略论不动产善意取得制度的法律效果

不动产善意取得法律效果表现为善意第三人取得相应物权,包括了物权取得本身,还包括所有权的负担情况以及其他物权的顺位情况。原权利人与无权处分人之间或与有过错的登记机关之间产生债权关系,原权利人可依法向相关责任人请求赔偿损失。     

“物体—性状”认知框架及相关语法现象

物体—性状框架是人类认知框架中最为基本的一个。很N合格的必要条件是:第一,N必须具有可被激活的非单一的性状特征;第二,在已有的认知概念系统中,还未形成能够涵盖N的全部性状特征的概念。名词和形容词互转的语义基础是物体—性状之间相互关联。人类遵循物体→性状的认知顺序,该认知顺序投射到人类语言中,即为名词——形容词的发生顺序。     

“信息”与知识产权对象

“信息”一词在不同的语境中具有不同的含义。作为知识产权对象的信息不应是信息论意义上的信息，而应是控制论意义上的信息，即具有“同型结构＋意义”双重结构。这有其法学上的规范意义。具备“源于人、有价值、法定性”条件的信息即可成为知识产权的对象。     

论当前财产保险公司经营面临的困境及改善办法

当前国内财产保险公司经营利润逐年降低，盈利空间变窄，大部分保险公司从盈利逐步陷入亏损的境地，经营风险不断加大。恶性竞争、承保费用提高、理赔难是造成这一局面的主要因素。如何扭亏为盈，摆脱困境，本文将从内部管理和外部监督两方面进行分析，并提出改善办法。     

RIDICULING THE ‘WHITE BREAD ORIGINAL’

The 1994 US Supreme Court decision in Luther Campbell et al. v. Acuff-Rose Music, Inc., written by Justice David Souter, reversed a lower court decision and argued in favor of the rap group 2 Live Crew's playful critique of Roy Orbison's ‘Oh Pretty Woman’ by its function as parody. This essay seeks to contextualize that decision by showing the roots of 2 Live Crew's recording in the practice of ‘covering’ – the re-recording of an existent popular composition – and thus the possibilities for redefining authorship that arose with the advent of digital technology. The compositional techniques allowed by computer programs led to the proliferation of sampling in the hip-hop community, thereby liberating sounds from the original content and reconfiguring them in new songs. The technique allowed a critical, and in some cases adversarial, stance to be taken towards long-standing Western definitions of authorship and ownership. 2 Live Crew added to this rich stew of possibilities the familiar and time-tested genre of parody. Their piece took what one judge referred to as the ‘white bread original’ of the Roy Orbison record and twisted about the implicit point of view with regard to gender and sexuality. Discussion of the legal complications that followed upon the suing of the group by the holder of the copyright in the Orbison song, Acuff-Rose Music, Inc., includes the apparently sanctioned use of the song in the Disney-produced film Pretty Woman as well as the use of other Orbison material in director David Lynch's Blue Velvet. The essay concludes with suggestions as to how the language of Justice Souter's decision allows not only for future parodies but also a reinvigoration of speech, one which calls into question power relationships codified in US copyright statutes.     

乡(镇)林业站在集体林权制度改革后的职能定位

在分析乡(镇)林业站建设历程与职能的基础上,针对林改后出现的林农增收与公益林保护,林权分散、资金投入不足与规模经营、扩大再生产,森林粗放式经营与林业产业升级等的矛盾与问题,提出乡(镇)林业站在林改后应调整职能,并从生态公益林的管理与保护性开发利用、商品林的经营、林产品的生产与销售等方面阐述了林改后乡(镇)林业站职能调整的具体内容。     

自由与迷失——审美游戏论批判

所谓审美游戏论就是以游戏来描述审美存在,以游戏特性来确立审美的独立性、合法性与本体性的理论话语.从审美游戏论的话语历史出发,关注其理论建构的可能性与界限,才能把握审美游戏论所阐释的审美特性.     

汉代家产继承析论

汉代家庭财产继承由诸子平均分割和继承,汉代家产继承主要有父母在世时的＂生分＂和父母身后的析分两种方式。诸子均分制造成了汉代社会个体小家庭为主流的家庭形态。