하코네후지야호텔(箱根富士屋ホテル) 사건 : 일본지적재산고등재판소 판결

장예영 세창출판사 2012 창작과 권리 Vol.- No.68

This is case note on "Hakone Fujiya Hotel Story", a copyright infringement case (IP High Court of Japan, July 14, 2010 (ne) No.10017, 10023). Plaintiff, a professional writer wrote a non-fiction book about historically regarded Hakone Fujiya Hotel focusing on three founders, and defendant, a prefectural governor wrote a book about the development and modernization of the Hakone area focusing on the achievements of the five people, but because of the similarity between the two books, this led the dispute to a copyright infringement lawsuit. Since two people are common in both books, 7 of the referenced books are common, and it was clear that the defendant read plaintiff's book, plaintiff argued that 15 sentences of defendant's book were infringing literally her work. Defendant denied the infringement, and therefore the case went to the court. District court of Tokyo held that the copyright infringement regarded just one sentence, but the IP High Court of Japan held that the sentence in question was a metaphorical expression, and that it was either an 'idea' or 'commonplace expression' so that this doesn't constitute copyright infringement. In this case, the court reviewed the idea-expression dichotomy and metaphorical expression, and also analyzed the distinction between 'commonplace expression' and 'creative expression', and this precedent will give significant hint to future cases.

인터넷상의 저작권 침해에 대한 블로킹기술 도입을 둘러싼 논의 : 이른바 '삼진아웃제' 도입에 관한 세계 각국의 동향을 중심으로

장예영 세창출판사 2011 창작과 권리 Vol.- No.65

The aspects of copyright infringement in the Internet are changing as it is also changing the way of its enforcement. The speed at which information travels in the Internet is so fast that with the existing legislation copyright holders cannot get effective remedies. In recent years, extensive and repetitious copyright infringements have been a big problem, and there is now a need to regulate this issue in advance. From this point of view, 'content blocking' and 'user blocking' are considered more effective measures than the existing legislation such as the 'Notice and takedown procedure'. As referred to in this paper, 'blocking' can be divided into three types; ① 'blocking the upload of infringing content' ② 'website blocking', ③ 'blocking Internet access to repeated infringers'. In particular, ③ 'blocking Internet access to repeated infringers' is started to be discussed under the name of so-called 'three strikes rule', when French passed the HADOPI law in 2009. This so-called 'three strikes rule' has been introduced and it is in force in France, Korea, and Ireland, and it is now under discussion in many countries. This paper illustrates the debate regarding the introduction of blocking measures in cases of copyright infringement in the Internet in Europe and U.S., and it especially illustrates the major trends of the so-called 'three strikes rule' around the world.

