties;(8) reproduction of a work in its collections by a library, archive, memorial hall, museum, art gallery or similar institution, for the purpose of the display or preservation of a copy of the work;(9) free of charge performance of a published work, that is, with respect to the performance, neither fees are charged from the public nor the remuneration is paid to the performers;(10) copying, drawing, photographing, or video recording of an artistic work located or on display in an outdoor public place;(11) translation of a work published by a Chinese citizen, legal entity or organization, which is created in the Han language (Chinese), into a minority nationality language for publication and distribution within the country;(12) translation of a published work into Braille and publication of the work so translated;The provisions in the preceding paragraph shall be applicable to the limitations on the rights of publishers, performers, producers of sound recordings and video recordings, radio stations and television stations.Article 23 Anyone who compiles or publishes textbooks for the purpose of implementing the nine-year compulsory education or State education planning may, without the permission from the copyright owner, except that the author has declared in advance that the exploitation is not permitted, compile published fragments of works, short written works or musical works, a single work of fine art, or photographic works into the textbooks, however, he shall pay the remuneration as provided, mention the name of the author and the title of the work, and shall not infringe upon other rights which the copyright owner shall enjoy in accordance with this Law.The provisions in the preceding paragraph shall be applicable to the limitations on the rights of publishers, performers, producers of sound recordings and video recordings, radio stations and television stations.Chapter III Contracts of Copyright Licensingand Contracts of Copyright TransferArticle 24 Anyone who exploits a work created by another shall conclude a contract of licensing with the copyright owner, unless it is provided in this Law that the exploitation need not be licensed.A contract of licensing shall include the following main contents:(1) the variety of the right to exploit the work covered by the license;(2) the exclusive or non-exclusive nature of the right to exploit the work covered by the license;(3) the territorial scope and term of the license;(4) the amount of the remuneration and the method of its payment;(5) the breach liability;(6) any other contents that both parties consider necessary.Article 25 Anyone who transfers any of the rights provided in Items (5) through (17) of Paragraph 1 of Article 10 of this Law shall conclude a written contract with the transferee.A contract of copyright transfer shall include the following main contents:(1) the name of the work;(2) the variety and territorial scope of the transferred right;(3) the transfer price;(4) the date and method of the delivery of the transfer price;(5) the breach liability;(6) any other contents that both parties consider necessary.Article 26 The licensee or the transferee shall not, without the consent of the copyright owner, exercise any right that the copyright owner has not expressly licensed or transferred in the contract.Article 27 The standards of remuneration for the exploitation of a work may be either agreed upon by the parties concerned or be made by the copyright administration department under the State Council in collaboration with other departments concerned. Where the parties concerned fail to reach a clear agreement, the remuneration shall be paid in accordance with the standards of remuneration made by the copyright administration department under the State Council in collaboration with other departments concerned.Article 28. Publishers, performers, producers of sound recordings and video recordings, radio stations, television stations and other entities who or which exploit the works of others pursuant to this Law shall not infringe upon the author’s rights of authorship, alteratio n or integrity, or their right to remuneration.Chapter IV Publication, Performance,Sound Recording, Video Recording and BroadcastingSection 1 Publication of Books, Newspapers and PeriodicalsArticle 29 A book publisher who publishes a book shall conclude a publishing contract with, and pay remuneration to, the copyright owner.Article 30 With respect to a work delivered to a book publisher by the copyright owner for publication, the exclusive right to publish the work enjoyed by the book publisher as agreed upon in the contract shall be protected by law, and the work may not be published by others.Article 31 The copyright owner shall deliver the work within the term agreed upon in the contract. The book publisher shall publish the work in accordance with the quality requirements and within the term agreed upon in the contract.The book publisher shall bear the civil liability provided in Article 53 of this Law if he fails to publish the work within the term agreed upon in the contract.The book publisher shall notify, and pay remuneration to, the copyright owner when the work is to be reprinted or republished. If the publisher refuses to reprint or republish the work when stocks of the book are exhausted, the copyright owner shall have the right to terminate the contract.Article 32 Where a copyright owner has submitted the manuscript of his work to a newspaper or a periodical publisher for publication and has not received any notification of the said publisher’s decision to publish the work, within fifteen days from the newspaper publisher or within thirty days from the periodical publisher, counted from the date of submission of the manuscript, the copyright owner may submit the manuscript of the same work to another newspaper or periodical publisher for publication, unless the two parties have agreed otherwise.Except where the copyright owner has declared that reprinting or excerpting is not permitted, other newspaper or periodical publishers may, after the publication of the work by a newspaper or periodical, reprint the work or print an abstract of it or print it as reference material, but such other publishers shall pay remuneration to the copyright owner as provided in regulations.Article 33 A book publisher may alter or abridge a work with the permission from the copyright owner.A newspaper or periodical publisher may make editorial modifications and abridgments in a work, but shall not make modifications in the content of the work unless permission has been obtained from the author.Article 34 When publishing works created by adaptation, translation, annotation, arrangement or compilation of pre-existing works, the publisher shall obtain permission from and pay remuneration to both the owners of the copyright in the works created by means of adaptation, translation, annotation, arrangement or compilation, and the owners of the copyright in the original work.Article 35 A publisher shall be entitled to permit others to exploit the format design of a published book or periodical of his or prohibit others from doing so.The term of protection of the right provided in the preceding paragraph shall be ten years, expiring on December 31 of the tenth year after the first publication of the book or periodical that uses such a format.Section 2 PerformanceArticle 36 A performer (an individual performer or a performing group) who for a performance exploits a work created by another shall obtain permission from and pay remuneration to the copyright owner. A performance organizer who organizes a performance shall obtain permission from and pay remuneration to the copyright owner.A performer who for a performance exploits a work created by adaptation, translation, annotation or arrangement of a pre-existing work shall obtain permission from and pay remuneration to both the owner of the copyright in the work created by adaptation, translation, annotation or arrangement and the owner of the copyright in the original work.Article 37 A performer shall, in relation to his performance, enjoy the rights:(1) to show his/her identity;(2) to protect the character in his performance from distortion;(3) to authorize others to make live broadcasts or to publicly transmit his live performance, and to receive remuneration for it;(4) to authorize others to make sound recordings and video recordings, and to receive remuneration for it.(5) to permit others to reproduce and distribute the sound recordings or video recordings which record his performance, and to receive remuneration for it;(6) to permit others to disseminate his performance to the public through information network, and to receive remuneration for it.Anyone who is permitted to exploit the works in the ways provided in Items (3) through (6) of the preceding paragraph shall also obtain permission from and pay remuneration to the copyright owner.Article 38 The term of protection of the rights provided in Items (1) and (2) of Paragraph 1 of Article 37 of this Law shall not be limited.The term of protection of the rights provided in Items (3) through (6) of Paragraph 1 of Article 37 of this Law shall be fifty years, expiring on December 31 of the fiftieth year after the performance is made.Section 3 Sound Recording and Video RecordingArticle 39 A producer of sound recordings or video recordings who, for the production of a sound recording or video recording, exploits a work created by another, shall obtain permission from and pay remuneration to the copyright owner.A producer of sound recordings or video recordings who exploits a work created by adaptation, translation, annotation or arrangement of a pre-existing work shall obtain permission from and pay remuneration to both the owner of the copyright in the work created by adaptation, translation, annotation or arrangement and the owner of copyright in the original work.A producer of a sound recording who, for the production of a sound recording, exploits a musical work which has been lawfully recorded as a sound recording by another, does not need to obtain permission from, but shall, as provided in regulations, pay remuneration to the copyright owner; such work shall not be exploited where the copyright owner has declared that such exploitation is not permitted.Article 40 When producing a sound recording or video recording, the producer shall conclude a contract with, and pay remuneration to, the performers.Article 41 A producer of sound recordings or video recordings shall have the right to permit others to reproduce, distribute, lease and disseminate to the public through information network such sound recordings or video recordings and shall have the right to receive remuneration for it. The term of protection of such rights shall be fifty years, expiring on December 31 of the fiftieth year after the production of the recording is firstly completed.。
英国 版权、设计与专利法案 英文原文
英国版权、设计与专利法案英文原文1. IntroductionThe United Kingdom has a rich legal framework in place to protect intellectual property rights, including copyright, designs, and patents. These legal provisions serve to promote creativity, innovation, and economic growth by providing creators and inventors with the means to protect their work from unauthorized use or reproduction. In this article, we will provide an overview of the key legislation governing copyright, designs, and patents in the UK.2. Copyright LawCopyright law in the UK is primarily governed by the Copyright, Designs and Patents Act 1988. This legislation provides creators with the exclusive rights to reproduce, distribute, perform, and display their original literary, artistic, musical, and dramatic works. Copyright protection in the UK applies automatically upon the creation of a qualifying work and generally lasts for the life of the author plus 70 years.3. Design LawThe UK also has a robust legal framework in place to protect thedesign rights of individuals and businesses. The Registered Designs Act 1949 and the Copyright, Designs and Patents Act 1988 together form the basis of design law in the UK. Under these laws, designers can register their designs with the Intellectual Property Office to receive protection for the visual appearance of their products, including the shape, pattern, and ornamentation.4. Patent LawPatent protection in the UK is governed by the Patents Act 1977. This legislation allows inventors to obt本人n exclusive rights to their inventions for a limited period, typically 20 years from the filing date of the patent application. In order to be granted a patent, an invention must be new, involve an inventive step, and be capable of industrial application. The UK Intellectual Property Office oversees the process of patent examination and grant.5. Enforcement and RemediesIn the event of copyright, design, or patent infringement, rights holders in the UK have access to a range of enforcement mechanisms and legal remedies. The courts have the power to award damages for financial loss suffered as a result of infringement, as well as additional damages in cert本人ncircumstances. Injunctions can also be sought to prevent further unauthorized use of the protected work or design.6. ConclusionThe legal framework governing copyright, designs, and patents in the UK provides creators and inventors with the necessary tools to protect their intellectual property rights. By securing exclusive rights to their works and inventions, individuals and businesses are incentivized to continue innovating and contributing to the cultural and economic landscape of the UK. The ongoing development of intellectual property law in response to technological advancements and global trends ensures that the UK rem本人ns a leader in promoting and protecting creativity and innovation.。
