La France s'honore d'aider les écrivains également par la rémunération au titre du prêt en bibliothèque. Leurs livres sont achetés et en plus ils touchent un droit de prêt. Quelle exception culturelle ! Quel bonheur ! Mais les portes du gestionnaire de cette manne financière, de la Société Française des Intérêts des Auteurs de l'écrit (SOFIA), sont fermées aux écrivains indépendants, pourtant professionnels de l'édition, déclarés en profession libérale, auteur-éditeur. Une loi peut être inconstitutionnelle : il suffit qu'elle lèse des minorités non représentées au Parlement ! Dix ans de ghettoïsation. Stéphane Ternoise, écrivain engagé http://www.bibliotheque.pro (portail créé pour présenter aux bibliothèques et médiathèques des livres « hors marchés publics », leur présenter la loi réelle...) - Le droit de prêt - Les parlementaires - La SOFIA - La Sofia, acte d'adhésion novembre 2013 - Les lois sont-elles forcément conformes à la Constitution ? - Rappel historique : les auteurs se sont laissés subtiliser LEUR DROIT de PRET... - Un climat anti indépendants en France - Un avocat, peut-être... - Un débat, au moins...

This third edition of Collective Management of Copyright and Related Rights presents an in-depth revision with invaluable updates on the different systems, legislative options and best practices of CMOs worldwide. As with previous editions, the book is written to reach a wide audience, with a special focus on questions that might emerge for governments as they prepare, adopt and apply collective management norms and regulations. The edition also sheds light on new copyright and related rights developments, including digital, technological and business trends, from all over the world. Additionally, there is detailed discussion on topics such as aspects of competition, national treatment, and different models of collective management.

Winner of the 2015 Abbott Lowell Cummings prize from the Vernacular Architecture Forum Winner of the 2015 Sprio Kostof Book Award from the Society of Architectural Historians Winner of the 2016 International Planning History Society Book Prize for European Planning History Honorable Mention: 2016 Wylie Prize in French Studies In the three decades following World War II, the French government engaged in one of the twentieth century’s greatest social and architectural experiments: transforming a mostly rural country into a modernized urban nation. Through the state-sanctioned construction of mass housing and development of towns on the outskirts of existing cities, a new world materialized where sixty years ago little more than cabbage and cottages existed. Known as the banlieue, the suburban landscapes that make up much of contemporary France are near-opposites of the historic cities they surround. Although these postwar environments of towers, slabs, and megastructures are often seen as a single utopian blueprint gone awry, Kenny Cupers demonstrates that their construction was instead driven by the intense aspirations and anxieties of a broad range of people. Narrating the complex interactions between architects, planners, policy makers, inhabitants, and social scientists, he shows how postwar dwelling was caught between the purview of the welfare state and the rise of mass consumerism. The Social Project unearths three decades of architectural and social experiments centered on the dwelling environment as it became an object of modernization, an everyday site of citizen participation, and a domain of social scientific expertise. Beyond state intervention, it was this new regime of knowledge production that made postwar modernism mainstream. The first comprehensive history of these wide-ranging urban projects, this book reveals how housing in postwar France shaped both contemporary urbanity and modern architecture.

Develops a theory of contemporary culture that relies on displacing economic notions of cultural production with notions of cultural expenditure. This book represents an effort to rethink cultural theory from the perspective of a concept of cultural materialism, one that radically redefines postmodern formulations of the body.

This significantly revised and updated second edition addresses the rapid development of EU copyright law in relation to the advancement of new technologies, the need for a borderless digital market and the considerable number of EU legal instruments enacted as a result. Taking a comparative approach, the Commentary provides comprehensive coverage and in-depth commentary on each of the EU legal instruments and policies, both from an EU and an international perspective. Alongside full legislative analysis and article-by-article commentary, the Commentary illustrates the underlying basic principles of free movement and non-discrimination and provides insights into the influence of copyright on other areas of EU policy, including telecoms and bilateral trade agreements.

This book considers both the present state of Arctic shipping and possible future trends with reference to the various sectors of maritime transportation: cruise tourism, container traffic and bulk shipping. Ports are analysed as tools that support the strategies of coastal states to foster the development of resource extraction, enhance the attractiveness of Arctic shipping lanes and enable the control of maritime activities through coast guard deployment. The aim of this book is to draw a picture of the trends of Arctic shipping. How is traffic evolving in Canada’s Arctic, or along the Northern Sea Route? Are there significant differences between bulk and container shipping segments when considering the Arctic market? How are the ports and the hinterland developing and what are the strategies behind those? How is the legal framework shaping the evolution of maritime transportation? The contributors to this book consider all of these questions, and more, as they map out the prospects for Arctic shipping and analyse in detail the development of Arctic shipping as a result of multi-variable interactions. This book will be key reading for industry professionals and post-graduate students alike.