고정희 시에 나타난 여성의 억압과 여성해방의 가능성

장예영 한양대학교 동아시아문화연구소 2023 동아시아 문화연구 Vol.92 No.-

This paper attempts to apprehend the structure of women’s oppression and resistance in Ko Jung-hee’s poetry and to examine the possibility of women’s liberation. As is well known, the structure of women’s life and oppression is underlying the basis of the liberation of women in Ko Jung-hee’s poetry. In Ko Jung-hee’s poetry, the content of “mother” is revealed as a root of liberated humanity. This paper focuses on Ko Jung-hee’s presumption of the feminine nature at this point, first examines the relationship between Foucault’s prohibition and desire, and then supplements it through a discussion by Zizek, who pointed out Foucault’s limitations. If you think about this in connection with Ko Jung-hee’s poetry, the point is that the presumption of the feminine nature itself can soon become a passive resistance. Nevertheless, some excess beyond the power of oppression is bound to be revealed, and when active resistance beyond the power of oppression erupts, it opens up space for resistance. This paper paid attention to the “Things that can’t be named” that appeared in Ko Jung-hee’s poetry as beings with the possibility of true women’s liberation beyond the power of oppression. Ko Jung-hee emphasizes the importance of “naming” through an anecdote with her teacher, and thinks that “Another Culture” that she led should be carried out. Contrary to Ko Jung-hee’s will to naming, “Things that cannot be named” wander like ghosts in her poetry. Through them, this paper is meaningful in that it measures the possibility of true women’s liberation by identifying these excesses, which were not aware of “Things that can’t be named” unlike the direction that Ko Jung-hee pursued. 본고는 고정희 시에 나타난 여성의 억압과 저항의 구조를 파악하고 여성해방의 가능성을 살펴보고자 한다. 주지하듯 고정희 시의 여성해방의 근저에는 여성의 삶과 억압의 구조가 깔려있다. 고정희 시에는 이것에 대한 해방된 인간성의 본으로 ‘어머니’를 상정한 내용이 드러난다. 본고는 이 지점에서 고정희가 여성적인 본질을 상정한 것에 주목하여 먼저 푸코의 금지와 욕망의 관계를 살펴본 이후, 푸코의 한계를 지적한 지젝의 논의를 통해 보충한다. 이것을 고정희 시와 연관 지어 생각해 보면, 요점은 본체적인 여성을 상정하는 그 자체가 곧 소극적인 저항이 될 수 있다는 것이다. 그럼에도 억압의 힘을 넘어서는 어떠한 과잉이 드러나기 마련이며, 억압의 힘을 넘어서는 능동적인 저항이 분출될 때 이는 저항을 위한 공간을 열게 한다. 본고는 이러한 억압의 힘을 넘어서는 진정한 여성해방의 가능성을 지닌 존재들로 고정희 시에 나타난 ‘이름 붙일 수 없는 것들’에 주목하였다. 고정희는 은사님과의 일화를 통해 ‘이름 붙여주는 일’의 중요성을 역설하며 이를 그녀가 이끌었던 <또하나의문화>가 수행해야 할 일로 생각한다. 고정희가 이름 붙이고자 했던 의지와는 달리 그녀의 시에는 차마 ‘이름 붙일 수 없는 것들’이 유령처럼 떠돌게 된다. 이들을 통해 고정희가 추구했던 지향점과 달리 차마 ‘이름 붙일 수 없는 것들’이라는 의식하지 못했던 이러한 과잉의 지점을 톺아보며 진정한 여성 해방의 가능성을 가늠해 본다는 점에서 본 논문의 의의가 있다.

미승인국가의 저작물과 불법행위

장예영(Chang Ye Young) 세창출판사 2009 창작과 권리 Vol.- No.56

In recent years, it was argued that if it is copyright infringement or not to use North Korea's movie in Japanese news report without paying copyright royalties. Japan does not approved North Korea as a country under the international law, so District Court of Tokyo held that "Japan does not have any duty to protect the copyrighted works of North Korea because Japan does not have any diplomatic relationship with North Korea". And Japan's Intellectual Property Appeal Court held that "Japan does not have any duty to protect the copyrighted works of unapproved country, but broadcasting the North Korea's movie without paying copyright royalties is socially unacceptable so that consist a tort." North Korea joined the Berne Convention in 2003, but Japan's Intellectual Property Appeal Court interpreted that "the fact that North Korea is a member of the international treaty is not enough to create the duty of protecting the copyrighted works". There is a heated argument about this decision because considering all the precedents of Japanese tort law, it is still insufficient to admitting the tort in this case. This is the first judicial decision about protection for the North Korea's copyright.

