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1

„Plagiarism as an immanent limit of artistic freedom“ presents the main problems of copyrights relation to the contemporary arts

100%

Bieczyński M. M.

Studia Prawnicze

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2011

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issue 2 (188)

7-57

EN

The beginning of this publication gives a brief explanation of the problem of appropriating the works of others and legal implication connected with it. This part seeks to explain the importance of the tendency in the contemporary visual arts to copy and appropriate the result of someone’s else creativity, first and foremost famous and easily recognisable works. As a rule the person, who created a specific work, owns the copyright of it. The creator is often called the author of the work. As practice shows this situation is often not that simple, especially in case with the appropriation. The second part of this article characterises the legal institution of plagiarism and the conditions of the copyrights’ protection. This chapter gives an answer of what the plagiarism is. Plagiarism is regulated by the art. 115 of the polish copyright law. The main part of the publication provides basic information about copyrights and related rights in the context of this regulation. This part answers the following questions: (1.) which special rules of plagiarism are relevant in case with folk art?, (2.) what is the relation between plagiarism and several forms of legal use such as quotation, inspired work and derrivated work? This part deals in particular with the challenges concerning the protection of copyrighted works in contemporary art. Here the answer to the question ‘what are the reasons of work’s similarities?’ is given. The next section is dedicated to show how the authors can find and use works in the public domain as well as what the public domain is. Copyright laws try to find a balance between the rights they give to authors and the right of the public to access and use these works. The creators also benefit from having an access and a possibility to use the works of previous authors, which inspire them and help them learn techniques, which can be used to develop new works. The public domain and copyright limitations provide this balance between the rights of authors and the rights of the public. It is important that different authors to create new works often use the works in the public domain. When an original work is translated, adapted or changed in any other form, the new work is called a derivative work. Derivative works are also protected by copyrights, even if the original works from which they were derived are in the public domain. The person who created the derivative work is its author and owns its copyright. If someone wishes to use (reproduce, translate, adapt, etc.) a derivative work, which is protected by copyrights, must obtain permission from the author. One of the important question of this section is: what happens in case with an anonymous work of art? One should take into consideration, that in some cases authors wish to remain anonymous or use a pseudonym in order to hide their true identity from the public. In these cases, the author still owns the copyright to his works. The final part of the publication explains three common types of copyright infringement and how they can be avoided. Infringement takes place when a copyrighted work is used (reproduced, translated, adapted, exhibited or performed in public, distributed, broadcasted, or communicated to the public) without the permission of the right holders or under a limitation to copyright. The main copyrights infringement is plagiarism, which means the act of copying a work, wholly or partially, and then pretending to be its original author. In conclusion some additional information is given, which includes the most important questions about the use of copyrights in the practice.

2

Profesjonalizacja wolności. Swoboda artysty w sztuce współczesnej

100%

Sztabiński G.

Estetyka i Krytyka

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2010

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issue 17-18

11-32

EN

The history of art is often discussed in connection with broadening the scope of artistic freedom. Such an approach is founded on the assumption that freedom is a constant, transhistorical value which may be increased or limited depending on social conditions. Invoking Boris Bernstein’s views, the author challenges this approach, which allows him to consider the singular features of freedom in contemporary art. He argues that these features are delimited by emphasizing the opposition between broadly understood totalitarianism and liberalism. Postmodernist thinkers have transferred these issues from the area of politics to the domain of culture, which has resulted in detecting a variety of freedom restrictions. As an example, the author discusses the views of Richard Rorty who opposed the model of cultural liberalism (based on scientific patterns) to „poeticized culture” (characterized by randomness, irony and individualism).

3

Jeszcze sztuka czy już polityka? Polityczność i religijność a granice wolności wypowiedzi artystycznej w dyskusji na schodach przed wejściem do teatru

88%

Młyńczyk Ł.

Studia Politologiczne

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2018

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vol. 50

72-90

EN

Contemporary artists on the declarative level try to remain outside the political domain, at times unaware of the fact that an established dislike for politicians is not equivalent to refraining from political actions. Theatre has not so much become politically vulgarised but rather it has gained a potential additional act in the form of a strictly political phenomenon. This results from the disrupted demarcation lines traditionally dividing the freedom of artistic expression and the right to its rejection by those who have different ideological (religious) motivations. This stems from the fact that the performative act has been extended beyond the theatre stage, thus allowing political opponents to refer to non-aesthetic categories, to which artists themselves have assigned formally political features. Invoking the right to critically assess reality, to which both sides are entitled, they understand freedom as a justified negation of a different perspective. In an ideal situation, art would not be subordinated to political ends, while adding to it non-artistic dimensions makes it an emergent phenomenon. However, in the reality we have access to, there has developed an asymmetry as the theatrical circles have started to desire not only to create art but also to be the ones holding the key to the rules of its interpretation or criticism, which leads to a discussion on the limits of freedom of artistic expression when seen as political.