大学英语六级考试真题试卷及答案
大学英语六级考试真题试卷及答案2017年大学英语六级考试真题试卷及答案明确的目标是前进的动力。
只有确定了目标,才能朝着这个方向努力,下面是店铺为大家搜索整理的2017年6月大学英语六级考试真题试卷及答案,希望大家能有所收获,Part I Writing.Directions: For this part, you are allowed 30 minutes to write a short essay entitled The Civil Servant Test Craze. Your essay should start with a brief description of the picture. You should write at least 150 words but no more than 200 words.For this part, you are allowed 30 minutes to write an essay explaining why it is unwise to judge a person by their appearance. You can give examples to illustrate your point. You should write at least 150 words but no more than 200 words.Section A2、Questions2-11 are based on the following passage.Fear can be an effective way to change behavior. One study compared the effects of high, fear and low-fear appeals on changes in attitudes and behaviors related to the dental hygiene(卫生).One group of subjects was shown awful pictures of(36)_____teeth and diseased gums;another group was shown less frightening materials such as plastic teeth,charts,and graphs.Subjects who saw the frightening materials reported more anxiety and a greater(37)_____to change the way they took care of their teeth than the low-fear group did.But were these reactions actually(38)_____into better dental hygiene practices? To answer thisimportant question,subjects were called back to thelaboratory on two(39)_____(five days and six weeks after the experiment..They chewed disclosing wafers(牙疾诊断片)that give a red stain to any uncleaned areas of the teeth and thus provided a direct(40)_____of how well they were really taking care of their teeth.The result showed that the high.fear appeal did actually result in greater and more(41)_____changes in dental hygiene.That is,the subjects(42)_____to high-fear warnings brushed their teeth more(43)_____than did those who saw low-fear warnings.However, to be all effective persuasive device it is very important that the message not be too frightening and that people be given(44)_____guidelines to help them to reduce the cause of the fear.If this isn’t done,they may reduce their anxiety by denying the message or the(45)_____of the communicator.If that happens,it is unlikely that either attitude or behavior change will occur.注意:此部分试题请在答题卡2上作答。
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The affirmative action clause and regulations contained in the preceding sentence shall be incorporated by reference.iii 目录第 1 章: 快速入门激活和注册 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1帮助和支持 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2服务、下载和额外内容. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3新增功能. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4入门教程. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5第 2 章: 工作区工作区域基础知识. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20自定义工作区 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23查看 PDF 页面. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28调整 PDF 视图. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37网格、参考线和测量. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42管理器. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46维护软件. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49非英语语言 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 Mac OS 中的 Acrobat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51第 3 章: 创建PD F创建 PDF 概览. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53用 Acrobat 创建简单的 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55使用 Adobe PDF 打印机. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62使用 PDFMaker 创建 PDF (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66将网页转换为 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79使用 Acrobat Distiller 创建 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84 Adobe PDF 转换设置 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87字体. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98第 4 章: 合并PD F 中的内容将多个文件合并到一个 PDF 包 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100其它合并文件选项. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105添加统一的页面元素. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107重新安排 PDF 中的页面. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115第 5 章: 保存和导出PD F保存 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120导出 PDF 为其它文件格式. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122重新使用 PDF 内容 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126第 6 章: 协作文件共享和实时协作. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129准备 PDF 审阅. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131启动审阅. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134参与 PDF 审阅 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136追踪和管理 PDF 审阅 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139注释. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142管理注释. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154导入和导出注释 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159审批工作流程 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161第 7 章: 表单表单基础. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165创建和分发表单 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167表单域行为 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177设置动作按钮 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185发布交互 web 表单. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189使用表单中的 QuickBooks 数据 (Windows) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191收集和管理表单数据. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192填写并提交 PDF 表单 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195第 8 章: 安全性打开安全文档 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198选择安全性方法 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201使用口令保护文档. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203使用证书保护文档. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205使用 Adobe LiveCycle Rights Management ES 保护文档 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211设置安全性策略 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212创建或获取数字身份证. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218删除敏感内容 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222第9章: 数字签名数字签名. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226签名 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229验证签名. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233第 10 章: 辅助工具、标签和重排辅助工具功能 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237检查 PDF 的辅助功能 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239阅读有重排和辅助工具功能的 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242创建具有辅助功能的 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247使已存在的 PDF 有辅助功能. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251使用内容和标签标签编辑文档结构. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259第 11 章: 编辑PD F 文件页面缩略图和书签. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266链接和附件 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271动作和脚本 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275转换的网页 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278文章. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278优化. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281编辑文本和对象 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284设置演示文稿 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290文档属性和元数据. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292图层. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295批处理. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299使用地理空间 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302第 12 章: 搜索和索引搜索 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305创建 PDF 索引. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310第 13 章: 多媒体和 3D模型PDF 中的多媒体. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315添加 3D 模型到 PDF . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322与 3D 模型进行交互. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324第 14 章: 色彩管理了解色彩管理 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338保持颜色一致 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339对导入的图像进行色彩管理 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342为联机查看对文档进行色彩管理. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344校样颜色. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345打印时对文档进行色彩管理 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346处理色彩配置文件. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348颜色设置. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352第 15 章: 打印基本打印任务 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356其他打印 PDF 的方式 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359打印自定义大小 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361高级打印设置 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362打印颜色. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367第 16 章: 印刷制作工具高端输出工具 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371陷印颜色. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372预览输出. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378颜色转换和油墨管理. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382打印机标记和调整细线. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386透明度拼合 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388第 17 章: 印前检查分析文档. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394查看印前检查报告、对象和资源. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397印前检查报告 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400高级检查 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402印前检查配置文件. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403其它检查. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408更正问题区域 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412符合 PDF/X、PDF/A 和 PDF/E 规范的文件. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415自动文档分析 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417输出方法. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418第 18 章: 作业定义格式关于 JDF 文件 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420查看 JDF 作业定义. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420创建 JDF 作业定义. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421编辑 JDF 作业定义. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421指定印刷作业的联系人信息 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423定义印刷作业的介质规格 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424添加和删除 JDF 作业定义 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425将作业定义文件转换为 HTML . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425提交打印作业 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425第 19章: 键盘快捷键键盘快捷键 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428索引. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432。
Copyright