김종삼 초기시에 나타난 주체 인식 연구 -반복된 실패 양상을 중심으로-

장예영 ( Jang Ye-yeong ) 한양대학교 동아시아문화연구소(구 한양대학교 한국학연구소) 2019 동아시아 문화연구 Vol.78 No.-

본 논문은 1982년 작품 「누군가 나에게 물었다」에서 드러난 “누군가 나에게 물었다. 시가 뭐냐고 나는 시인이 못됨으로 잘 모른다고 대답하였다.”라는 실패의 자기 고백에 주목하였다. 이와 같은 후기 고백으로부터 출발하여 초기로 되돌아가, 소급적으로 김종삼 초기시에서 드러난 반복되는 실패와 이를 확인하며 구성되고 있는 주체 인식을 살펴보고자 했다. 1964년 작품 「나의 本籍」은 시 제목에서 본격적으로 ‘나’를 언급하고 있는 만큼, 주체 인식을 드러내기 시작한 중요한 시발점이라고 볼 수 있다. 이후 후기 작품까지 끊임없이 ‘나’에 대해 정의 내리고자 하는 것이 김종삼 중기 이후 시의 특징이다. 하지만 본고는 ‘나’에 대한 인식의 고민이 중기부터 갑자기 발현됐다기보다 초기부터 토대가 될 만한 작품이 있을 것이라는 전제하에 초기시부터 면밀히 살펴보았다. 2장에서는 「베르카·마스크」에서 시작하여 이후 작품 분석을 통해 김종삼이 상실로 표상하고 있는 안락하고 완전한 세계의 불가능성을 확인해보았다. 불가능성은 곧 실패의 운명에 처해있을 것이지만, 그럼에도 불구하고 이러한 불가능성에 대처하는 김종삼의 자세에 주목하였다. 3장에서는 앞서 살펴보았던 상실로 표상했던 본적이 결여로 드러나는 것을 살펴보았다. 이러한 결여를 확인하는 자리에서 드러나는 김종삼의 반복된 실패에 주목하였다. 「쑥내음 속의 동화」 분석을 통해 결여된 고향을 ‘착각’하는 것으로부터 주체의 세상을 향한 첫 출발이 시작되었다고 본고는 바라보았다. 이를 통해 ‘본적’을 향한 지향을 중기와의 연관성 속에서 살펴보았다. 중기시부터 본격적으로 드러난 본적 찾기의 내용이 앞서 지속적으로 살펴보았던 초기 작품들에 내재하여 이어져왔다는 것을 가늠해 볼 수 있었다. 본적 찾기를 향한 반복된 지향과 실패에 의미 부여를 하기 위해 상실의 소급적 효과라는 주체의 사례를 예시로 들었다. 이것은 주체가 사실 이전에 존재하지 않고, 상실을 통해 발생한다는 입장이었다. 초기시에서 김종삼이 이전 시절이나 어떠한 세계를 그리고 있을 때, 그곳은 결여된 곳이기에 없음을 재차 확인할 수밖에 없다고 바라보았다. 이때, 반복된 결여를 상실로 착각하며 재확인하는 구조가 곧 김종삼의 주체가 발생하는 지점이라는 것이 본고가 전제하고 있는 입장이었다. 종합해보자면 김종삼 초기시에 나타난 주체 인식은 본적 찾기와 실패, 이를 통한 주체의 구성으로 요약될 수 있다. This paper paid attention to the confession of failure that “Someone asked me, what poem is, I replied, I am not a poet, so I do not know”, 1982, 「Someone asked me」. From this late period’s confession, This paper tried to go back to the beginning and examine the repeated failures and the perception of the subject that is constructed by confirming it revealed in Kim Jong-sam’s early poetry retrospectively. In 1964, 「My homeland」 is an important starting point that has begun to reveal the perception of the subject, as it refers to “I” in earnest in the poem title. It is the characteristic of poetry since the middle period of Kim Jong-sam that it is constantly trying to define ‘I’ in his later works. However, this paper studied closely from the early works on the premise that there will be a work that could be the foundation rather than the sudden appearance of the agony of the recognition of ‘I’ from his middle period. In Chapter 2, This paper started with 「Verka Mask」 and analyzed the later works to confirm the impossibility of a comfortable and perfect world that Kim Jong-sam expressed as loss. Impossibility will soon be in the fate of failure, but this paper has noticed Kim Jong-sam’s attitude to cope with this impossibility. In Chapter 3, this paper found ‘Homeland’ represented as loss before now emerged as lack. This paper noticed the repetitive failure of Kim Jong-sam, which was revealed in his confirmation of this lack. This paper has seen that the first depature for the world of the subject has begun from ‘misunderstanding’ the lacking hometown through the analysis on 「Fairytale in the smell of mugwort」. Through this, this paper looked into that orientation for hometown in the relationship with his middle period. This paper can guess that the contents of orientation for hometown which was revealed in earnest from the middle period inherited the early works. This study suggests an example of the case of the subject called the retrospective effect of loss in order to give meaning to repeated orientation towards finding hometown and failures. This was to agree with the position that the subject does not exist before the fact, but through loss. This paper assumed that in his early works, when Kim Jong-sam try to depict old times or a place, he can just re-confirm that there is nothing, becaues it has not ever exist. It was assumed that the structure that reconfirms the repeated lack of mistake as loss is the point where Kim Jong-sam’s subject occurs. In sum, the subject’s perception in Kim Jong-sam’s early poem can be summarized as finding hometown, failures, and costitution of the subject through these procedures.

지식재산정책비전(2013년)에 나타난 일본의 저작권 정책

장예영(CHANG, Yeyoung) 세창출판사 2013 창작과 권리 Vol.- No.72

As a 'Nation built on intellectual property' is declared in 2002, Japan has established an IP system providing the enforcement of the 'Basic Law of intellectual property' with more than 50 amendments about IP-related laws, and the creation of the 'Headquarters of Intellectual Property' in Prime Minister of Japan and His Cabinet. In the past 10 years, the growing influence of emerging economies like China, the globalization of businesses, the diversification of media content, which are the premise of a novel intellectual property policy environment is changing rapidly. In order to rebuild an intellectual property policy, it is acknowledged that the current policy needs to be reviewed as a whole. On June 7, 2013, the Headquarters of Intellectual Property announced the introduction of the 'Intellectual Property Basic policy' and of the 'IP Vision' which will be pivotal schemes for 10 years from now. According to the 'IP Vision', there are 4 major pillars: 1) Building a global intellectual property system to strengthen industrial competitiveness, 2) Enhancing support of intellectual property management for venture enterprise, small and medium-sized enterprises, 3) Legal environment maintenance as far as the digital network society is concerned, and 4) Strengthening the focus on the software and media contents. In this paper, I will illustrate the current state of Japan's copyright policy focusing on pillars 3) and 4) of the "IP Vision", which show the new direction of the copyright law system.