4

Glosa do wyroku Sądu Okręgowego Warszawa-Praga z 13 lutego 2018 r., sygn. akt VI Ka 720/17

75%

Kulesza J.

Przegląd Sejmowy

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2019

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issue 6(155)

169-181

EN

In the case assessed by the court, the artist Jan Kapela changed the words of the Polish national anthem in such a way that they expressed support for the reception of refugees by Poland. For this act he was convicted pursuant to Article 49 § 2 of the Code of Petty Offenses, for the violation of legal provisions protecting the coherence of the anthem. However, the interpretation of these provisions and of subsequent offenses requires an evaluation of behaviors potentially violating the law by disrespecting the anthem. Not all behavior can be qualified as contrary to the law and constitute an offense. The law does not prohibit modifications of the anthem. An individual enjoys freedom of expression, which is subject to special protection when the statement relates to current social or political issues. The reception of refugees by Poland was such an issue. Since the law impacts individual rights by restricting freedom of expression, its application must not be based on vague reverence and ensure respect for those individual freedoms through restrictive interpretation.

5

Performing arts-influencing change

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Čiripová D.

Human Affairs

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2011

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vol. 21

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issue 4

382-392

EN

In the present political and socio-cultural situation in Slovakia, it is natural and necessary even to ask “what position do the arts occupy in this country?” and “what role do they play within the complex global atmosphere?” Art and culture should mirror the nation. Are we aware of that? Do we realize that art has the ability and the power to move? Not many of us realize this. This is a consequence of the permanent scepticism, apathy and resentment caused by the fact that this voice has never been heard. And this is not just the case in Slovakia. Yet even today there are certain groups of artists who still believe in the arts and their power. I think that giving up on this faith is the easiest thing to do. The decision whether to fight, rebel or actively participate is extremely complex and in many cases doing so may even threaten the freedom of the person. In this article I address the issue of whether art has the power and ability to change things. I draw attention to those socially engaging activities that could be described as performance art, which occur beyond enclosed areas and in public spaces; and in order to achieve change, they openly and nakedly attack individual consciousness and the subconscious.

6

Zrób sobie operę

75%

Karpińska M.

Res Publica Nowa

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2014

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issue 3

108-111

EN

Is it possible to get opera out of the grant and rigid opera houses and create the „off-opera”? Last year in Warsaw a group of young artists and students made a try and staged all by themselves the opera of Benjamin Britten The Rape of Lucretia. Their example shows how hard is to create an independent opera and what are the consequences of an attempt to get this very conservative art form out of the institution. Can one be independent at all in the world of opera? Is the artistic freedom necessary to protect this music theatre from dying? These are the main issues on which author focuses in her article.

7

Teatr a sprawa Boska. Golgota Picnic, Klątwa, O twarzy. Wizerunek Syna Boga – czyli spektakle obrażające uczucia religijne widziane oczami teologa

75%

Sanecka A.

Język. Religia. Tożsamość

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2021

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issue 2 (24) A

337-362

EN

Social protests connected with the performances of “Golgotha Picnic”, “The Curse” or “On the Concept of the Face Regarding the Son of God” arouses an understandable interest of the theologian in the phenomenon of “slighting of religious feelings” and the reasons why these stage works evoke such reactions. The article presents an analysis of the content of the mentioned above performances in the context of the words of the Bible as well as the teachings of different Christian Churches. It is aimed at finding points (scenes) in which the content presented on the stage is inconsistent with Christian teaching, distorts it or presents it in an ironic way. The article also tries to find potential artistic justifications for such performances. Referring to earlier published artistic reviews, rather than scientific publications, it defines common features that characterize performances that offend religious feelings, but also indicates areas where the situation of slighting of such feelings is not unambiguous. The article does not deny the possibility that someone’s feelings have been touched or slighted by the discussed performances, but it points out the possibility that the offense of religious feelings is more the result of knowledge, motivation or attitude of the audience than from the presented content itself.

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Ochrona czci człowieka a satyra i karykatura jako element wolności sztuki – rozważania na gruncie polskiego i niemieckiego prawa karnego

63%

Grabarz P.

