British Culture - User contributions [en]

Royal Entertainment at Elvetham 1591

2022-07-04T17:34:29Z

PTissen:

The Royal Entertainment at Elvetham was an elaborate four-day event in honour of Queen Elizabeth I's visit in 1591. It was organised and planned by Edward Seymour, the Earl of Hertford (cf. The British Library).

== Background ==

In 1591, Queen Elizabeth, in an attempt to promote and spread her royal image, decided to journey through certain regions of England (cf. Breight 21). Although her regime would be approved of in areas northwest of London, southern regions like West Sussex and East Hampshire did not appear too fond of her regime (cf. ibid). By personally travelling, she intended to improve relationships and mend "potential disaffection and perhaps even revolt" (ibid) that seemed so prevalent amongst her subjects. These travels are part of the so called "royal progress – a journey through the country during which a monarch could be seen by his or her subjects and would meet with important local people. The in-person presence of the monarch encouraged loyalty and asserted his or her royal authority" (The British Library). 

The Earl of Hertford, Edward Seymour, seeked to thoroughly entertain the Queen during her stay in East Hampshirean Elvetham, having constructed a scenery consisting of an artificial pond serving as the stage for multiple musical, theatrical and poetic performances to ensure the Queen's amusement and delight (cf. Breight 23; The British Library).

== Programme ==

{| class="wikitable"
|-
! Date !! Events
|-
| 20 September 1591 ||
*The Queen was brought to Hertford's estate and greeted by a poet with a Latin performance
*Six virgins remove blocks from the Queen's path and perform a song
*Cannons shoot from the islands into the pond to celebrate the Queen's arrival
*After supper, the Queen was treated to a performance by six musicians
|-
| 21 September 1591 ||
*Elizabeth watched a drama "featuring Nereus and his five Tritons, the virgin Neaera placed on a small ship, and Sylvanus with his fellow Satyrs" (Breight 23)
*Characters delivered speeches directed at the Queen
|-
| 22 September 1591 ||
*Pastoral love song in the morning
*In the afternoon Elizabeth watched tennis
*The day ended with a banquet and fireworks
|-
| 23 September 1591 ||
*Elizabeth witnessed the dance of a fairy queen who also gave a speech and sang a song
*All previous characters made an appearance to bid a farewell to the Queen
*During the Queen's departure, musicians performed one final song
|}(cf. Breight 23f.)

Queen Elizabeth is said to have left the Elvetham wholly entertained, having been so delighted by the fairy queen act "that she had the performers sing and dance it three times" (The British Library).

== Works cited ==

* ''An Entertainment for Elizabeth I at Elvetham, 1591''. The British Library. URL: https://www.bl.uk/collection-items/an-entertainment-for-elizabeth-i-at-elvetham-1591. Accessed 4 July 2022.
* Breight, Curt. “Realpolitik and Elizabethan Ceremony: The Earl of Hertford’s Entertainment of Elizabeth at Elvetham, 1591.” ''Renaissance Quarterly'', vol. 45, no. 1, 1992, pp. 20–48. DOI: https://doi.org/10.2307/2862830. Accessed 4 July 2022.

Royal Entertainment at Elvetham 1591

2022-07-04T17:30:42Z

PTissen:

The Royal Entertainment at Elvetham was an elaborate four-day event in honour of Queen Elizabeth I's visit in 1591. It was organised and planned by Edward Seymour, the Earl of Hertford (cf. The British Library).

== Background ==

In 1591, Queen Elizabeth, in an attempt to promote and spread her royal image, decided to journey through certain regions of England (cf. Breight 21). Although her regime would be approved of in areas northwest of London, southern regions like West Sussex and East Hampshire did not appear too fond of her regime (cf. ibid). By personally travelling, she intended to improve relationships and mend "potential disaffection and perhaps even revolt" (ibid) that seemed so prevalent amongst her subjects. These travels are part of the so called "royal progress – a journey through the country during which a monarch could be seen by his or her subjects and would meet with important local people. The in-person presence of the monarch encouraged loyalty and asserted his or her royal authority" (The British Library). 

The Earl of Hertford, Edward Seymour, seeked to thoroughly entertain the Queen during her stay in East Hampshirean Elvetham, having constructed a scenery consisting of an artificial pond serving as the stage for multiple musical, theatrical and poetic performances to ensure the Queen's amusement and delight (cf. Breight 23; The British Library).

