This time one of the posts with a grain of salt, but of course taking the dragonflies' historycznosztuczny "topic. Some readers probably associate the October entry about plagiarism in the late medieval period (for the forgetful: link ). For example, a number of flagship artists of that time, I managed to be less or more Údolní describe how they could protect their creativity and their weapons copying drawings and paintings from those of other painters and illustrators. And how was it before? Here, just the majority of authors of books on copyright seems to be silent, and in fact rely only on a very well known facts. Let us therefore the field of imagination and think about how you can read ambiguously inscriptions from the Middle Eastern objects, bearing in mind the achievements of modern copyright law.
Usually, when he writes about the rights of authors in antiquity, the researchers refer to the familiar words of the second Symmachus Call. Fourth century AD, when it stated that "it is referred to published free." This, of course, draws the standard notion of contemporary copyright law, that the work has to gain some form, must be determined (whether in the form of text, dance or even verbal improvisations). However Symmachusowi meant something else, namely the fact that the right to use of content and its duplication has any, from the moment when the content is out the door. So it is a different rule than that used in the current legislation.
presented next to an object can be seen as tongue in cheek even older example of the application of copyright law. Of course, you can easily guess that's not what the king wanted, when he published a terrifying curse on him. Located in the Istanbul museum sarcophagus housed in a body Tabnita, king of Byblos, which however was not pierwwszym his "resident." It is known that for the peoples of Mesopotamia (and the wider Middle East) extremely important was the preservation of the body after death in a relatively undisturbed state, which provide miało zmartwychwstanie duszy i ciała. Aby tego dokonać Tabnit zabrał sarkofag, należący uprzednio do egipskiego dowódcy Peneptaha (o czym zaświadczają widoczne na ilustracji hieroglify) i sam złożył się w tej ozdobnej "trumnie". Obawiając się jednak o to, by ktoś z jego ciałem nie postąpił tak samo, postanowił opatrzeć sarkofag inskrypcją:
"Kimkolwiek byłbyś, człowieku, który znajdziesz ten sarkofag, nie otwieraja mojej pokrywy i nie zakłócaj mi spokoju, nie ma bowiem ze mną srebra, nie ma ze mną złota ani nic cennego, oprócz mnie, który leżę w tym sarkofagu. Nie zdejmuj my cover and do not disturb my peace, because it is an abomination to Astarte. And if you take off my cap and interrupt me alone, you will not have children in your life under the sun, or live with the dead. "(For: Sabatino Moscati, The World Phoenicians, trans. Gawlikowski Michal, Warsaw 1971, p. 57; by this author Further quotations in the text).
Well, you see, that's not enough that the king of Sidon in the sixth century BC, he valued greatly, considering that only he is worthy of the things listed in the sarcophagus, it still did not fail to frighten potential robber. However, while this inscription does not stand out too much from a group of many similar, they appear on the artifacts from Egypt and the Middle East area, it's a bit more like a contractual claim, which currently enjoy creators of works protected by copyright. According to the law, the vast majority of rational laws in the world (yes, there are countries such Poland, and surprisingly it is said her rational legislature, the author shall have the right to decide how to use your work, use of new fields of service, etc. Once again, joking, you can recognize that we find similar records from ancient Phoenicia. What's more, it seems that the kings of the burial of administration each time by objects!
Baalath Portrayed alongside the temple at Byblos is one of the most important monuments in this ancient Phoenician city. The goddess was not only the patron of its inhabitants, but also the ruling dynasty there. This "Lady of Byblos" gave up their time to the care of one of the rulers of a rather funny-sounding name Jehaumilk today. However, as the inscription is quite a long quote but only fragments of interest to us:
"I'm Jehaumilk, king of Byblos, whom you (...) Baalath made king of Byblos Byblos. Baalath I called my lady of Byblos, and she heard my voice. I did for my lady of Byblos Baalath the altar of bronze, which is in the courtyard, and the golden gate, which is the opposite of my gate, and the winged disk of gold, which is a stone in the middle of the golden gate, and the portico with columns and capitals that are upon them, and the roof: (.. .) Whoever you are, every king and every man who will complement the work on the altar or at the gate gold, or in the porch, my name is: "I am Jehaumilk king of Byblos," you should put in your work on this, and if you do not put my name out your work or delete it and move (...) let them destroy you Baalath of Byblos that man and his descendants from all the gods of Byblos "(S. Moscati, op. cit, p. 46-47).
Brrr, it seems, is not worth it to assign the authorship of something that is not done that, Not to mention moving the altar. It would seem that this inscription is completely at the modern world. And yet we have to deal not only with a rather interesting creature recent decades, copyright law, so called. wieloelementowym song (yes, they sell such as Web portals, and therefore as one piece, rather than individually), but also the work of a subsidiary, since it provides for supplementing the Phoenician king of his achievements. Admittedly, this is not meant Jehaumilkowi when ordered to engrave the inscription said, but you probably knew that is forced to replace each object, which was recommended to perform, ranging from the quintessential, and so brown altar. Not otherwise dealt with many times today and an agreement transferring copyright to długaśne attachments listing all items included in the track.
At the end we were even a sarcophagus with inscriptions similar to the first day listed. This time, however, the author of the text is not confined only to scare a curse, but also responded to another well-educated in the last century of copyright law, and therefore the right to decide on the use of the song on different fields of service (for example, the writer can decide whether he wants to make its the book was filmed). Sarcophagus of living in the fifth century BC Eszmunazara II was found at Sidon in 1855 Although the style of the work feeling very inspired by Egyptian art, this inscription is no longer in the language used and the content of purely Phoenician. Here's what a potential violation of "copyright" could be made out before his disgraceful act:
"Whoever you are, king or a man, do not open the sarcophagus and do not look for anything, because nothing here has been done, and do not take my sarcophagus and chest do not carry me away to another sarcophagus. Even if you feel so that people say, do not listen to their words, because no king and no person who removes the lid of the sarcophagus, which will take the ark my sarcophagus, which will take me out of the sarcophagus, there will be live with the dead and will not be buried in the tomb, and will not have a son or offspring, and give him the holy kings of the powerful gods, who reigns over him, to overthrow the king, or man , which opened the lid of the sarcophagus, or who took the ark. A seed of the king or the people will have no roots or fruit at the bottom of the mountain, nor any form of life under the sun "(S. Moscati, op. Cit, p. 58).
course I could I now joke that the above inscriptions indicate that she is the offspring minus the sons, or that the breach from the king bed wither "bird." But not what it was, but above all to ensure peace, integrity object needed to restore to life the king of the gods which are entrusted. And the fact that the curses refer to Astarte shows just how much he depended on that. Today, such things would be done with the use of copyright law, and thus to limited opportunities to have their own track. But virtually everyone knows how it actually is - is poured into a publisher for everything willy-nilly, even before the artist can predict whether it is able to work with her to succeed. The Phoenicians did not have such forms of protection of their rights, and so had to use curses. But unfortunately I was unable to determine if effective, because I can not find the information on whether the French consul, in whose command the sarcophagus was transferred to Paris (now in the Louvre), made his progeny of some or rather existed "green "...
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