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The theft, trafficking, and falsification of cultural property and cultural heritage objects are crimes of a particularly complex nature, which often have international ramifications and significant economic consequences. Organized criminal groups of various types and origins are involved in these illegal acts. The book Crime in the Art and Antiquities World has contributions both from researchers specializing in the illegal trafficking of art, and representatives of international institutions involved with prevention and detection of cultural property-related crimes, such as Interpol and UNESCO. This innovative volume also includes an Appendix of the existing legal texts, i.e. international treaties, conventions, and resolutions, which have not previously been available in a single volume. This work is a unique and useful reference for scholars and private and public bodies alike.

Inhaltsverzeichnis: Cultural Property als interdisziplinäre Forschungsaufgabe: eine Einleitung (Regina Bendix und Kilian Bizer) (1-24). I. Zwischen Heritage und Cultural Property - Flexibilisierte Kultur zwischen "Tradition, Modernität und Markt": Akteursbezogene Verwendungs- und Bedeutungsvielfalt von "kulturellem Erbe" (Brigitta Hauser-Schäublin und Karin Klenke) (25-44); Sbek Thom nach seiner UNESCO Zertifizierung: eine Untersuchung der Dynamik des kambodschanischen Schattentheaters nach seiner Ernennung zum immateriellen Kulturerbe (Aditya Eggert) (45-64); Cultural Property und das Heritage-Regime der UNESCO: Parallelen in ideellen und wirtschaftlichen Inwertsetzungsprozessen von kulturellen Elementen (Arnika Peselmann und Philipp Socha) (65-90). II. Parameter des Schutzes von Cultural Property - Die UNESCO-Konvention zum Schutz des immateriellen (Kultur-)Erbes der Menschheit von 2003: Öffnung des Welterbekonzepts
oder Stärkung der kulturellen Hoheit des Staates? (Sven Mißling) (91-114); Ausdrucksformen der Folklore: freie und abhängige Schöpfungen (Philipp Zimbehl) (115-134); Der Schutz kultureller Güter: die Ökonomie der Identität (Marianna Bicskei, Kilian Bizer und Zulia Gubaydullina) (135-152); Ethnographische Filmarbeit und Copyright: Überlegungen zur Situation in Indonesien (Beate Engelbrecht) (153-176). III. Muster und Motivationen im Verhandeln von Cultural Property - Perspektiven der Differenzierung: multiple Ausdeutungen von traditionellem Wissen indigener Gemeinschaften in WIPO Verhandlungen (Stefan Groth) (177-196); Die verborgene Effektivität minimaler Resultate in internationalen Verhandlungen: der Fall der WIPO (Matthias Lankau, Kilian Bizer und Zulia Gubaydullina) (197-220). IV. Forschen über Cultural Property - Die technische Dimension der Konstitution/ Konstruktion von Cultural Property (Johannes Müske) (221-234); Der zunehmende Geltungsbereich kultureller Besitztümer und ihrer Politik (Rosemary Coombe) (235-260). V. Ausblick - On Cultural Property and Its Protection: A Law and Economics Comment (Ejan Mackaay) (261-270).

This article aimed to analyze legal protection of Lurik Art Conservation Through Intellectual Property Rights in Klaten Regency. Klaten is the area that is mostconcerned with the survival of lurik weaving. There is someone mentioned that theKlaten Regency was the capital of lurik weaving. Because the weaving of Loomsare not machines or Alat Tenun Bukan Mesin (hereinafter abbreviated to ATBM) is a mainstay of this city. There are countless villages that become centers of lurik craftsmen. This research is empirical or non-doctrinal research, which is a studythat sees the law not only from the perspective of legislation, but also sees the lawin its implementation. The results of the study show that the first legal protection inpreserving the current lurik art in Klaten, namely the Klaten Regency Government,then stipulates the Regent's Regulation Number 53 of 2010 Article 23 Paragraph (9)on the Daily Batik and Traditional Weaving Lurik Service or ATBM Striated andthe Klaten Regent's Decree Number : 065/1014/06 December 30, 2010 on WearingTraditional Weaving, Motives, Colors and Free Models with Attributes. Furthermore,based on the Decree of the Regent of Klaten Number 050/84 of 2016 on KlatenRegency's Superior Products, batik striated is one of the superior products of KlatenRegency. With the issuance of these rules as an effort to protect and preserve lurikart in Klaten district and referring to Law Number 28 of 2014 on Copyright, it hasregulated the forms of protection of lurik art in Klaten through Article 40 paragraph(1). The Second Protection of Intellectual Property Rights Against Lurik Art, namelyProtection of lurik artworks, besides being accommodated in Law Number 28 of 2014on Copyright (Copyright Law) and Trademark Law and other intellectual propertyright laws. Elucidation of Article 40 paragraph (1) letter j of the Copyright Law. Thework is protected because it has artistic value, both in relation to the picture, style,and color composition. The Copyright Act also emphasizes that it is important toprotect ...

Introduction to the 2018 Annual Clancy Ratliff, University of Louisiana at Lafayette 'Blockbuster Sermons' and Authorship Issues in Evangelicalism TJ Greiger, Baylor University Plagiarizing a Pushcart Prize Lanette Cadle, Missouri State University Sue for Mario Bros.: Nintendo vs Emulation Kyle D. Stedman, Rockford University Cockygate: Trademark Trolling, Romance Novels, and Intellectual Property Devon Fitzgerald Ralston, Winthrop University A (Zombie) Legislative Proposal with Implications for Fair Use and Remix Culture Kim Gainer, Radford University