Abstraction and registration: conceptual innovations and

supply effects in Prussian and British copyright (1820-50)

Intellectual Property Quarterly

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Abstraction and registration: conceptual innovations and..., I.P.Q. 2003, 2, 209-228

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Abstraction and registration: conceptual innovations and
supply effects in Prussian and British copyright (1820-50)
Friedemann Kawohl and Martin Kretschmer

Journal Article

Intellectual Property Quarterly

I.P.Q. 2003, 2, 209-228

Subject
Intellectual property

Keywords
Copyright; Germany; Legal history; Musical works; Registration

Abstract
Reviews the historic Prussian Copyright Act 1837 and UK Copyright Act 1842,
focusing on the trend towards copyright protection without the formality of registering
the copyright work. Compares the early development of copyright in the UK and
Prussia, the debate about the protection of musical works and the trend towards the
protection of authors' rights. Considers the conflict between the abstract conception of
an authored work and the requirement of registration. Discusses the implications for
modern copyright and whether there may be circumstances where registration of works
would improve certainty as to what is protected and thus encourage creativity. Includes
tables comparing the major provisions in the UK Statute of Anne 1709, the Prussian
Copyright Act 1837, the UK Copyright Act 1842 and the Berne Convention, and the
historic title page of the first edition of the opera Oberon by Carl Maria Von Weber.

Legislation cited
Convention for the Protection of Literary and Artistic Works 1886
Copyright Act 1842 (c.45)
Copyright Act 1837 (Prussia)
Copyright Act 1709

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