Is the text of the New Vulgate protected by copyright? Recently there was a question on the Latin Language Stack Exchange website about different translations of the Bible, I am considering editing some passages in the form of a comparison between the different versions (one column per translation). Is the New Vulgate copyrighted or can I use it freely? I have not found any information on this subject in the CONSTITUTIO APOSTOLICA.
Vatican copyright law article 5 says Spetta alla Santa Sede ed allo Stato della Città del Vaticano il diritto di autore sulle opere create o pubblicate sotto il loro nome o realizzate per loro conto. § 2. Ai fini della presente legge per Santa Sede si intendono, oltre al Romano Pontefice, i Dicasteri e gli Organismi della Curia Romana, nonché le Istituzioni ad essa collegate. § 3. A ciascuno dei soggetti di cui al paragrafo 2, che siano dotati di autonomia amministrativa nel quadro della normativa generale o dello statuto proprio, sono affidati l'esercizio e la tutela del diritto di autore nelle materie di rispettiva competenza. § 4. La durata dei diritti esclusivi di utilizzazione economica che spettano ai soggetti di cui ai paragrafi precedenti è stabilita in settanta anni a partire dall'anno di prima pubblicazione dell'opera, qualunque sia la forma nella quale la pubblicazione è stata effettuata, ovvero dall'anno di morte dell'autore ove questi sia indicato nell’opera §4 is the crucial time limit: 70 years from publication: The duration of the exclusive rights of economic use belonging to the subjects referred to in the preceding paragraphs is established in seventy years starting from the year of first publication of the work, whatever the form in which the publication was made, or from the year of death of the author where this is indicated in the work Under Italian copyright law article 29, The duration of the exploitation rights belonging, under art. 11, to the State, the provinces, the communes, the academies or public cultural organizations, or to private legal entities of a non-profit making character, shall be twenty years from first publication, whatever the form in which publication was effected. In the case of communications and memoranda published by academies and other public cultural organizations, the term shall be reduced to two years, after which the author shall wholly recover his right to the unrestricted disposal of his writings. While Italian copyright law generally holds in Vatican City, it does do only when not contradicted by Vatican law. The across-the-board 70 year copyright is a clear indication of an exception regarding duration (indeed, it also allows perpetual copyright for writings of popes). Also noting that Italian copyright law does not have a &quot;fair use&quot; exception, we can conclude that the work is and will be protected for some years.
A document, or an image of a document, created using a font would not be considered to be a derivative work of that font. If it were, our system of licensing fonts would need to be significantly different. In any case the part of the license which reads: [This license] allows the licensed fonts to be used, studied, modified and redistributed freely as long as they are not sold by themselves. It specifically permits such use of the fonts. By &quot;derivatives&quot; the license seems to mean modified versions of the fonts, which it permits the licensee to create and use subject to certain restrictions. This seems to be confirmed by the license text which says: The requirement for fonts to remain under this license does not apply to any document created using the fonts or their derivatives. The plain meaning of this is that derivatives of the fonts are used to create documents, not that they are documents themselves, and that in any case &quot;any document created using the fonts&quot; is not subject to the license restriction.
The text and content (including all diagrams and illustrations) of the 1847 work (and of any other work published in 1847) are in the public domain in the US and everywhere in the world. You may freely use them verbatim or in any modified form that you wish. You are not even legally required to credit your source, although not to do so would be unethical, in my view. The version by Nicholas Rougeux that is linked to in the question has the licensing statement: Posters and website design are copyright Nicholas Rougeux. All other content and diagrams are under the Creative Commons Attribution-ShareAlike 4.0 International license (CC BY-SA 4.0). This will not apply to any content copied from the 1847 version, of course. You may use any of the new content and diagrams so released, or make and use derivative works based on those elements, provided that you comply with the CC BY-SA 4.0 license. This has a number of provisions, but the major ones are that you must release your work under the same license, must acknowledge your source work, and must not impose any additional conditions or restrictions on users of your derived work. These are spelled out in sections 3.a and 3.b of the license (linked above). Please read the full terms if you intend to use this license. If this procedure will satisfy your purpose, you do not need any further permission from Nicholas Rougeux, nor to pay any fees or royalties to him. If you do not choose to place your work under a CC BY-SA 4.0 license, then you must not use the diagrams from Rougeux's version, nor modified versions directly based on them, nor an overall design clearly and directly based on the original design of that version, unless you secure permission from Rougeux (or the current copyright holder of Rougeux's version, whoever that may be). Given that Rougeux chose to release under a CC BY-SA 4.0 license, he may well be unwilling to grant permission under a different license, but that is his choice to make. Exception: in the US, you may use content from the Rougeux version to the limited extent permitted by fair use. This is not likely to cover the use of all or a large number of diagrams, particularly for a competing version of the same base work. Without specific information on how much content you would be using from that version, and how similar it would be to the original, no one can reliably determine if fair use would apply or not, but fair use is most likely to apply when a strictly limited amount of content is reused, and particularly when it is used for a different purpose than the original. Also, fair use is a strictly US legal content, and a work that might be held to be fair use by a US court