The article is devoted to the topical problem of determining the range of intellectual property subjects. The analysis of norms of the current Ukrainian legislation in the field of intellectual property is carried out. It is proposed to supplement the articles of the Civil Code of Ukraine on the definition of intellectual property by such categories as animal and "electronic person". ; Стаття присвячена актуальній проблемі визначення кола суб'єктів інтелектуальної власності. Проведено аналіз норм чинного українського законодавства в сфері інтелектуальної власності. Запропоновано доповнення статей Цивільного кодексу України щодо визначення суб'єктів інтелектуальної власності такими категоріями, як тварина та «електронна особа».
The history's narrative has been deeply shaked during the first half of the nineteenth century. The historical narrative have to meet new challenges and make a new historiography to institute a modern and a scientific discipline : history. Therefore writers of this period form an historical narrative which includes new democratic procedures for the management of politics : historian have not only to talk about history, but have also to get the voices of history heard, past's voices as well as contemporary's. History becomes a communication. In other words, voices don't only have to get heard : they have to interact each others through time. Like a parliament, times communicate each others and lead the narrative to make a polyphonic history, in which the narrative and auctorial instance – which, in the past, led the rhythm and the coherence of the narrative – stretch themselves. Therefore history weaks itself to become more listenable. The history's narrative of the first half of the nineteenth century becomes thus a wide laboratory for historians to experiment new narrative devices of a democratic history. ; Les modes de composition et de narration de l'histoire ont été profondément bouleversés dans la première moitié du XIXe siècle français. Le récit historique doit alors répondre à de nouveaux enjeux et façonner une historiographie nouvelle qui devra conduire à l'établissement d'une discipline scientifique moderne : l'histoire. Les écrivains de cette période conçoivent par conséquent un récit historique dans lequel sont inscrites les nouvelles modalités démocratiques du rapport à la cité politique : il ne s'agit plus seulement pour l'historien d'entretenir de l'histoire, mais de faire entendre les voix de l'histoire, celles des contemporains tout autant que celles du passé, en les inscrivant dans un régime communicationnel. Autrement dit, il ne s'agit pas seulement de les faire entendre, mais aussi de procéder à un vaste système d'interactions des différentes temporalités : à l'image d'un vaste parlement, les ...
The history's narrative has been deeply shaked during the first half of the nineteenth century. The historical narrative have to meet new challenges and make a new historiography to institute a modern and a scientific discipline : history. Therefore writers of this period form an historical narrative which includes new democratic procedures for the management of politics : historian have not only to talk about history, but have also to get the voices of history heard, past's voices as well as contemporary's. History becomes a communication. In other words, voices don't only have to get heard : they have to interact each others through time. Like a parliament, times communicate each others and lead the narrative to make a polyphonic history, in which the narrative and auctorial instance – which, in the past, led the rhythm and the coherence of the narrative – stretch themselves. Therefore history weaks itself to become more listenable. The history's narrative of the first half of the nineteenth century becomes thus a wide laboratory for historians to experiment new narrative devices of a democratic history. ; Les modes de composition et de narration de l'histoire ont été profondément bouleversés dans la première moitié du XIXe siècle français. Le récit historique doit alors répondre à de nouveaux enjeux et façonner une historiographie nouvelle qui devra conduire à l'établissement d'une discipline scientifique moderne : l'histoire. Les écrivains de cette période conçoivent par conséquent un récit historique dans lequel sont inscrites les nouvelles modalités démocratiques du rapport à la cité politique : il ne s'agit plus seulement pour l'historien d'entretenir de l'histoire, mais de faire entendre les voix de l'histoire, celles des contemporains tout autant que celles du passé, en les inscrivant dans un régime communicationnel. Autrement dit, il ne s'agit pas seulement de les faire entendre, mais aussi de procéder à un vaste système d'interactions des différentes temporalités : à l'image d'un vaste parlement, les ...