휠링 : 교통약자를 위한 통합 교통안내 어플리케이션 - 휠체어 이용자를 중심으로

장예영(Ye-young Jang),이가영(ka-young Lee),문현정(Hyun-jung Moon) 한국디자인학회 2023 한국디자인학회 학술발표대회 논문집 Vol.2023 No.5

유럽 디지털 단일시장 전략과 저작권법제

장예영(CHANG Ye young) 세창출판사 2017 창작과 권리 Vol.- No.86

On 5 May 2015, the European Commission introduced A Digital Single Market Strategy for Europe . The Digital Single Market is that in which the free movement of goods, persons, services and capital is ensured and where individuals and businesses can seamlessly access and perform online activities under conditions of fair competition, and a high level of consumer and personal data protection, irrespective of their nationality or place of residence. The Digital Single Market Strategy will be built on three pillars: i) Better access for consumers and businesses to online goods and services across Europe, ii) Creating the right conditions for digital networks and services to flourish and iii) Maximizing the growth potential of European Digital Economy. To realize the Digital Single Market Strategy, the European Commission introduced the Regulation on ensuring the cross-border portability of online content services in the internal market (9 December 2015), updated EU audiovisual rules and presented a targeted approach to online platforms(25 May 2016), and proposed modern EU copyright rules for European culture to flourish and circulate(14 September 2016). Hence the Digital Single Market Strategy can be regarded as a strategy that offers an integrated future direction to the various areas such as e-commerce, consumer protection, telecommunications, broadcasting, copyright and tax, to strengthen the economic, social and cultural bonding for the EU. In this paper, I will illustrate the purpose and contents of the various regulations and directives introduced by the European Commission after the Digital Single Market Strategy in chapter II. In chapter III., I will focus on the DSM Copyright Directive of September 14, 2016. I will analyze the proposal of the directive comparing it with current directives and CJEU precedents, and its impact on European copyright law.