CopyrightIn compliance with"Copyright Law of the Peopled Republic of China”,it is agreed by the author(s)of the said article as follows upon signing of this statement: The said article shall be published in Journal of T ranslational Neuroscience・The author(s)shall grant the following worldwide exclusive rights carried by the said article in different languages to Journal of Translational Neuroscience free of charge:reproductions,distribution, electronic dissemination,translation and compilation. The author(s)authorize(s)Journal of T ranslational Neuroscience to register the said article(including all the intermedia)with the proper copyright authorities.The author(s)of the said article warrant(s)that:1.The said article is original and contains nothing confidential.2.The said article has never in any form and in any language been published anywhere.3.The said article is in no way whatever a violation or an infringement of any existing copyright or license from the third party.Otherwise,the author(s)of the said article shall take the blame for the violation or infringement of the related copyright and indemnify Journal of Translational Neuroscience for all its losses incurred.The authors)pledges to give the following undertakings:1.The said article is not going to be published in any form in any territory.2.The signatory to this statement has full power to make this statement on behalf of any and all co-authors of the said article and the signed statement is final binding upon all the authors.3.The signatory to this statement warrants that he/she is authorized by the other co-authors to sign this statement and carries out his/her promise.An author may self-archive an author-created version of his/her article on his/her own website and his/her institution^repository,including his/her final version; however he/she may not use the publisher's PDF version which is posted on /jtn.Furthermore,the author may only post his/her version provided acknowledgement is given to the original source of publication and a link is inserted to the published article on Journal of T ranslational Neuroscience^websites.The link must be accompanied by the following text:“The original publication is available at http://academic.hep. /jm二After submission of this agreement signed by the corresponding author,changes of authorship or in the order of the authors listed will not be accepted by Journal of Translational Neuroscience.。
中国政府白皮书中英文对照
中国政府白皮书中国一贯以负责任的态度积极推动知识产权保护工作,在坚持遵循知识产权国际保护规则的同时,按照国情确定相应的知识产权保护水平,努力平衡知识产权创造者、应用者与社会公众之间的利益关系,使知识产权的创造与应用形成良性循环。
China has always adopted a responsible attitude to actively promoting IPR protection. While adhering to the international rules on IPR protection, China has decided on a level of IPR protection appropriate for its own national situation, and made great efforts to balance the interests among intellectual property creators, users and the general public, so as to create a benign circle for the creation and use of intellectual property.多年来,在全社会的共同努力下,中国保护知识产权取得重大进展。
Major progress has been made on IPR protection in China over the past years thanks to concerted efforts made by people from all walks of life.——建立健全符合国际通行规则、门类比较齐全的法律法规体系。
上世纪80年代以来,国家颁布实施了《中华人民共和国专利法》、《中华人民共和国商标法》、《中华人民共和国著作权法》和《计算机软件保护条例》、《集成电路布图设计保护条例》、《著作权集体管理条例》、《音像制品管理条例》、《植物新品种保护条例》、《知识产权海关保护条例》、《特殊标志管理条例》、《奥林匹克标志保护条例》等涵盖知识产权保护主要内容的法律法规,并颁布一系列相关的实施细则和司法解释,使中国知识产权保护的法律法规体系不断趋于完善。
关于版权的英语作文
Copyright is a critical legal concept that protects the rights of creators over their original works.It is a form of intellectual property that grants the creator exclusive rights to reproduce,distribute,display,perform,or make derivative works based on the original creation.Understanding the nuances of copyright law is essential for anyone involved in the creation,distribution,or use of original works.The Importance of CopyrightCopyright is essential for encouraging creativity and innovation.It provides creators with the assurance that their work will be protected from unauthorized use,allowing them to reap the benefits of their intellectual labor.This protection is not limited to financial gains but also extends to the moral rights of the creators,such as the right to be recognized as the author of the work and the right to object to any distortion,mutilation, or other modification of the work that would be prejudicial to the authors honor or reputation.The Scope of Copyright ProtectionCopyright protection extends to a wide range of works,including literary,musical, artistic,and dramatic works.It also covers performances,sound recordings,films, broadcasts,and computer programs.However,copyright does not protect ideas,concepts, styles,or methods of operation,which are considered too abstract to be protected.It is the expression of these ideas that is protected,not the ideas themselves.Copyright DurationThe duration of copyright protection varies by jurisdiction but is generally for the life of the author plus a certain number of years often50or70years after the authors death.For works made for hire or anonymous works,the duration is usually a fixed term,such as95 years from the date of publication or120years from the date of creation,whichever is shorter.Fair Use and Exceptions to CopyrightWhile copyright law provides strong protection for creators,it also recognizes the need for balance.Certain exceptions and limitations,such as fair use in the United States or fair dealing in the United Kingdom,allow for the use of copyrighted material without permission in specific circumstances.These exceptions are typically applied in cases involving education,research,commentary,news reporting,or parody,among others.Enforcement of CopyrightEnforcement of copyright is a complex process that involves both legal and technical measures.Creators can register their works with a copyright office,which provides a public record and can serve as evidence in a legal dispute.Additionally,digital rights management DRM technologies are used to control access to copyrighted works, although they are often controversial due to their potential to restrict legitimate uses.The Role of Copyright in the Digital AgeThe advent of the internet and digital technologies has significantly impacted copyright law.The ease of copying and sharing digital content has led to widespread piracy and unauthorized use of copyrighted material.This has prompted the development of new legal frameworks and technologies to protect copyright in the digital age,such as the Digital Millennium Copyright Act DMCA in the United States,which addresses online copyright infringement.ConclusionCopyright is a fundamental aspect of the creative industry,ensuring that creators are rewarded for their efforts and can continue to produce new works.However,it is also a complex and evolving area of law that must balance the rights of creators with the publics interest in accessing and using creative works.As technology continues to advance,the challenges and opportunities presented by copyright will continue to shape the way we create,share,and enjoy content.。
《著作权法》中作品类型兜底条款的适用机理
《著作权法》中作品类型兜底条款的适用机理孙山内容提要:在具备独创性的前提下,以体育赛事节目、游戏直播画面等为代表的新类型表达以何种作品类型之名获得保护,是目前困扰我国著作权保护司法实践的难题之一。
在第三次修改的《著作权法》正式施行前,法院可将现行《著作权法》及《著作权法实施条例》视为整体,依据目的解释、体系解释等方式,以《著作权法》第3条第9项"其他作品”之名,保护符合《著作权法实施条例》第2条所列构成要件的各种新类型表达,克服立法者与司法者有限理性之不足。
在第三次修改的《著作权法》正式施行后,法院可将修改后的《著作权法》第3条中的作品定义条款与该条第9项结合使用,为新类型表达提供兜底保护。
《著作权法》第二章第二节"著作权归属"中出现的汇编作品、演绎作品、合作作品、委托作品和职务作品,都只能用于解决权利归属及其行使问题,并非《著作权法》第3条意义上的作品类型,无法以此类作品之名获得救济。
关键词:作品类型兜底条款汇编作品职务作晶演绎作品合作作品知识产权法定原则著作权归属Abstract:It is a thorny issue for Chinese judicial practitioners to decide under which type of works that new expressions,such as sports events and game live pictures,should be given copyright protection,even if they have originality.Before June1,2021,the court can treat the Copyright Law and the Implementation Regulations of the Copyright Law as a whole,and give copyright protection to all kinds of new expression that meet the constitutive requirements of article2of the Implementation Regulations in the name of n other works" in item9,article3of the Copyright Law,based on teleological interpretation and systematic interpretation;thus overcome the limited rationality as inherent to legislators and judicial persons.After June],2021,the court can combine the definition clause of works and the stipulations in item9of article3to give miscellaneous protection to new types of expression.The compilation works,deductive works,joint works;commissioned works,and employee works as stipulated in section 2,chapter2of the Copyright Law can only be used to solve the problem of ownership and exercise of rights.They are not the type of works in the sense of article3of the Copyright Law and cannot be remedied in the name of such works.Key Words:types of works;miscellaneous provisions;compilation works;employee works;deductive works;joint works;principle of numerus clausus of intellectual property rights;ownership of copyright作者简介:孙山,西北政法大学经济法学院副教授基金项目:2018年国家社科基金一般项目《应对国际贸易知识产权制度变革的中国方案研究》(18BFX219)o•53・扣识迪•2020年第12期我国《著作权法》中存在多处兜底条款。
中华人民共和国著作权法 英文
中华人民共和国著作权法英文The Copyright Law of the People's Republic of China isthe primary legal framework of China's copyright system. It lays down the foundation for protecting a broad spectrum of works, including literary, artistic, musical, andtechnological creations. The law plays a significant role in regulating and promoting creativity and innovation in China.Understanding the Copyright Law of the People's Republic of China requires a step-by-step perspective. Firstly, the Copyright Law defines the nature and extent of copyright protection. It recognizes that copyright protection is automatic and does not require registration or deposit. After creating a work, the author automatically holds the copyright, and no third party can use or exploit it withoutauthorization or payment of a certain amount of royalty.Secondly, the law sets out specific categories of works eligible for copyright protection, including (but not limited to) books, periodicals, computer software, drawings, photographs, and films. It defines the conditions under which copyright protection applies, including ideas, principles,and methods that are excluded from copyright protection. Moreover, the Copyright Law defines the duration of copyright protection, which varies depending on the type of work.Thirdly, the Copyright Law of the People's Republic of China highlights the authors' rights, which include the exclusive right to reproduce, distribute, display, broadcast, and adapt their works. The law also subjects these rights to certain limitations and exceptions, such as the right of fairuse. Additionally, the law extends the rights of authors to protect their works against piracy or infringement by providing for civil and criminal sanctions, including financial damages and imprisonment.Finally, the Copyright Law of the People's Republic of China recognizes the moral rights of the authors, namely, the right to authorship, modification, and integrity. The authors retain these rights even after they have sold or transferred their copyrights to a third party. The Copyright Law obliges all users of copyrighted works to follow the principle of respect for the authors' moral rights.In conclusion, the Copyright Law of the People's Republic of China is a critical legal instrument for protecting intellectual property and fostering creativity and innovation in China. Understanding the key provisions of the Copyright Law requires a step-by-step approach, including the nature and extent of copyright protection, eligible categories of works, authors' rights, and moral rights. Therefore, anyone who intends to use copyrighted works in China needs to be familiar with the Copyright Law's provisions to avoid legal sanctions and fines.。
当代研究生英语读写教程123579单元课文
