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Статті в журналах з теми "Propriété intellectuelle – Et l'Europe de l'Est"
Aghion, Philippe, and Irena Grosfeld. "De la désétatisation en Europe de l'Est." Revue de l'OFCE 34, no. 5 (November 1, 1990): 195–213. http://dx.doi.org/10.3917/reof.p1990.34n1.0195.
Повний текст джерелаMilewski, Françoise. "Les enjeux de l'ouverture à l'Est pour l'économie mondiale." Revue de l'OFCE 34, no. 5 (November 1, 1990): 157–94. http://dx.doi.org/10.3917/reof.p1990.34n1.0157.
Повний текст джерелаRoudart, Laurence. "Marie-Claude MAUREL Terre et propriété à l'Est de l'Europe depuis 1990. Faisceau de droits, relations de pouvoir Besançon, Presses universitaires de Franche-Comté, 2021, 244 pages." Mondes en développement 195, no. 3 (September 22, 2021): 153–55. http://dx.doi.org/10.3917/med.195.0153.
Повний текст джерелаДисертації з теми "Propriété intellectuelle – Et l'Europe de l'Est"
Kyrylenko, Anastasiia. "L’exportation des normes de propriété intellectuelle par l’UE vers les pays voisins de l’Europe de l’Est." Electronic Thesis or Diss., Strasbourg, 2022. http://www.theses.fr/2022STRAA008.
Повний текст джерелаIn this thesis, I have addressed the IPR enforcement provisions of three Association Agreements (AAs), which the European Union (EU) concluded with Georgia, Moldova and Ukraine in the early 2010s. I drew on these AAs as representatives of the EU's often criticized external intellectual property (IP) policy, launched in 2004, which consists of exporting the EU's internal IP rules through trade agreements. Said analysis allowed me to approach the fundamental question of this thesis: is there something good with the EU trade agreements? The plain answer, supported by this thesis on the example of the AAs, is “yes”. The general investigation, which led to these conclusions, was threefold. First, I analyzed the general policy of the EU towards Georgia, Moldova and Ukraine regarding the enforcement of IPRs, as well as its perception in the academic literature. Second, after tracing existing academic criticism of the EU's trade agreements, I examined whether such criticism was justified, as applied to the three AAs. Third, based on this analysis, I identified additional problems that third countries might face when implementing a trade agreement with the EU
Nicaud, Baptiste. "La réception du message artistique à la lumière de la CEDH." Limoges, 2011. http://aurore.unilim.fr/theses/nxfile/default/429e5900-9bf3-4348-be89-dc58e562c88b/blobholder:0/2011LIMO1008.pdf.
Повний текст джерелаThe advent of the communication technologies engendered two conceptions of the artistic message receivers: either they’re potential victims of the contents of these messages, or they are pirates loan to plunder the artist. The right to receive is a contingent element when the artistic freedom knew a particular valuation by the ECHR. The study of the artistic freedom through the prism of the receiver has, first and foremost, for purpose to break with an all-embracing conception of the public by putting in context the artistic exchange. This thesis tries to accentuate the polymorphic character of the reception modalities and the variability of its impact. This reflection tries to distinguish the public, publics and the individual receiver according to messages which propose or which are imperative. A wide place is then granted to the freedom of choice to develop an individuality of the reception in the respect for the pluralism. This study doesn’t assert the ascendancy of the right to receive, the omnipotence of the receivers and the alienation of the artist. The right to receive also defines itself by its confrontation to the NICT and to the currents rights. This thesis approaches the question of the conciliation of the right to receive with the copyright, freedom of creation and communication and rights of the intermediaries of broadcasting. Besides, the specificity of the artistic message allows widening the reflection on the right to the reception by the convergences with cultural rights, the right to diversity and the right to education. This thesis, through the development of the rights and duties of the receivers, proposes a conception of the just balance between the rights of the various actors of the artistic freedom