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1. |
Record Nr. |
UNINA9910781653003321 |
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Autore |
Merges Robert P |
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Titolo |
Justifying intellectual property [[electronic resource] /] / Robert P. Merges |
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Pubbl/distr/stampa |
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Cambridge, MA, : Harvard University Press, 2011 |
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ISBN |
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0-674-26608-0 |
0-674-06112-8 |
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Descrizione fisica |
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1 online resource (422 p.) |
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Disciplina |
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Soggetti |
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Intellectual property - Philosophy |
Intangible property |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Note generali |
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Nota di contenuto |
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Frontmatter -- Contents -- Preface -- Chapter One. Introduction -- Part One. FOUNDATIONS -- Chapter Two. Locke -- Chapter Three. Kant -- Chapter Four. Distributive Justice and IP Rights -- Part Two. PRINCIPLES -- Chapter Five. Midlevel Principles of IP Law -- Chapter Six. The Proportionality Principle -- Part Three. ISSUES -- Chapter Seven. Creative Professionals, Corporate Ownership, and Transaction Costs -- Chapter Eight. Property in the Digital Era -- Chapter Nine. Patents and Drugs for the Developing World -- Chapter Ten. Conclusion -- Notes -- Index |
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Sommario/riassunto |
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Why should a property interest exist in an intangible item? In recent years, arguments over intellectual property have often divided proponents-who emphasize the importance of providing incentives for producers of creative works- from skeptics who emphasize the need for free and open access to knowledge.In a wide-ranging and ambitious analysis, Robert P. Merges establishes a sophisticated rationale for the most vital form of modern property: IP rights. His insightful new book answers the many critics who contend that these rights are inefficient, unfair, and theoretically incoherent. But Merges' vigorous defense of IP is also a call for appropriate legal constraints and boundaries: IP rights are real, but they come with real limits.Drawing on Kant, Locke, and Rawls as well as contemporary scholars, |
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Merges crafts an original theory to explain why IP rights make sense as a reward for effort and as a way to encourage individuals to strive. He also provides a novel explanation of why awarding IP rights to creative people is fair for everyone else in society, by contributing to a just distribution of resources. Merges argues convincingly that IP rights are based on a solid ethical foundation, and-when subject to fair limits-these rights are an indispensable part of a well-functioning society. |
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2. |
Record Nr. |
UNISALENTO991004398129407536 |
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Autore |
Riganti, Riccardo <1941- > |
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Titolo |
Biforcazioni e caos nei modelli matematici delle scienze applicate / Riccardo Riganti |
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Pubbl/distr/stampa |
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Torino : Levrotto & Bella, 2000 |
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Descrizione fisica |
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vi, 201 p. : ill. ; 24 cm |
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Classificazione |
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Disciplina |
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Soggetti |
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Differentiable dynamical systems |
Differential equations |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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3. |
Record Nr. |
UNINA9910265235703321 |
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Autore |
Murchison Gayle Minetta |
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Titolo |
The American Stravinsky : The Style and Aesthetics of Copland's New American Music, the Early Works, 1921-1938 / / Gayle Murchison |
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Pubbl/distr/stampa |
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Ann Arbor : , : University of Michigan Press, , 2012 |
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©2012 |
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ISBN |
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Descrizione fisica |
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1 online resource (xviii, 285 pages) : illustrations |
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Disciplina |
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Soggetti |
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Music / History & Criticism |
Music |
Electronic books. |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references (p. 259-275) and index. |
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Nota di contenuto |
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Scherzo humoristique (Cat and mouse) : Copland's American Petrushka and his debt to Stravinsky -- Boulanger and compositional maturity -- Popular music and jazz : authentic or Ersatz? -- Paris and jazz : French neoclassicism and the new modern American music -- Back in the United States : popular music, jazz, and the new American music -- European influence beyond Stravinsky and les Six : Hába and Schoenberg -- Toward a new national music during the 1930s : Copland's populism, accessible style, and folk and popular music -- Copland's journey left -- "Folk" music and the popular front : El salón Mexico -- Billy the Kid -- A vision for American music-- . |
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Sommario/riassunto |
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One of the country's most enduringly successful composers, Aaron Copland created a distinctively American style and aesthetic in works for a diversity of genres and mediums, including ballet, opera, and film. Also active as a critic, mentor, advocate, and concert organizer, he played a decisive role in the growth of serious music in the Americas in the twentieth century. In The American Stravinsky, Gayle Murchison closely analyzes selected works to discern the specific compositional techniques Copland used, and to understand the degree to which they derived from European models, particularly the influence of Igor |
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Stravinsky. Murchison examines how Copland both Americanized these models and made them his own, thereby finding his own compositional voice. Murchison also discusses Copland's aesthetics of music and his ideas about its purpose and social function. |
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