<strong>Differing</strong> <strong>diversities</strong>works, and the impact <strong>of</strong> authors’ moral rights on creativity and culture remainhighly controversial. While these issues are too complex to lend themselvesdirectly to empirical analyses, a more sophisticated examination <strong>of</strong> what theyinvolve, including their empirical aspects, may help policy makers to frame culturaldiversity policies far more effectively.Relationship between international copyright and regional copyrightThe study <strong>of</strong> international developments in intellectual property has also largelyneglected the relationship between international copyright law and regionalapproaches to copyright. Notably, the <strong>Europe</strong>an Union has been a major site <strong>of</strong> developmentin copyright standards, where efforts to harmonise the laws <strong>of</strong> member statesare embodied in five copyright harmonisation directives, to date. 1 <strong>Europe</strong>an copyrighthas developed in tandem with the TRIPs/WTO system. 2 Its influence on internationalintellectual property law may be significant, particularly in view <strong>of</strong> the importance <strong>of</strong>trade in culture and technology between <strong>Europe</strong>an Union countries and the UnitedStates. 3 Moreover, the question <strong>of</strong> how <strong>Europe</strong>an Union copyright law interacts withthe TRIPs Agreement remains largely unresolved (Caviedes, 1998: 228).<strong>Europe</strong>an intellectual property developments have also been driven by the need tointegrate the formerly socialist countries <strong>of</strong> eastern <strong>Europe</strong> into the ambit <strong>of</strong> the<strong>Europe</strong>an Union. These countries may either be admitted directly to full <strong>Europe</strong>anUnion membership, 4 or they may participate in agreements which facilitate trade andcultural exchange with the EU. 5 The new legal perspectives and different culturalrealities which these countries may introduce into the international copyright regimeremain poorly explored. In particular, the highly publicised, potential membership <strong>of</strong>the Russian Federation in the WTO, and the recent admission <strong>of</strong> China to the WTOclub, may bring unexpected pressures to bear on the international framework forcopyright protection. These countries bring to the international arena a historicallegacy <strong>of</strong> oppression, a complex and distinguished cultural past, and notoriously lowlevels <strong>of</strong> compliance with current copyright standards. These factors may generate aneed to re-examine conventional wisdom about the desirability and effectiveness <strong>of</strong>the international copyright standards established in the TRIPs Agreement.<strong>Europe</strong>an integration, culture, and copyrightWith the collapse <strong>of</strong> socialist regimes in eastern <strong>Europe</strong> and the former SovietUnion, intellectual property specialists have become interested in the problems__________1. The directives are summarised by Caviedes (1998: 207-221).2. Caviedes (1998: 166-168) emphasises this point.3. This point is made by Crews (1998: 117).4. But see Karel, 1997: 221-222. He points out that the expansion <strong>of</strong> the EU depends on the economic situation<strong>of</strong> the Union, and, therefore, may not become a reality for some time: he observes that the accessionprocess has so far been characterised by “vague words” and “ill-defined assurances” from the EU, inlieu <strong>of</strong> specific commitments.5. The Russian Agreement on Partnership and Co-operation with the <strong>Europe</strong>an Union <strong>of</strong> 1994 is oneexample: see Elst, 1996: 276-285.146
Reasearch position paper 5confronting these countries in modernising their societies. 1 In particular, theopportunities <strong>of</strong>fered by potential membership in an enlarged <strong>Europe</strong>an Union andeconomic participation in the WTO, have provided strong incentives for thesecountries to revise their legal regimes, with a view to meeting the regulatoryrequirements <strong>of</strong> these organisations. Both the <strong>Europe</strong>an Union and the WTOrequire the adoption <strong>of</strong> intellectual property standards and practices which complywith their basic standards as a prerequisite to greater participation and economicexchange between West and East. As a result, many <strong>of</strong> the ex-socialist countries <strong>of</strong>eastern <strong>Europe</strong> have sought the assistance <strong>of</strong> western experts to bring their intellectualproperty regimes into compliance with EU and WTO standards. 2The process <strong>of</strong> legal reform in eastern <strong>Europe</strong> has seen the modernisation <strong>of</strong>socialist intellectual property regimes which were <strong>of</strong>ten antiquated. However,the reform effort has arguably been dominated by commercial concerns at theexpense <strong>of</strong> cultural interests. A particular focus <strong>of</strong> reform has been on the problem<strong>of</strong> bringing eastern <strong>Europe</strong>an societies, which appear to be quite resistant tointellectual property enforcement, into compliance with international standards. 3In this process, cultural concerns appear to be largely neglected. Most strikingly,reformers do not appear to consider the special difficulties confronting culture inthe post-socialist period, with its unprecedented economic and social adjustments,or the potential impact <strong>of</strong> westernised intellectual property standards onthe diverse cultures <strong>of</strong> eastern <strong>Europe</strong>, whether majority or minority. Legalreform has also failed to confront the fundamental problem <strong>of</strong> establishing anappropriate regulatory environment for cultural development – a pressing issuefor eastern <strong>Europe</strong>an countries – which copyright law may be instrumental inachieving.While extensive, intellectual property scholarship in eastern <strong>Europe</strong>an countriessuffers from the narrowness <strong>of</strong> focus which is characteristic <strong>of</strong> the reform effort atlarge, an important concern <strong>of</strong> scholarship should be to redress this imbalance ineastern <strong>Europe</strong>an law reform affecting intellectual property. Scholars shouldaddress the special cultural concerns <strong>of</strong> eastern <strong>Europe</strong>an countries and their culturalminorities, and examine the potential impact <strong>of</strong> the ongoing process <strong>of</strong> intellectualproperty reforms on these interests. They should also attempt to determinewhether the tools <strong>of</strong> copyright law can assist these countries with their culturalchallenges, and <strong>of</strong>fer specific suggestions as to how the framework <strong>of</strong> westerncopyright law may be integrated into these diverse cultures. Finally, scholarsshould examine the developing opportunities for cultural exchange between eastern<strong>Europe</strong> and other parts <strong>of</strong> the world, from which it has been politically isolatedfor decades, with a view to determining how intellectual property regulation mayfacilitate cultural exchange.__________1. See Lewinski, 1997; Dietz, 1996.2. For example, Lisle (1999: 226-237) examines American involvement in post-Communist law reformin Russia.3. See Broadbent and McMillian, 1998: 533-550, who discuss these problems particularly in relation toRussia.147
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PrefaceThe present text constitutes
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Part IDiffering diversities:transve
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The study: background, contextand m
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The challenge of diversityCulture,
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Differing diversitieslanguages. The
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