Unit 1:cyberspace :if you don't love it ,leave itsomething in the American psyche loves new frontiers. We hanker after wide-open spaces ;we like to explore ;we like to make rules but refuse to follow them .But in this age it's hard to find a place where you can go and be yourself without worrying about he neighbours .There is such a place : cyberspace . Formerly a playground for computer fans ,cyberspace . Formely a playground for computer fans ,cyberspace now embraces everyconceivableconstituency:schoollchildren,flirtatious ,singles,Huganan-Americana accountants.Can they all get along?Or will our fear of kids surfing for dirty pictures behind their bedroom doors provoke a crackdown ?The first order of business is to grasp what cyberspace is . It might help to leave beind metaphors 隐喻of highways and frontiers and to think instead of real estate . Real estate ,remember ,is an intellectual ,legal ,artificial environment constructed on top of land. Real estate recognizes the difference between parkland and shopping mall ,between red-light zone and school district ,between church ,state and drugstore .in the same way , you could think of cyberspace as a giant and unbounded world of virtual real estate .Some property is privatedly owned and rented out ; other property is common land ; some places are suitable for children , and others are best avoided by all citizens . Unfortunately ,it's those places that are now capturing the popular imagination ,plaecs that offer bombmaking instructions ,pornography, advice on how to steal credit cards .They make cyberspace sound like a nasty place . Good citizens jump to a conclusion : Better regulate it .But before using regulations to counter indecency ,it is fundamental to interpret the nature of cyberspace . Cyberspace isn't a frontier where wicked people can grab unsuspecting children ,nor is it a giant television system that can beam offensive messages at unwilling viewers . In this kind of real estate ,users have to choose where thy visit ,what they see ,what they do .It's optiona .In other words,cyberspace is a voluntary destination --in reality ,many destinations .You don't just get "onto the Net" ;you have to go someplace in particular . That means that people can choose where to go and what to see .Yes , community standards should be enforced ,but those standards set by cyberspace communities themselves ,not by the courts or by politicians in Washington . what makes cyberspace so alluring is precisely the way in which it's different from shopping malls , television ,highways and other terrestrial jurisdictions.But let's define the territor:First ,there are private e-malil conversations ,similar to the conversations you have over the teleophone .These are private and consensualand require no regulation at all .Second , there are information and entertainment services , wehre people can download anytihing from legal texts and lists of "great new restaurants " to game software or dirty pictures . These places are like bookstores ,malls and movie houses --places whre you go to buy something .The customer needs to request an item or sign up for a subscription; stuff (especially pornography ) is not sent out to people who don't ask for it .Some of these services are free or included as part of a broader service like ComputerServe or America Online ; others charge may and may bill their customers directly .Third ,there are "real" communities ---groups of people who communicate among themselves . In real-estate terms ,they're like bars or restaurants or bathhouses . Each active participate contributes to a general conversation ,generally through posted messages . Other participant may simply listen or watch .Some services are supervised by a moderator ; others are more like bulletin boards ---anyone is free to post anything .Many of these services started out unmoderated but are now imposing rules to keep out unwanted advertising ,extraneous discussions or increasingly rude participants .Cyberspace communitis evolve just the way terrestrial ommunities do : people with like-minded interests band together . Every cyberspace community has its own character . Overall , the communities on CompuServe tend t be more professsional ; those on AmericaOnline , affluent young singles ;Prodigy family-oriented itself there are lots of passionate non-commercial discussion groups on topics ranging from Hungarian politics (hungary Online ) copyright law .What's unique about cyberspace is that it allows communities of any size and kind to flourish ; in cyberspace ,communities are chosen by the users , not forced on them by accidents of geography . This freedom gives the rules that precise in cyberspace a moral authority that rules in terrestrial environments don't have . Most people are stuck in the country of their birth, but if you don't like the rules of a given cyberspace community ,they can restrict their children's access to it .What's likely to happen in cyberspace is the formation of new communities ,free of the constraits that cause conflict on earth . Instead of a global village ,which is a nice dream but impossible to manage , we'll hae invented another world of self-contained communities that cater to their own members' inclinations without interfering with anyoneelse's The possibility of a real market-style evolution of governance is at hand .In cyberpace ,we'll be able to test and evolve rules governing wht needs to be governed --intellectual property ,content and access control , rules about privacy and free speech .Some communities will allow anyone in ;others will restrict access to members who qualify on one basis or another .Those communites that prove self-sustaining will prosper (and perhaps grow and split into subsets wiht ever-more-particular interests and identities ) Those that can't survive --either because people lose interest or get scared off --will simply wither away .In the near future ,explorers in cyberspace will need to get better at defining and identifying their communities . they will need to put in place --and accept ---their own local governments apart from terrestrial governments ,just as the owners of expensive real estatet often have their own security guards though they can call in the police to get ride of undesirable customers .Then what shoul be done about undesirable material in cyberspace ? What to do ,for instance ,about pornography . The answer is labeling ,besides banning ,questionable material .it makes sense for cyberspace participants themselves to agree on a scheme for uestionable items ,so that people or automatic filters can avoid them . It's easy enough for software manufacturers to build an automatioc filter that would prevent you or your child from ever seeing the undesired item on a menu . (it's as if all the items were wrapped , with labels on the wrapper.)Someone who posted pornographic material under the title "Kid-Fun" could be sued for mislabeling .Without a lot of fanfare , private enterprises and local groups are already producing a variety of labeling services ,along with kid-oriented sites like Kidlink and Kid's Space .People differ in their tastes and values and can find services on the Net that suit them in the same way they select books and magazines . Or they can wonder freely if they prefer , making up their own itinerary .In the end , our society needs to grow up . Growing up means understanding thtat there are no perfect answers , no all-purpose solutions , no government sanctioned safe havens .We haven't created a perfect society on earth , and we won't have one in cyberspace either . But at least we can have individual choice and individual responsibility .接converstion is seen as corss-cultural commuicayion allows us to understand the problem and forge solutuions without blaming either party.Once the problem is understood,improvement comes naturally.Wowen who feel abandoned and deprived when their husbands won‟t listen to or report daily news may be happy to deiscover their husbands trying to adapt once they understand the place of small talk in women‟s relationships.But if their husband don‟t adapt,the women may still be comforted that for men,this is not a failture of intimacy.Accepting the difference,the wives may look to their friends or faminly for that kind of talk.And husbands who can‟t provide it shouldn‟t fell their wives have made unreasonable demands.Some couples will still decide to divorce,but at least their decisions will be based on realistic expectations. Unit 2 WHY IS IT SO HARD FOR MEN AND WOMEN TO TALKI was addressing a small gathering in a suburban Virginia living room -- a women's group that had invited men to join them. Throughout the evening, one man had been particularly talkative, frequently offering ideas and anecdotes,while his wife sat silently beside him on the couch. Toward to end of the evening, I commented that women frequently complain that their husbands do not talk to them. This man quickly concurred. He gestured toward his wife and said, "She is the talker in our family." The room burst into laughter; the man looked puzzled and hurt. "It is true," he explained. "When I come home from work I have nothing to say. If she did not keep the conversation going, we would spend the whole evening in silence."This episode crystallizes the irony that although American men tend to talk more than women in public situations, they often talk less at home. And this pattern is wreaking havoc with marriage.Sociologist Catherine Kohier Riessman, who reported in her new book Divorce Talk that most of the women she interviewed -- but only a few of the men -- give the lack of communication as the reason for their divorces.In my own research, complaints from women about their husbands most often focused not on tangible inequities such as having give up the chance for a career to accompany a husband to his, or doing far more than their share of daily life. Instead, they focused on communication:"He does not listen to me," "He does not talk to me." I found that most wives want their husbands to be, first and foremost, conversational partners, but few husbands share this expectation of their wives.In short, the image that represents the current crisis is the stereotypical cartoon scene of a man sitting at the breakfast table with a newspaper held up in front of his face, while a woman glares at the back of it, wanting to talk.Linguistic Battle Between Men and Women How can women and men have such different impressions of communication in marriage? Why is there a widespread imbalance in their interests and expectations?In the April 1990 issue of American Psychologist, Stanford University's Eleanor Maccoby reports the results of her own and others' research showing that children's development is most influenced by the social structure of peer interaction. Boys and girls tend to play with children of their own gender, and their sex-separate groups have different organizational structures and interactive norms.I believe that systematic differences in childhood socialization make talk between women and men like cross-cultural communication. My research on men's and women's conversations uncovered patterns similar to those described for children's groups.For women, as for girls, intimacy is the fabric of the relationships, and talk is the thread from which is woven. Little girls create and maintain friendships by exchanging secrets; similarly, women regard conversation as the cornerstone of friendship. So a woman expects her husband to be a new and improved version of a best friend. What is important is not the individual subjects that are discussed but the sense of closeness, of a life shared, that emerges when people tell their thoughts, feelings, and impressions.Bonds between boys can be as intense as girls', but they are based less on taking more on doing things together. Since they do not assume talk is the cement that binds a relationship, men do not know what kind of talk women want, and they do not miss it when it is not there.Boys' groups are larger, more inclusive, and more hierarchical, so boys must struggle to avoid the subordinate position in the group. This may play a role in women's complaints on men do not listen to them.Often when women tell men,"You are not listening," and the men protest "I am", the men are right. The impression of not listening results from misalignments in the mechanics conversation. This misalignments begins as soon as a man and a woman take physical position. When I studied videotapes made by psychologist Bruce Dorval of children and adults talking to their same-sex best friends, I found at every age, the girls and women faced each other directly, their eyes anchored on each other's faces. At every age, the boys and men sat at angles to each other and looked elsewhere in the room, periodically glancing at each other. But the tendency of men to face away can give women the impression they are not listening even when they are. A young woman in college was frustrated: whenever she told her boyfriend she wanted to talk to him, he would lie down on the floor, close his eyes, and put his arms over his face. This signaled to her, "He is taking a nap." But he insisted he was listening extra hard. Normally, he looks around the room, so he is easily distracted. Lying down and covering his eyes helped him concentrate on what she was saying.Switching topics is another habit that gives women the impression men are not listening, especially if they switch to a topic about themselves. The girls in my study tended to talk at length about one topic, but boys tended to jump from topic to topic.My study of the 10th-grade children found that when a girl told a friend