Статья посвящена характеристике словарей, отражающих речь конкретных языковых личностей. Рассматриваются проблемы наименования данного класса словарных трудов, выделения их главных типологических свойств и разграничения параметрических признаков, которые составляют специфику идио-лектных словарей либо являются общими для всех видов лексикографической продукции. Классифицируются разновидности словарей, представляющих результаты речевой деятельности конкретного носителя языка, и прогнозируется развитие словаростроения в этой сфере. ; The rapid development of dictionary compiling and the increase of lexicographical sources reflecting speeches of certain individuals raises the issue of naming this type of dictionaries, its essential features, and place in the typology of dictionaries and other similar works. The most suitable name for the given dictionary type may be the ''idiolect dictionary'': it has the broadest semantics; it satisfies the requirements for the term of brevity and consistency; it has a transparent inner form; it has long been used when classifying dialect dictionaries; recently it has entered the general typology of the Russian linguistic dictionaries. The sub-types of the idiolect dictionary are author's dictionaries (those representing the written speech of certain artists), writer's language dictionaries (a kind of author's dictionaries), and dictionaries of common speakers. The main typological feature distinguishing the idiolect dictionary from other types is the object of description — the speech of a certain individual. The features of idiolect dictionaries result from such parameters as the object and the subject of lexicographical description, as well as the scope of individual discourse analysis. By the parameter of the object of description all idiolect dictionaries represent the microsytem of individual speech, not the common language system. The possible types depend on the object of lexicographical description, which simultaneously is the speech producer. So far the dictionaries based on artists' speech (mostly writers, sometimes politicians and scholars) prevail. The number of dialect speaker dictionaries increases. There are dictionaries of language personalities of the past and of the present. By the scope of individual discourse analysis there are complete dictionaries describing all kinds of individual's speech, and incomplete — describing particular speech types and / or genres. Most of the existing dictionaries analyse the written literary speech of a particular person (the whole or parts of it); still, there are dictionaries of oral speech in its dialect form. The subjects of description can be diverse: there are general and aspect explanatory, figurative means, author's neologisms and idioms, frequency, ideographic, and other dictionaries. Classification of idiolect dictionaries according to other criteria (units of description, their arrangement, material selection, number of languages, target reader, etc.) is similar to the general typology of linguistic dictionaries. Further development of this field is in compiling new idiolect dictionaries, and creating their new types.
In: This paper was originally drafted for the Centre for Law and Democracy, when the author was employed as Senior Legal Officer with that organization.
In: in: Nauka, edukacja, rynek pracy [Science, education, labour market], ed. C. Plewka, Szczecin 2013, pp. 237-244 (chapter in Polish, co-author Grzywacz Waldemar)
Public urban spaces reflect the values of society (authors, customers and the public). During transition from the soviet state-planned economy towards market-driven relations, or, in other words, moving from the politically-determined way towards a democratic variety of creative expression, a system of centralized state contracts is being substituted by a more liberal way of contracting works of art in public spaces. As a consequence, nowadays a public urban space should turn into a platform for representation of various artistic programs that are based on different world outlook values. However, in so far, relations between the authors of various artistic programs, their contracting authorities, and the public are undergoing rather the stage of "cold war" than democratic tolerance (those who are not with us are against us). While examining the reasons of this phenomenon by research methodologies of social sciences (marketing, management), including PEST, SWOT, case analyses, the paper discusses links of the world outlook values of the author, customer and the public with expression of the contemporary sculpture in public urban spaces (starting with monumental representation and moving towards the site-specific art objects and socially engaged art). To this end, the focus is turned to the reasons of contradictions between values in various contemporary artistic programs and partnership patterns (post-soviet, liberal, new left-wing,learning from Las Vegas, political appropriation). Santrauka Viešosios miesto erdvės atspindi vertybines visuomenės (kūrėjo, užsakovo ir publikos) nuostatas. Pereinant iš sovietmečio planinės ekonomikos į rinkos santykius, nuo politiškai reglamentuotos link demokratinės kūrybinės raiškos įvairovės, centralizuotą valstybinių užsakymų sistemą keičia liberalesnė meno kūrinių viešosiose erdvėse užsakymo sistema. Todėl šiandien viešoji miesto erdvė turėtų tapti skirtingų pasaulėžiūrinių vertybinių meninių programų pateikimo platforma. Tačiau kol kas santykiams tarp skirtingų meninių programų kūrėjų, užsakovų ir publikos būdinga ne demokratinė tolerancija, o šaltojo karo (kas ne su mumis, tas prieš mus, t.y. mūsų priešas) pozicija. Ieškant šio reiškinio priežasčių, pasitelkus socialinių mokslų (vadybos, marketingo) tyrimų metodus (PEST, SSGG, stebėjimą ir atvejų analizę), pranešime aptariamos kūrėjo, užsakovo ir publikos pasaulėžiūrinių vertybių sąsajos su šiuolaikinės skulptūros viešosiose miesto erdvėse raiška (nuo monumentalios reprezentacijos link skirtų konkrečiai vietai meno objektų (site-specific art object) ir socialiai angažuotos (socially engaged) kūrybos). Tuo tikslu sutelkiamas dėmesys į skirtingų nūdienos meninių programų ir partnerystės modelių (jie yra tokie: posovietinis, liberalus, naujosios kairės, mokymosi iš Las Vegaso, politinės apropriacijos) vertybių prieštarų priežastis. First Publish Online: 22 May 2013 Reikšminiai žodžiai: menas viešosiose miesto erdvėse, kūrėjas, užsakovas, publika, posovietinis, liberalus, naujosios kairės, mokymosi iš Las Vegaso, politinės apropriacijos modeliai.