Zeszyt Studencki Kół Naukowych Wydziału Prawa i Administracji UAM

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2016

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issue 6

PL

Cześć człowieka jako dobro szczególnie często naruszane bez wątpienia zasługuje na ochronę w świetle prawa karnego. Z drugiej strony, każdemu człowiekowi przysługuje wolność swobody wypowiedzi, w tym artystycznej, która może się przejawić w formie satyry i karykatury. Rodzi się zatem pytanie, gdzie należałoby postawić granicę, ażeby wolność ta mogła być realizowana bez uszczerbku dla czci człowieka. W niemieckim kodeksie karnym tę kwestię reguluje § 193 StGB, który stanowi o ,,zachowaniu uprawnionych interesów”. Przepis ten jest swoistym rodzajem kontratypu, który pozwala przy spełnieniu szeregu warunków, na nieponiesienie odpowiedzialności karnej przez osobę która wygłasza wypowiedzi, mogące naruszyć cześć człowieka. Do warunków tych doktryna niemiecka zalicza także działanie w ramach wolności artystycznej.

EN

Human dignity as a personal interest particularly threatened with the infringement deserves the protection under the criminal law. Nevertheless, each person is given a freedom of speech, including the artistic one, which may have a form of a satire or a caricature. The question arises where the boundary should be set so that such freedom is executed without damage to human dignity. German criminal law – § 193 of StGB – stipulates “the preservation of legal interests”. When complying with several conditions, this regulation provides for a justification which allows for not bearing the criminal liability by a person voicing a statement that may breach human dignity. The above – according to the German doctrine – also concerns the actions within the artistic sphere.

9

Romantyczne sonety o wolności artystycznej

51%

Stanisz M.

Tematy i Konteksty

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2023

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vol. 18

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issue 13

231-246

EN

In the presented article, I demonstrate how the idea of artistic freedom was expressed in romantic sonnets and how their authors referred in them to the principles of poetic art. I argue that the expression of artistic freedom at that time included such motifs and metaphors as: the motif of freeing oneself from the limitations of the sonnet form, images of breaking the existing literary conventions, motifs of flying into the sky and climbing to the top. The awareness of creative freedom was also triggered by images of sublime nature and the motifs of reading. In my discourse, I focus mainly on Polish romantic sonnets, but I also refer to sonnets written in other European countries.

PL

W przedstawionym artykule ukazuję, w jaki sposób w romantycznych sonetach wyrażano ideę wolności artystycznej i jak odnoszono się w nich do reguł sztuki poetyckiej. Dowodzę, że wyrazem wolności artystycznej były takie motywy i metafory, jak: motyw przełamywania ograniczeń sonetowej formy, obrazy wyzwolenia z ograniczeń konwencjami literackimi, motywy lotu ku niebu oraz wędrówki na szczyt. Świadomość wolności twórczej wyzwalały również obrazy wzniosłej przyrody, a także motywy lektury. W swoich rozważaniach skupiam się na polskich sonetach romantycznych, ale sięgam również do sonetów powstałych wówczas w innych krajach europejskich.

10

Interpretacja sytuacji ekonomicznej artystów współczesnych w Polsce w świetle koncepcji anomii i dewiacji społecznej

45%

Franckiewicz-Olczak I.

Acta Universitatis Lodziensis. Folia Sociologica

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2018

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issue 66

75-89

EN

The diffuse of artistic world and economy may lead to anomie and deviance. The article starting with typology of myths connected with artists, focuses on changes in artistic existence. The text basing on interpretative attitude of Howarda S. Beckera, analyse the changeability and relativity of artistic world deviance and making use of Merton’s 5 types of deviance shows the way of artists’ behaviour.

PL

Przenikanie się świata artystycznego z innymi światami go otaczającymi, szczególnie ze światem wolnorynkowej gospodarki, może powodować anomię i sprzyjać zachowaniom dewiacyjnym. Tekst, w oparciu o typologię mitów związanych z artystami, omawia obszary społecznego ich funkcjonowania, w których zaszły najdalej posunięte zmiany. Odwołując się do teorii dewiacji w interpretatywnym ujęciu Howarda S. Beckera, próbuje wykazać zmienność w czasie i względność dewiacyjności świata artystycznego, a sięgając po Mertonowskie typy idealnego przystosowania, obrazuje sposoby funkcjonowania artystów w bieżącej rzeczywistości społeczno-gospodarczej.

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1 Acta Universitatis Lodziensis. Folia Sociologica

1 Estetyka i Krytyka

1 Human Affairs

1 Język. Religia. Tożsamość

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1 Res Publica Nowa

1 Studia Politologiczne

1 Studia Prawnicze

1 Tematy i Konteksty

1 Zeszyt Studencki Kół Naukowych Wydziału Prawa i Administracji UAM

1 Bieczyński M. M.

1 Franckiewicz-Olczak I.

1 Grabarz P.

1 Karpińska M.

1 Kulesza J.

1 Młyńczyk Ł.

1 Sanecka A.

1 Stanisz M.

1 Sztabiński G.

1 Čiripová D.

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