about a problem, the friend responded by asking probing questions and expression agreement and understanding. But the boys dismissed each other's problems. Todd assured Richard that his drinking was "no big problem". And when Todd said he felt left out, Richard responded,"Why should you? You know more people than me."Women perceived such responses as belittling and unsupportive. But boys seemed satisfied with them. Whereas women reassured each other by implying, "You should not feel bad because I have had similar experiences," men do so by implying, "You should not feel bad because your problems are not so bad."There are even simpler reasons for women's impression that men do not listen. Linguist Lynette Hirschman found that women make more listener-noise, such as "mhm", "uhuh", and "yeah", to show "I am with you". Men, she found, more often give silent attention. Women who expect a stream of listener-noise interpret silent attention as no attention at all.Women's conversational habits are as frustrating to men as men's are to women. Men who expect silent attention interpret a stream of listener-noise as overreaction or impatience. Also, when women talk to each other in a close, comfortable setting, they often overlap, finish each other's sentences and anticipate what the other is about to say. This practice, which I call "participatory listenership", is often perceived by men as interruption, intrusion and lack of attention.A parallel difference caused a man to complain about his wife, "She just want to talk about her own point of view. If I show her another view, she gets mad at me." When most women talk to each other, they assume a conversationalist's job is to express agreement and support. But many men see their conversational duty as pointing out the other side of an argument. This is heard as disloyalty by women, and refusal to offer the requisite support. It is not that women do not want to see other points of view, but that they prefer them phrased as suggestions and inquires rather than as direct challenges.The Sounds of SilenceThese differences begin to clarify why women and men have such different expectations about communication in marriage. For women, talk creates intimacy. Marriage is an orgy of closeness: you can tell your feelings and thoughts, and still be loved. Their greatest fear is being pushed away. But men live in a hierarchical world, where talk maintains independence and status. They are on guard to protect themselves from bing put down and pushed around.This explains the paradox of the talkative man who said of his silent wife, "She is the talker." In the public setting, he felt challenged to show his intelligence and display his understanding. But at home, where he has nothing to prove and no one to defend against, he is free to remain silent. For his wife, being home means she is free from the worry that something she says might offend someone, or spark disagreement, or appear to be showing off; at home she is free to talk.The communication problems that endanger marriage can not be fixed by mechanical engineering. They require a new conceptual framework about the role of talk in human relationships. Many of the psychological explanations may not be helpful, because they tend to blame either women (for not being assertive enough) or men (for not being in touch with their feelings). A sociolinguistic approach by which male-femaleUnit 3: The Case Against ManThe first mistake is to think of mankind as a thing in itself. It isn‟t. It is part of an intricate web of life. And we can‟t think even of life as a thing in itself. It isn‟t. It is part of the intricate structure of a planet bathed by energy from the Sun.The Earth, in the nearly 5 billion years since it assumed approximately its present form, has undergone a vast evolution. When it first came into being, it very likely lacked what we would today call an ocean and an atmosphere. These were formed by the gradual outward movement of material as the solid interior settled together.Nor were ocean, atmosphere, and solid crust independent of each other after formation. There is interaction always: evaporation, condensation, solution, weathering. Far within the solid crust there are slow, continuing changes, too, of which hot springs, volcanoes, and earthquakes are the more noticeable manifestations here on the surface.Between 2 billion and 3 billion years ago, portions of the surface water, bathed by the energetic radiation from the Sun, developed complicated compounds in organization sufficiently versatile to qualify as what we call "life". Life forms have become more complex and more various ever since.But the life forms are as much part of the structure of the Earth as any inanimate portion is. It is all an inseparable part of a whole. If any animal is isolated totally from other forms of life, then death by starvation will surely follow. If isolated from water, death by dehydration will follow even faster. If isolated from air, whether free or dissolved in water, death by asphyxiation will follow still faster. If isolated from the Sun, animals will survive for a time, but plants would die, and if all plants died, all animals would starve.It works in reverse, too, for the inanimate portion of Earth is shaped and molded by life. The nature of the atmosphere has been changed by plant activity (which adds to the air the free oxygen it could not otherwise retain). The soil is turned by earthworms, while enormous ocean reefs are formed by coral.The entire planet, plus solar energy, is one enormous intricately interrelated system. The entire planet is a life form made up of nonliving portions and a large variety of living portions (as our own body is made up of nonliving crystals in bones and nonliving water in blood, as well as of a large variety of living portions).In fact, we can pursue the analogy. A man is composed of 50 trillion cells of a variety of types, all interrelated and interdependent. Loss of some of those cells, such as those making up an entire leg, will seriously handicap all the rest of the organism: serious damage to a relatively few cells in an organ, such as the heart or kidneys, may end by killing all 50 trillion.In the same way, on a planetary scale, the chopping down of an entire forest may not threaten Earth‟s life in general, but it will produce serious changes in the life forms of the region and even in the nature of the water runoff and, therefore, in the details of geological structure. A serious decline in the bee population will affect the numbers of those plants that depend on bees for fertilization, then the numbers of those animals that depend on those particular bee-fertilized plants, and so on.Or consider cell growth. Cells in those organs that suffer constant wear and tear—as in the skin or in the intestinal lining—grow and multiply all life long. Other cells, not so exposed, as in nerve and muscle, do not multiply at all in the adult, under any circumstances. Still other organs, ordinarily quiescent, as liver and bone, stand ready to grow if that is necessary to replace damage. When the proper repairs are made, growth stops.In a much looser and more flexible way, the same is true of the "planet organism" (which we study in the science called ecology). If cougars grow too numerous, the deer they live on are decimated, and some of the cougars die of starvation, so that their "proper number" is restored. If too many cougars die, then the deer multiply with particular rapidity, and cougars multiply quickly in turn, till the additional predators bring down the number of deer again. Barring interference from outside, the eaters and the eaten retain their proper numbers, and both are the better for it. (If the cougars are all killed off, deer would multiply to the point where they destroy the plants they live off, and more would then die of starvation than would have died of cougars.)The neat economy of growth within an organism such as a human being is sometimes—for what reason, we know not—disrupted, and a group of cells begins growing without limit. This is the dread disease of cancer, and unless that growing group of cells is somehow stopped, the wild growth will throw all the body structure out of true and end by killing the organism itself.In ecology, the same would happen if, for some reason, one particular type of organism began to multiply without limit, killing its competitors and increasing its own food supply at the expense of that of others. That, too, could end in the destruction of the larger system—most or all of life and even of certain aspects of the inanimate environment.And this is exactly what is happening at this moment. For thousands of years, the single species Homo sapiens, to which you and I have the dubious honor of belonging, has been increasing in numbers. In the past couple of centuries, the rate of increase has itself increased explosively.At the time of Jul ius Caesar, when Earth‟s human population is estimated to have been 150 million, that population was increasing at such a rate that it would double in 1000 years if that rate remained steady. Today, with Earth…s population estimated at about 4000 million (26 times what it was in Caesar‟s time), it is increasing at a rate which, if steady, will cause it to double in 35 years.The present rate of increase of Earth‟s swarming human population qualifies Homo sapiens as an ecological cancer, which will destroy the ecology just as surely as any ordinary cancer would destroy an organism.The cure? Just what it is for any cancer. The cancerous growth must somehow be stopped.Of course, it will be. If we do nothing at all, the growth will stop, as a cancerous growth in a man will stop if nothing is done. The man dies and the cancer dies with him. And analogously, the ecology will die and man will die with it.How can the human population explosion be stopped? By raising the death rate or by lowering the birthrate. There are no other alternatives. The death rate will rise spontaneously and finally catastrophically, if we do nothing—and that within a few decades. To make the birthrate fall, somehow (almost any how, in fact), is surely preferable, and that is therefore t he first order of mankind‟s business today.Failing this, mankind would stand at the bar of abstract justice (for there may be no posterity to judge) as the mass murderer of life generally, his own included, and mass disrupter of the intricate planetary development that made life in its present glory possible in the first place. Unit 5 Can We Know the Universe?Science is a way of thinking much more than it is a body of knowledge. Its goal is to find out how the world works, to seek what regularities there may be, to penetrate the connections of things—from subnuclear particles, which may be the constituents of all matter, to living organisms, the human social community, and thence to the cosmos as a whole. Our intuition is by no means an infallible guide. Our perceptions may be distorted by training and prejudice or merely because of the limitations of our sense organs, which, of course, perceive directly but a small fraction of the phenomena of the world. Even so straightforward a question as whether in the absence of friction a pound of lead falls faster than a gram of fluff was answered incorrectly by Aristotle and almost everyone else before the time of Galileo. Science is based on experiment, on a willingness to challenge old dogma, on an openness to see the universe as it really is. Accordingly, science sometimes requires courage—at the very least the courage to question the conventional wisdom.Beyond this the main trick of science is to really think of something: the shape of clouds and their occasional sharp bottom edges at the same altitude everywhere in the sky; the formation of the dewdrop on a leaf; the origin of a name or a word—Shakespeare, say, or "philanthropic"; the reason for human social customs—the incest taboo, for example; how it is that a lens in sunlight can make paper burn; how a "walking stick" got to look so much like a twig; why the Moon seems to follow us as we walk; what prevents us from digging a hole down to the center of the Earth; what the definition is of "down" on a spherical Earth; how it is possible for the body to convert yesterday's lunch into today's muscle and sinew; or how far is up—does the universe go on forever, or if it does not, is there any meaning to the question of what lies on the