might be considered an infringement by the courts of some other counties. Other countries have their own exceptions to copyright which are different in scope and terms from fair use. Many of them are significantly narrower. Note that a work posted to the internet is in effect published in all countries, and a copyright holder might choose to sue in any country s/he pleases. US courts might well enforce such a judgement even if it would not have been the judgement of a US court. Rogeux (or any other creator of a new edition) can have no copyright in elements already present in Byrne's 1847 work. Any similarity to Rogeux's work that is because of a similarity to Byrne's 1847 work is not copyright infringement. But any new elements introduced by Rogeux (or anyone else), including the manner of adding interactivity to a diagram, may well be protected by copyright (although the idea of having an interactive version of the diagram will not be). Any new or significantly modified text or diagrams introduced in a later version will be protected. As to any other versions of the 1847 &quot;Byrne's Euclid&quot; that may have been published, the publishers gain no copyright over the original 1847 work or any of its elements, including text, diagrams, or color scheme. Provided you do not use any original content newly introduced in such editions, you do not need to secure any permission from, or pay any fee to, the copyright holders of such editions. However, you may not use any such original content, or modified versions clearly based on such original content, without permission, unless an exception to copyright, such as fair use, applies. All that I said above about fair use would then apply. A copyright holder may grant or refuse permission to use a protected work or create a derivative work on any terms that s/he chooses, and charge any fee or royalty rate s/he thinks proper. Lack of response to a request for permission must be treated as if the response was &quot;No&quot;.
It should not surprise you that copyright protects the right to (among other things) make copies. There are limited exceptions that are considered &quot;fair use&quot;, like if you reproduce a limited amount of text for educational, reporting, or review purposes. Giving your friend a copy of a large portion of the text just because they want it would almost certainly violate copyright. Whether the book is available or out-of-print has absolutely no bearing whatsoever on who holds the copyright or whether your actions violate it. This is very different from giving your friend the book itself. The book itself is covered under the &quot;first sale doctrine&quot;, meaning that by buying a copy of the book, you buy the right to sell, transfer, or dispose of that particular copy, but it doesn't give you the right to make more copies. I will note that in practice, it is vanishingly unlikely that the copyright holder would ever learn of your isolated instance of limited infringement in the first place (especially since it's out of print), much less bring legal action against you for making a single copy that did not affect their bottom line.
I would argue that no, there is no copyright for the restored work. Independent copyright is only possible for any original material added, as previously discussed on this site. In this case, the added work was a technical process rather than a creative process, and technical processes cannot be protected by copyright. Copyright licenses would therefore be ineffective. However, I believe one could still impose a license based on owning the copy as opposed to the copyright (contract might be a better term in this case). However, if a third party managed to obtain a copy through some other avenue, any such contract would not be binding on them and nothing could be enforced against them unlike with copyright laws. Another way a license might be imposed is through patent protections, as technical processes can be protected via patents. However, I'm not as familiar with patent law, and this doesn't appear to be the claim being made.
Yes So far so good. This is a copyright violation but it is probably fair use - certainly there is case law permitting a copy of a backup digital asset to be made so I don’t see why a similar argument wouldn’t work with backing up a physical book. Clear copyright violation. Alice can rent out the original under the first sale doctrine but the ‘backup’ is not so protected. It’s not fair use because it’s use is commercial, the work is a type of work the author expects to profit from, the entire work has been copied and the use is deleterious to the market i.e. the renters are less likely to buy an original - it falls foul of all four factors of the fair use test.
It's not fair use. Fair use is when you do something that normally only the copyright holder can do. Playing a video game is the ordinary, intended use of the work. In the United States, ordinary use is not protected by copyright. 17 USC 106 sets out the rights protected by copyright. The include copying the work, producing derivative works, distributing the work, and so on. None of these are ordinary use. Someone could perhaps argue that you are creating a derivative work. I doubt that argument would work because you are not taking any protectable elements from the work. But if anyone did argue that, it would make sense to also argue that if that's so, your use would still be covered under fair use because it's transformative, does not substitute for the original work in any way, and takes very little of the work.
The audio book would probably be an infringing derivative work because the client could redistribute it once the client received it. It sounds very much like a product that is regularly sold by merchants relying on copyrights. Conceivably, simply reading a book aloud to a client in some sort of streaming context that could't be shared with others or replayed would merely be fair use, much like hiring a baby sitter to read a book aloud to your children would be clearly fair use. If there were an automatic text to sound converter as opposed to an individualized performance, it might not be considered infringing. There are people with programs that do this who haven't been sued, but the boundaries haven't been explored very thoroughly. Honestly, there isn't a lot of guidance in this area from statutory language, and the questions would often not be guided by much case law involving similar facts. Your intuition living in the modern world is probably almost as good as a lawyer's in this situation.