论我国民间文学艺术的著作权法保护——以《著作权法》与《视听表演北京条约》的衔接为例  

On the Copyright Protection of Folklore in China:Taking the Connection between the Copyright Law and Beijing Treaty on Audiovisual Performances as An Example

作　　者：蹇佳伶 JIAN Jialing(Institute of Intellectual Property, East China University of Political Science and Law, Shanghai 200042, China)

机构地区：[1]华东政法大学知识产权学院,上海200042

出　　处：《东莞理工学院学报》2020年第6期65-69,118,共6页Journal of Dongguan University of Technology

摘　　要：我国《著作权法》和《视听表演北京条约》差距较小,主要体现为未对“民间文学艺术表达的表演”提供保护。基于民间文学艺术保护诉求的特殊性,需要结合非物质文化遗产保护等公法与著作权保护等私法对其提供保护已成国际共识。在私法方面,使用著作权制度需要考虑民间文学艺术上身份利益与传统狭义著作权的区别,因此采用“特殊权利”模式更有利于我国著作权法的稳定。其次,我国是《视听表演北京条约》缔约国,需要履行“保护民间文学艺术表达的表演”的义务,但采用何种方式将其纳入我国著作权法需要慎重。民间文学艺术表达处于公有领域不宜作为作品保护,对其表演提供保护也能起到间接保护民间文学艺术表达的效果,但需要配套的体系化制度设计。The gap between Copyright Law of China and Beijing Treaty on Audiovisual Performance is small,which is mainly reflected in the lack of protection for the“performance of folklore”.Due to the particularity of the protection appeal of folklore,it has become an international consensus that the protection should be provided by combining public and private laws.In the aspect of private law,the use of copyright system needs to consider the difference between the identity interests of folklore and the traditional narrow sense of copyright,so the adoption of“special rights”mode is more conducive to the stability of copyright system of China.Secondly,as a signatory to the Beijing treaty on audiovisual performance,China needs to fulfill the obligation of“protecting the performance of the expression of folklore”,however,it needs to be cautious about how to incorporate it into China’s copyright law.The expression of folklore should not be protected as works as in the public domain,and the protection of its performance can also indirectly protect the expression of folklore,but it needs systematic system design.

关 键 词：《视听表演北京条约》 民间文学艺术 民间文学艺术表达 表演者权 

分 类 号：D923.4[政治法律—民商法学] DF523.1[政治法律—法学]