other side? Some of these questions are pretty easy. Others, especially the last, are mysteries to which no one even today knows the answer. They are natural questions to ask. Every culture has posed such questions in one way or another. Almost always the proposed answers are in the nature of "Just So Stories," attempted explanations divorced from experiment, or even from careful comparative observations.But the scientific cast of mind examines the world critically as if many alternative worlds might exist, as if other things might be here which are not. Then we are forced to ask why what we see is present and not something else. Why are the Sun and the Moon and the planets spheres? Why not pyramids, or cubes, or dodecahedra? Why not irregular, jumbly shapes? Why so symmetrical worlds? If you spend any time spinning hypotheses, checking to see whether they make sense, whether they conform to what else we know, thinking of tests you can pose to substantiate or deflate your hypotheses, you will find yourself doing science. And as you come to practice this habit of thought more and more you will get better and better at it. To penetrate into the heart of the thing—even a little thing, a blade of grass, as Walt Whitman said—is to experience a kind of exhilaration that, it may be, only human beings of all the beings on this planet can feel. We are an intelligent species and the use of our intelligence quite properly gives us pleasure. In this respect the brain is like a muscle. When we think well, we feel good. Understanding is a kind of ecstasy.But to what extent can we really know the universe around us? Sometimes this question is posed by people who hope the answer will be in the negative, who are fearful of a universe in which everything might one day be known. And sometimes we hear pronouncements from scientists who confidently state that everything worth knowing will soon be known—or even is already known—and who paint pictures of a Dionysian or Polynesian age in which the zest for intellectual discovery has withered, to be replaced by a kind of subdued languor, the lotus eaters drinking fermented coconut milk or some other mild hallucinogen. In addition to maligning both the Polynesians, who were intrepid explorers (and whose brief respite in paradise is now sadly ending), as well as the inducements to intellectual discovery provided by some hallucinogens, this contention turns out to be trivially mistaken.Let us approach a much more modest question: not whether we can know the universe or the Milky Way Galaxy or a star or a world. Can we know, ultimately and in detail, a grain of salt? Consider one microgram of table salt, a speck just barely large enough for someone with keen eyesight to make out without a microscope. In that grain of salt there are about 1016 sodium and chlorine atoms. That is a 1 followed by 16 zeros, 10 million billion atoms. If we wish to know a grain of salt we must know at least the three-dimensional positions of each of these atoms. (In fact, there is much more to be known—for example, the nature of the forces between the atoms—but we are making only a modest calculation.) Now, is this number more or less than a number of things which the brain can know?How much can the brain know? There are perhaps 1011 neurons in the brain, the circuit elements and switches that are responsible in their electrical and chemical activity for the functioning of our minds. A typical brain neuron has perhaps a thousand little wires, called dendrites, which connect it with its fellows. If, as seems likely, every bit of information in the brain corresponds to one of these connections, the total number of things knowable by the brain is no more than 1014, one hundred trillion. But this number is only one percent of the number of atoms in our speck of salt.So in this sense the universe is intractable, astonishingly immune to any human attempt at full knowledge. We cannot on this level understand a grain of salt, much less the universe.But let us look a little more deeply at our microgram of salt. Salt happens to be a crystal in which, except for defects in the structure of the crystal lattice, the position of every sodium and chlorine atom is predetermined. If we could shrink ourselves into this crystalline world, we would rank upon rank of atoms in an ordered array, a regularly alternating structure—sodium, chlorine, sodium, chlorine, specifying the sheet of atoms we are standing on and all the sheets above us and below us. An absolutely pure crystal of salt could have the position of every atom specified by something like 10 bits of information. This would not strain the information-carrying capacity of the brain.If the universe had natural laws that governed its behavior to the same degree of regularity that determines a crystal of salt, then, of course, the universe would be knowable. Even if there were many such laws, each of considerable complexity, human beings might have the capability to understand them all. Even if such knowledge exceeded the information-carrying capacity of the brain, we might store the additional information outside our bodies—in books, for example, or in computer memories—and still, in some sense, know the universe.Human beings are, understandably, highly motivated to find regularities, natural laws. The search for rules, the only possible way to understand such a vast and complex universe, is called science. The universe forces those who live in it to understand it. Those creatures who find everyday experience a muddled jumble of events with no predictability, no regularity, are in grave peril. The universe belongs to those who, at least to some degree, have figured it out.For myself,I like a universe that includes much that is unknown and,at the same time,much that is knowable.A universe in which every thing is known would be static and dull,as boring as the heaven of some weak-minded theologians.A universe that is unknowable is no fit place for a thinking being.The ideal universe for us is one verymuch like the universe we inhabit.And I would guess that is not really much of a coincidence.。
first sale 英文解释
first sale 英文解释The Concept of First Sale.The doctrine of "first sale" is a crucial principle in copyright law, particularly in the United States. It ensures that once a copyrighted work has been lawfully acquired by a purchaser, the subsequent sale ordistribution of that specific copy by the purchaser does not infringe on the copyright holder's exclusive rights. This allows for the free flow of goods in the market, promoting competition and consumer access to a wide range of products.The roots of the first sale doctrine can be traced back to the early days of copyright law, when the focus was primarily on protecting the interests of authors and publishers. However, over time, the law evolved to recognize the rights of purchasers as well, ensuring that they could dispose of their lawfully acquired copies without fear of copyright infringement.The key aspect of the first sale doctrine is that it applies only to the "specific copy" of the copyrighted work that was initially acquired by the purchaser. This means that while the purchaser is free to sell or distribute that particular copy, they cannot make unauthorized reproductions or distribute other copies of the work without the copyright holder's permission.The application of the first sale doctrine is not without its complexities. For instance, it can be challenging to determine when a copy has been "lawfully acquired" in the case of digital goods, where the lines between ownership and licensing can become blurred. Additionally, the doctrine does not apply to works that are distributed under license, as the licensee is typically bound by the terms of the license agreement and may not have the right to sell or distribute the work.Despite these complexities, the first sale doctrine remains a fundamental principle of copyright law, promoting both the interests of copyright holders and the free flowof goods in the market. It ensures that consumers have access to a wide range of products and that copyright holders are not unduly burdened by restrictions on the sale and distribution of their works.In conclusion, the first sale doctrine is a crucial aspect of copyright law that ensures a balance between the rights of copyright holders and the rights of purchasers. It promotes competition and consumer access to a wide range of products while also protecting the exclusive rights of copyright holders. While the application of the doctrine can be complex, its underlying principles remain fundamental to the operation of copyright law in many jurisdictions.。
法律你懂了吗英文作文
法律你懂了吗英文作文英文:Do I understand the law? That's a difficult question to answer definitively. On the one hand, I have studied the law extensively and have a solid understanding of its principles and procedures. I know how to read and interpret legal statutes and case law, and I understand the basics of contract law, tort law, criminal law, and other areas of legal practice.But on the other hand, the law is an incredibly complex and ever-changing field. There are always new cases and new interpretations of existing laws that can challenge even the most experienced lawyers and judges. And even with my knowledge and training, there are still many areas of the law that I don't fully understand.For example, there are many nuances and intricacies to tax law that can be difficult to grasp without specializedtraining. And intellectual property law is another areathat can be particularly complex, with many different types of patents, copyrights, and trademarks that require careful consideration.So while I may have a good general understanding of the law, there is always more to learn and more to explore. And I think that's one of the things that makes the law such an interesting and challenging field.中文:我是否理解法律?这是一个难以明确回答的问题。
网络上遵守法律规则作文英语
网络上遵守法律规则作文英语The internet has become an integral part of our daily lives, connecting us to a vast network of information, communication, and entertainment. However, with the increasing reliance on digital platforms, it is crucial that we, as internet users, understand and adhere to the legal rules and regulations that govern our online activities. Obeying the law on the internet is not only a moral obligation but also a necessary step in maintaining a safe and secure digital environment for all.One of the primary reasons why it is essential to obey the law on the internet is to protect personal privacy and data. In the digital age, our personal information, including our browsing history, social media activity, and financial transactions, is constantly at risk of being accessed by unauthorized individuals or entities. Failing to comply with privacy laws can lead to identity theft, fraud, and other forms of cybercrime, which can have devastating consequences for individuals and businesses alike. By understanding and adhering to data protection regulations, such as the General Data Protection Regulation (GDPR) in the European Union or the California ConsumerPrivacy Act (CCPA) in the United States, internet users can help safeguard their sensitive information and minimize the risk of online exploitation.Another crucial aspect of obeying the law on the internet is the protection of intellectual property rights. The internet has made it easier than ever to access and share copyrighted content, such as music, movies, and written works. However, downloading or distributing this material without the proper permissions or licenses is considered copyright infringement, which is a criminal offense in many countries. By respecting the intellectual property rights of content creators and following the guidelines set forth by copyright laws, internet users can support the creative industries and encourage the continued production of high-quality, innovative content.In addition to privacy and intellectual property concerns, the internet has also become a breeding ground for various forms of online harassment, cyberbullying, and hate speech. These behaviors can have severe psychological and emotional consequences for the victims, and in many cases, they are considered illegal under anti-discrimination and anti-harassment laws. By refraining from engaging in such activities and reporting any instances of online abuse to the appropriate authorities, internet users can contribute to a more inclusive and respectful digital