김종삼 중기시 연구 : 반복되는 표상의 실패와 주체 인식을 중심으로

장예영(Jang Yeyeong) 한국문화융합학회 2021 문화와 융합 Vol.43 No.9

본 논문은 김종삼의 중기시를 반복되는 표상의 실패와 주체 인식을 중심으로 살펴보고자 한다. 지금까지 김종삼 시의 주체 연구는 미비했다고 할 수 있다. 비교적 최근 연구는 초기에 집중되어 있으며, 후기와 관련된 연구도일부 진행되어 왔다. 하지만 김종삼 중기시 주체 관련 연구는 찾아볼 수 없는데, 이는 기존의 연구에서 김종삼 시세계에 대한 명확한 시기 구분이 이루어지지 않았기 때문이라고 볼 수 있다. 본 논문은 김종삼의 중기시를 1964년작품 ｢나의 本籍｣에서 1973년 ｢올페｣까지로 보고 있다. 본 연구는 본격적으로 ‘나’에 대한 규정과 본적에 대한 물음이 출현하는 점, 이러한 동일시의 시도가 반복적으로 실패하는 지점에서 주체가 출현한다고 보았다. 김종삼의 1964년 작품 ｢나의 本籍｣은 제목에서 알 수 있듯, 본격적으로 ‘나’와 ‘본적’에 대한 물음을 가지며 동일시를 시도한다는 점에서 중요하다. 이후 시편들에서 ‘나’에 대해끊임없이 정의 내리고 표상하려는 반복을 보이는 것이 특징적이다. 이와 같은 점을 비추어 ｢나의 本籍｣을 기준으로 초기시와 중기시를 구분하고 있다. 또한 본고는 ｢올페｣에서 드러난 실패의 고백을 통한 주체 인식을 기준으로 중기시와 후기시를 나누고 있다. 김종삼은 1973년 산문 ｢먼 ｢시인의 영역｣｣에서 직접적으로 시인이라는 영역에 도달할 수 없음을 고백한다. 이러한산문의 고백은 그의 시 ｢올페｣에서 “나는 죽어서도 나의 직업은 시가 못된다”라는 실패의 고백과 연결해 생각해볼수 있다. 이처럼 김종삼 시의 시적 주체는 자신이 표상하며 상정하고 있는 시인의 영역에 결코 도달할 수 없음을고백하고 있다. 위와 같은 구분의 근거와 관련한 이론적 배경은 ‘상징적 동일시’와 주체의 실패를 통해 남겨진 공백이라는 관점이다. 이는 주체가 자기 자신에 대한 표상을 목표로 하지만 실패하고, 이러한 실패에 의해 남겨진 공백이라는 입장이다. 이를 바탕으로, 본 연구는 1964년 작품 ｢나의 本籍｣에서 1973년 ｢올페｣까지의 본적에 대한 동일시의 시도와반복되는 표상의 실패를 통한 주체 인식을 살펴보고자 하였다. 앞서 살펴본 실패의 고백은 후기시에 해당하는1982년 작품 ｢누군가 나에게 물었다｣에서도 반복된다. 종합해보자면, 김종삼 중기시의 특징은 수많은 ‘나’와 ‘본적’에 대한 동일시의 시도 및 반복되는 표상의 실패와이를 통한 주체 인식과 구성이라고 볼 수 있다. 또한 실패를 산문과 ｢올페｣에서 직접적으로 발화하고 있다는 점이 중요하다. 이러한 톺아보는 작업을 통해 초기시와 후기시를 이으며, 김종삼의 시 세계를 ‘반복과 실패’를 통한‘주체 인식’이라는 키워드로 관통할 수 있는지에 대한 하나의 가능성을 타진해 볼 수 있을 것이다. This paper attempted to examine Kim Jong-sam s middle period poetry, focusing on the repeated failure of representation and the perception of the subject. Until now, there are not so many researches on the perception of the subject from Kim Jong-sam. Relatively recent researches are concentrated on his early poetry, and some researches related to the latter stage has also been conducted. However, there is no research on the subject of Kim Jong-sam s middle period poetry, which is because the previous studies did not clearly divide Kim Jong-sam s works into 3 periods. This thesis sees Kim Jong-sam s middle period poems as My Hometown in 1964 to Orpheus in 1973. This study assumed that the subject emerges at the point where the definitions of ‘I’ and questions about ‘Hometown’ emerge, and at the point where such attempt to identification repeatedly fail. Kim Jong-sam’s My Hometown (1964) is a notable work, because it starts to question ‘I’ and ‘Hometown’ and attempt to identification as its title suggests. His middle period poetry is characterized by the fact that since that work Jong-sam Kim constantly tries to define and represent ‘I’. In light of this point, the middle period poetry are distinguished from the early poetry since his poem My Hometown . This study distinguishes between his middle period poetry and late poetry based on the perception of the subject from the confession of failure revealed in Orpheus . In Kim Jong- Sam’s prose Distant Poet’s Area (1973), says more directly that he cannot reach the realm called poet. This confession can be thought with a failure from his poem Orpheus , saying, “Even when I die, my job is not poetry”. As such, Kim Jong-sam’s poetic subject confesses that he can never reach the realm of the poet he represents and assumes. As described above, this paper presents a perspective that his middle period poetry could be distinguished from the others by ‘symbolic identification’ and the void left after the failure of the subject, as the theoretical background when it comes to period a division. The subject aims at a representation of himself, but fails, and such failure leaves a void, all of which could represent his middle period poetry. Accordingly, this study attempted to examine the perception of the subject through the repeated failure of representations and attempted to identification about the Hometown from My Hometown (1964) to Orpheus (1973). The confession of failure we looked at earlier was repeated in 1982 in the later poem, Someone Asked Me . In summary, the characteristics of Kim Jong-sam s middle period poetry are numerous questions about ‘I’ and identification about the ‘Hometown’, repeated failure of representations, and attempted to the perception and composition of the subject. It is worth noting that these failures are directly uttered in his prose Distant Poet’s Area and in Orpheus . With this work, we will be able to connect his 3 periods as asserted in this paper and see how the keyword ‘perception of the subject’ and ‘repetition and failure’ of it work throughout his whole poetry.

취학 전 아동의 발화 말뭉치와 동화책에 나타난 어휘 비교

한민경,성시연,최서진,정지희,장경은,백소정,장예영 한국언어치료학회 2015 한국언어치료학회 학술발표대회 논문집 Vol.2015 No.12