environment.Furthermore, the internet has become a crucial platform for e-commerce and financial transactions. As such, it is essential that internet users comply with financial regulations and anti-money laundering laws to prevent fraud, theft, and other financial crimes. This includes being cautious when making online purchases, verifying the legitimacy of websites and payment processors, and reporting any suspicious activity to the relevant authorities.Another important aspect of obeying the law on the internet is the prevention of illegal and harmful content, such as child pornography, terrorist propaganda, and instructions for creating explosives or other weapons. By refraining from accessing, sharing, or distributing this type of content, and reporting any suspicious activity to the appropriate authorities, internet users can play a vital role in keeping the digital landscape safe and secure.It is also worth noting that the legal landscape on the internet is constantly evolving, with new laws and regulations being introduced to address emerging challenges and technological advancements. As such, it is crucial for internet users to stay informed about the latest legal developments and to adapt their online behavior accordingly. This may involve regularly reviewing the terms of service and privacy policies of the platforms and services they use, as well as seeking guidance from legal professionals or trusted online resources.In conclusion, obeying the law on the internet is not only a moral obligation but also a necessary step in maintaining a safe, secure, and equitable digital environment for all. By protecting personal privacy, respecting intellectual property rights, refraining from online harassment and abuse, complying with financial regulations, and preventing the spread of illegal and harmful content, internet users can contribute to the overall well-being of the digital landscape and ensure that the internet remains a valuable and trustworthy resource for generations to come.。
网络言论自由的限制与保护
网络言论自由的限制与保护网络言论自由的限制与保护摘要:网络言论自由的限制与保护是近年来一个刚刚兴起的热门课题,虽然网络向所有的公民免费开放,但是在上面公民所发表的言论很可能会对国家和社会造成很大的影响,所以对公民的发言进行限制与保护是国家必须要采取的政策和手段,当前我国言论自由的限制与保护工作,开展的并不完善,第一我国缺少相关网络言论自由的限制与保护方面的法律法规政策,如果公安机关有确实的证据能够查出公民在网络上运用这个平台进行违法犯罪事实,但是却没有法律可以依照,没有明确的量刑标准,第二我国对于网络言论自由的监察力度不是很大,相关司法部门对于网络言论自由也没有形成很好的监察机制,所以导致现在我国保留的功能平板上出现很多危机和国家社会的言论,第三,行政管理者对于网络自由的限制与保护没有落实相关的法律法规政策,在日常的进行监管过程中也没有很好的给予打击,使得网络言论粉碎最终形成一股潮流。
,针对这3个方面,应该从司法执法和立法3个方面给予网络言论犯罪的打击,相关法律部门的负责人也应该高度重视网络言论对于国家和社会真的影响。
关键词:网络言论自由;知情权;隐私权;Abstract:Restriction and protection of freedom of speech on the Internet is a hot topic in recent years has just emerged, although the network to the free opening of all citizens, but published in the above expression of citizens is likely to have a big impact on the country and the society, so the citizen's speech restriction and protection of national policies and must be taken. Means the freedom of speech in China to carry out the restriction and protection work, the first in our country is not perfect, the lack of legal regulations and policies related to the protection and restriction of freedom of speech on the Internet, if the public security organs there is evidence to find the citizens on thenetwork on this platform of criminal facts, but not in accordance with the law and there is no clear standard of punishment, second in China for the freedom of speech on the Internet supervision is not large, the relevant judicial authorities for the network Network freedom of speech nor the formation of a good monitoring mechanism, resulting in now our retention of a tablet appears a lot of crisis and national social speech, third, administrators for the protection and restriction of freedom network not implemented relevant laws and regulations and policies, in daily supervision process there is no good to give blow, makes the network speech crushing and ultimately the formation of a trend. In view of this, 3 aspects should be given a speech on the Internet crime from 3 aspects of judicial legislation and law enforcement against the person in charge of the relevant departments, the law should also attach great importance to national and social network speech really Keywords:Internet freedom of speech; right to know; right to privacy目录一、前言 (1)(一)选题背景 (1)(二)研究意义 (1)二、公民言论自由相关概念简介 (2)(一)言论自由 (2)(二)网络言论自由 (2)三、我国网络言论乱象 (3)(一)恶意捏造事实的乱象 (3)(二)恶意诋毁的乱象 (4)四、我国网络言论自由乱象的原因 (4)(一)言论自由观念的缺失 (4)(二)立法体系不完善 (5)(三)网络监管不到位 (6)(四)执法体系不完善 (6)(五)执法方式不合理 (7)(六)执法队伍的素质不高 (7)五、相关对策 (7)(一)立法 (7)(二)发展行业协会,加强对互联网服务供应商的监管 (8)(三)加强公民法律和道德素养,减少网络言论自由权的滥用 (9) 总结 (10)参考文献 (11)致谢 (12)一、前言(一)选题背景网络自由是近年来一个热议的话题,随着我国互联网产业发展的如火如荼,网络综合犯罪发生率也越来越高,所以如何在网上保障公民的人身安全,也成为国家关注的热门项目,其中网络言论自由是保障公民安全的一个重要途径,虽然网络是一个开放的公众平台,但是每一个在这个平台上发言的公民都应该遵守一定的网络发言规则,否则如果网络言论自由不加以限制与保护的话就会酿成滔天大祸。
维护版权英语作文
维护版权英语作文英文回答:Preserving copyright is of paramount importance in the digital age, where intellectual property can be easily replicated and disseminated. Copyright protection enables creators to reap the rewards of their ingenuity, fostering innovation and creativity. However, the complexities of copyright laws and the challenges of enforcing them pose ongoing obstacles.In an era defined by rapid technological advancements, copyright protection must adapt to the evolving landscape. Balancing the rights of creators and the public's access to information is a delicate act. Striking a harmonious coexistence between copyright enforcement and the fair use of copyrighted works remains a challenge.In essence, copyright protection is a double-edged sword. While it safeguards creators' rights, it also imposeslimitations on the use of copyrighted works. Finding the optimal balance between these competing interests is a constant pursuit, requiring a nuanced understanding of the implications of copyright law.To safeguard creators' rights and promote innovation, copyright protection must be judiciously enforced. Only through robust enforcement can the incentives for creating original works remain intact. Simultaneously, equitable access to copyrighted works for research, education, and other non-commercial purposes must be ensured.中文回答:在数字时代,保护版权至关重要,因为知识产权可以轻松复制和传播。
关于自由的英文名言
关于自由的英文名言自由是一个政治哲学概念,在此条件下人类可以自我支配,凭借自由意志而行动,并为自身的行为负责。
小编为你整理了关于自由的诗句英文,但愿对你有参考作用哈。
自由的英文名言 11、谁也不能剥夺我们自由的意志。
No one can deprive our free will.2、自由的土地必须一寸寸夺取。
Free land must be inching capture.3、世上最美好的事物是言论自由。
The best things in the world is freedom of speech.4、自由只有通过友爱才得以保全。
Only through love and preserve the freedom.5、取义成仁今日事,人间遍种自由花。
Take YiChengRen done today, all kinds of human freedom.6、自由是上帝赐给人类的最大的幸福之一。
Freedom is one of the greatest happiness of god to mankind.7、言论自由是一切权利之母。
Freedom of speech is the mother of all rights.8、有高度的自由,才有高深的科学。
A high degree of freedom, just have advanced science.9、否定意志的自由,就无道德可言。
No freedom of will, with no moral.10、科学同思想自由是不可分离的。
Science and freedom of thought are inseparable.11、自由之树必须时时用暴君的血作养料。
The tree of liberty must be constantly with the blood of tyrants.12、自由的目的是为他人创造自由。
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Copyright Law and Free Speech on the InternetMegan PrusynskiDecember 9, 2003AbstractAs the Internet grows and expands, it begins to play a more prominent role in society, culture, and our individual lives. But sometimes laws and society can’t keep up with the wave of technology. Copyright law is one such law: it needs to be reformed on a constant basis in order to keep up with new media such as the Internet. In recent years, changes to copyright law have attempted to apply old models to new media, and have endangered the free-form culture of the Internet. In order to keep the web as an open forum for free speech, compromises must be made between copyright and free speech laws. In this paper I address the various issues surrounding the debate between copyright and free speech in the context of the Internet. I will offer some solutions and goals for the dilemma and discuss copyright law’s recent developments and their effects.KeywordsCopyright law, Internet, free speech, copyright rights, public domain, fair use, Digital Millennium Copyright Act (DCMA), Sonny Bono Copyright Term Extension Act (CTEA), media, public interest, corporations, Constitution, First Amendment, copyright term extension, access, free flow of information.IntroductionThe Internet is a medium of possibility and community, untouched by commercial interests for many of its earlier years. It is open and democratic: anyone can publish their views on the web for all to see. One of the greatest values of the Internet is that it promotes free speech and the exchange of information. We are now in the information age, where technology advances at the speed of light and our lives are becoming increasingly intertwined with the web. As more and more voices have joined into the global commons of the Internet, it has become more commercialized and commerce driven. The commercialization of the web, the speed of technological advances, and the Internet’s prominence in our culture has left other areas of society lagging behind, namely the law.Copyright law is one area that needs updating and reconsidering before being applied to the Internet. Recent attempts to alter copyright law to fit the parameters of this new medium have tended to neglect the free flow of information and Internet users’ rights. “Computer mediated communication merges many of our current methods of communication, and transforms the way we produce and exchange knowledge…. Copyright law which governs the production and dissemination of information needs to adjust to this new cyberspace environment,”(Elkin-Koren). Any law ruling the Internet needs to take into consideration that this is a far different medium than any other and that it has great potential to foster aglobal community and advance humankind as long as it is kept open, free, and democratic.Copyright law was designed to foster the creation of creative works by granting some control for authors and creators over their works. Copyright is part of the Constitution laid out by the framers in 1776. “The eighth section of Article I grants Congress the power to ‘promote the progress of science and useful arts, by securing for limited times to authors and inventors the exclusive Right to their respective writings and discoveries,” (Birnhack 61). The goal of copyright law was to ensure that creative works would continue being produced by providing an incentive to authors and creators. It granted limited power to copyright holders, which have been greatly expanded on over the years. Copyright owners are granted several rights over their works: the right to reproduce it, to prepare derivative works based upon it, to distribute copies, to perform it publicly, and to display it publicly. These rights are automatically given when a creative work has been fixed in a tangible form. Registration of copyrights is only necessary before bringing suit.There are limits to copyright to ensure that free speech is still possible. For instance, facts and ideas are not protected, only expression. The fair use statute is also a limit to copyright, and is evaluated on a case-by-case basis. “The doctrine of fair use developed over the years as courts tried to balance the rights of copyright owners with society’s interest in allowing copying in certain limited circumstances. This doctrine has at its core a fundamental belief that not all copying should bebanned, particularly in socially important endeavors such as criticism, news reporting, teaching, and research,” (Tysver). Fair use is not very clear cut, but generally four factors are considered when determining if an action is fair use: the purpose and character of the use, the nature of the copyrighted work, the portion of the work used, and the effects on the potential market of the work.Copyright has evolved slowly throughout history, and has recently had a hard time catching up with technology. Copyrights on the Internet have been treated in much the same way as those in print media, even though the medium is vastly different. It has recently been applied to digital media in the Digital Millennium Copyright Act of 1998 and the terms of copyright extended in the Sonny Bono Copyright Extension Act. These extensions and other developments in the law have brought to light copyright law’s tensions with freedom of speech, especially when applied to the Internet.The Conflict Between Copyright and Free Speech“There is an inherent tension between copyright laws and freedom of speech. Copyrights restrict the ability of people to disseminate speech…. The First Amendment seeks to maximize the dissemination of information,” (Chemerinsky). This tension has become even more pronounced in recent years, although the framers did not intend for the two areas of law to cause such friction. They intended for copyright to be the engine of free speech, but recent developments have given more favor to copyright owners than to the public. Many continue toargue that there is no conflict between copyright and free speech (and this no-conflict argument has become the official opinion of most courts) but it is becoming increasingly apparent that there is.What has led to the tension between copyright law and free speech? There are several factors and recent developments that have put more power in the hands of copyright owners and less in the hands of users. “The rights accorded to authors are stronger than ever before, their duration has been extended, and they have conquered the digital environment…as the public domain keeps enclosing, it becomes clearer that our freedom of speech is affected,” (Birnhack 3). When copyright laws were first passed in 1790, limited rights were given for a period of 14 years. Copyrights were more difficult to obtain and information entered the public domain after enough time had passed for the author to profit from the work. Over the years copyright law has been amended and changed, expanding rights protected, extending the term of protection, and applying rights to new media. One of the most recent extensions was the Sonny Bono Copyright Term Extension Act of 1998. “Congress has extended existing copyright terms 11 times in the past 40 years. The CTEA extended copyright protection limits from 50 years to 70 years after an author’s death. The act also extended the protection of works-for-hire made by corporations to 95 years,” (Mayfield). With all these extensions on the copyright side of the conflict, there have been no extensions of freedom of speech and little attention given to public interests. “The Act adds an additional twenty years to the terms of copyrights, both prospectively for works not yet created and retroactivelyfor works already protected by copyright law. The result is that many works that would have become part of the public domain will continue to be protected by copyright law and thus have their dissemination restricted,” (Chemerinsky). This is a far stretch from the original terms set by our founding fathers.The Digital Millennium Copyright Act of 1998 also extends copyright. It attempts to extend copyright into new digital media and to prevent infringement by prohibiting anyone from providing information that can be used to circumvent technological protection measures on digital files. By extending the powers of copyright into the realm of the Internet, the DCMA threatens the flow of information and free speech. This Act did not rewrite the law for a new medium, but attempted to apply the current laws to it; effectively treating the Internet like a book or magazine. “Free speech depends on free flow of information and, in the digital world, where no access is possible except by copying, complete control of copying would mean control of access as well. Restricted access to copyrighted digital works inhibits the democratization of information and knowledge and results in a less informed public,” (Carter). Researchers, programmers, scientists, and journalists have challenged the DCMA in several cases because it restricts their ability to access information and do their jobs. The DCMA has the potential for abuse and should be revisited to fit with the Internet and users’ rights.The music industry is one area that this conflict has arisen. Teaching is another. When limits are placed on information to prevent copyright infringement, those whose use of copyrighted work is considered fair use suffer. Defining fair usemore clearly may help in some cases. As the law is now, there is too much potential for abuse. Often, for example, the owner of a copyright is not the person who created the work, but a publisher or producer that benefits from the rights. How is this promoting progress in art and science? Large corporations, record companies, and media outlets are controlling more and more creative expression. This expression is part of all our lives and can drive further creation if the public could just get access to it.Adapting copyright law to fit the free market of the Internet may require a new way of thinking about the exchange of information and the balance between benefiting creators and allowing for free speech. The expansion of copyright law in recent years is alienating the law from its original purpose. Globalization, technology, and communications have changed the way we learn, communicate, and share in our culture. Copyright is falling behind.The potential exists for copyright law, as it moves from promotingprogress to rewarding authors, not only to undercut its own ability topromote progress but also to unnecessarily restrict free speech.Copyright holders who are allowed to severely restrictaccess…prevent future authors from building on what has alreadybeen done and creating their own new works. …Artistic andcommercial expression, like political speech, facilitate self-actualization, contribute to democracy, enable the free enterprisesystem, and aid the search for truth. (Carter).How this Conflict Affects the InternetIt is apparent that copyright law needs some adjustment to be applied to the Internet. As a public medium, it should remain open to communication, sharing of information, and learning, not just commercialization and e-commerce. The foundations of the Internet lie in free expression, where the foundations of copyright law also lie. Bridging the gap between free speech and copyright law on the Internet will require a rethinking of ideas of public space and private ownership. Ultimately it may lead to an Internet that is truly a global commons.“Computer mediated communication may, thus, open up an opportunity for larger numbers of users to effectively participate in the exchange of information. Consequently, the purpose of copyright law, promoting learning and knowledge, is no longer served exclusively by providing incentives to publishers, and protecting the market for works. The ‘progress of science and useful arts’ as mandated by the US Constitution, may require, in cyberspace, direct exchanges among users,”(Elkin-Koren). When faced with new media, lawmakers need to focus on the law’s original intent and benefit to society.The Internet has caused concern for many copyright owners because it gives access to a large global audience, and often the use of such works cannot be controlled. But blocking all access to works denies the public of valuable information, entertainment, and fair uses such as education. A compromise needs to be reached between copyright owners and the public. The flow of information,discussion, and creative expression is essential to our democratic culture and has become a part of our daily lives. The Internet offers incredible opportunities for the advancement of society. Copyright law has given a disproportionate advantage to copyright holders, many of whom aren’t actually the creators of their protected works. The rights of users need to advance along with the rights of owners.Addressing the Conflict and New DirectionsThere are several ways a compromise can be reached between freedom of speech and copyright laws. It is time that the First Amendment is considered in copyright cases and legislation to ensure that commercial interests do not trample on freedom of speech. Realizing that there is a conflict between free speech and copyright law is the first step to resolving them. Copyright law needs to adapt to technology, society, and public life. The Internet is a new environment that copyright law has not properly addressed. Communication on the Internet “fundamentally transforms the creation and dissemination of information. This new environment changes the underlying assumptions of copyright law. One of these changes is the transformation of the public/private distinction so central to copyright law,” (Elkin-Koren). Copyright’s scope in digital media needs to be limited to protect free speech and give people access to information.The debate between free speech and copyright law will not be an easy one to resolve. Shortening the terms of copyright protection could be one way of making sure there is plenty of information in the public domain to allow for freeexpression and promote creativity based on other works. It would also prevent some of the abuses on copyrights that are happening today. Also, fair use needs to be more clearly defined and expanded to allow for education, research, critique, political comment, news reporting, and other fair uses.Whatever conclusion is reached, there are several goals to keep in mind. One, of course, is to balance the incentives given to authors and creators with the rights of others to freely express themselves and access information. Another should be aligning copyright law with its original intent: to promote progress and encourage free speech. As the Internet is addressed as a new medium for copyright law, it should remain open to all as a powerhouse for creativity and speech. It should remain a resource that anyone can use and have access to. The Internet began as an open-source medium for communication; commercial interests and overbearing laws should not threaten its potential to create global connections and foster learning and opportunity.ConclusionWe live in a time characterized as the “information age.” It is an era in which technology advances speedily and for the first time, communication and free expression can circle the globe in no time. The World Wide Web has opened countless doors for people to connect to each other and the world around them in a whole new way. It has also changed our understanding of public and private space and the sharing of information. But copyright law has failed to keep up withour advancement and has neglected its true purpose, encouraging speech and creativity. Expansions to copyright law in recent years have stressed the profit of copyright owners over the use of information by the public. Recent changes to the law have alienated it from its intended purpose and failed to address new challenges and media effectively. The result has been a negative effect on free speech. The Internet holds the possibility of allowing people to gather information and express themselves. If copyright law does not address the nature of communication in this new medium, our free speech rights could be at stake.Works CitedBirnhack, Michael. “Copyright Law and Free Speech Affair: Making Up and Breaking UP.” IDEA: Journal of Law & Technology. Vol. 43, No. 2.</sol3/papers.cfm?abstract_id=329040>.Carter, Edward L. “Promoting Progress or Rewarding Authors? Copyright Law and Free Speech in Bonneville International Corp. v. Peters.” Bringham YoungUniversity Law Review. 15 November 2002. </Lawreview/archives/2002/4/Car4.pdf>.Chemerinsky, Erwin. “Balancing Copyright Protections and Freedom of Speech: Why the Copyright Extension Act is Unconstitutional.” University ofSouthern California Law School. 24 September 2002. </eldred/chemerinsky.pdf>.Elkin-Koren, Niva. “Public/Private and Copyright Reform in Cyberspace.” Haifa University Law School. </jcmc/vol2/issue2/elkin.html>.Mayfield, Kendra. “Setting Boundaries on Copyrights.” Wired News. 20 February 2002. </news/politica/0,1283,50527,00.html>. Tysver. Daniel A. “Fair Use in Copyright.” </copyright/ fair_use.html>.ReferencesField, Thomas G. Jr. “Copyright on the Internet.” Franklin Pierce Law Center. 7 December 2002. </tfield/copynet.html>.Ghosh, Shubha. “Analyzing Fair Use and the First Amendment on the Internet.”Giga Law. June 2000. </articles/2000-all/Ghosh-2000-06-all.html>.Gross, Robin D. “Freedom of Speech: Void Where Prohibited.” Electronic Frontier Foundation. September 2001. </voidwhereprohibited.html>.Hart, Jonathan D. Law of the Web. Denver: Bradford Publishing Company. 2003.“The Debate Over Copyright Protection in the Digital Age.” Groton Public Schools.20 December 2001. </mts/pt2a13.html>.“The Digital Millennium Copyright Act of 1998.” US Copyright Office Summary.December 1998. </copyright/legislation/dcma.pdf>.。