== Programme ==

{| class="wikitable"
|-
! Date !! Events
|-
| 20 September 1591 ||
*The Queen was brought to Hertford's estate and greeted by a Latin poet
*Six virgins remove blocks from the Queen's path and perform a song
*Cannons shoot from the islands into the pond to celebrate the Queen's arrival
*After supper, the Queen was treated to a performance by six musicians
|-
| 21 September 1591 ||
*Elizabeth watched a drama "featuring Nereus and his five Tritons, the virgin Neaera placed on a small ship, and Sylvanus with his fellow Satyrs" (Breight 23)
*Characters delivered speeches directed at the Queen
|-
| 22 September 1591 ||
*Pastoral love song in the morning
*In the afternoon Elizabeth watched tennis
*The day ended with a banquet and fireworks
|-
| 23 September 1591 ||
*Elizabeth witnessed the dance of a Fairy Queen who also gave a speech and sang a song
*All previous characters made an appearance to bid a farewell to the Queen
*During the Queen's departure, musicians performed one final song
|}(cf. Breight 23f.)

== Works cited ==

* ''An Entertainment for Elizabeth I at Elvetham, 1591''. The British Library. URL: https://www.bl.uk/collection-items/an-entertainment-for-elizabeth-i-at-elvetham-1591. Accessed 4 July 2022.
* Breight, Curt. “Realpolitik and Elizabethan Ceremony: The Earl of Hertford’s Entertainment of Elizabeth at Elvetham, 1591.” ''Renaissance Quarterly'', vol. 45, no. 1, 1992, pp. 20–48. DOI: https://doi.org/10.2307/2862830. Accessed 4 July 2022.

Royal Entertainment at Elvetham 1591

2022-07-04T17:16:34Z

PTissen:

Royal Entertainment at Elvetham 1591

2022-07-04T17:16:12Z

PTissen:

Royal Entertainment at Elvetham 1591

2022-07-04T17:08:33Z

PTissen:

Royal Entertainment at Elvetham 1591

2022-07-04T17:06:44Z

PTissen: /* Background */

Royal Entertainment at Elvetham 1591

2022-07-04T17:03:37Z

PTissen:

Royal Entertainment at Elvetham 1591

2022-07-04T16:57:52Z

PTissen:

Royal Entertainment at Elvetham 1591

2022-07-04T16:56:48Z

PTissen:

Royal Entertainment at Elvetham 1591

2022-07-04T10:16:42Z

PTissen:

The Royal Entertainment at Elvetham was an elaborate four-day event in honour of Queen Elizabeth I's visit in 1591. It was organised and planned by Edward Seymour, the Earl of Hertford (cf. The British Library).

== Background ==

== Sequence of Events ==

== Works cited ==

* ''An Entertainment for Elizabeth I at Elvetham, 1591''. The British Library. URL: https://www.bl.uk/collection-items/an-entertainment-for-elizabeth-i-at-elvetham-1591. Accessed 4 July 2022.
* Breight, Curt. “Realpolitik and Elizabethan Ceremony: The Earl of Hertford’s Entertainment of Elizabeth at Elvetham, 1591.” ''Renaissance Quarterly'', vol. 45, no. 1, 1992, pp. 20–48. DOI: https://doi.org/10.2307/2862830. Accessed 4 July 2022.

Royal Entertainment at Elvetham 1591

2022-07-04T10:03:30Z

PTissen:

The Royal Entertainment at Elvetham was an elaborate event in honour of Queen Elizabeth I's visit in 1591. It was organised and planned by Edward Seymour, the Earl of Hertford (cf. The British Library).

== Background ==

== Sequence of Events ==

== Works cited ==

* ''An Entertainment for Elizabeth I at Elvetham, 1591''. The British Library. URL: https://www.bl.uk/collection-items/an-entertainment-for-elizabeth-i-at-elvetham-1591. Accessed 4 July 2022.
* Breight, Curt. “Realpolitik and Elizabethan Ceremony: The Earl of Hertford’s Entertainment of Elizabeth at Elvetham, 1591.” ''Renaissance Quarterly'', vol. 45, no. 1, 1992, pp. 20–48. DOI: https://doi.org/10.2307/2862830. Accessed 4 July 2022.

Royal Entertainment at Elvetham 1591

2022-07-04T10:01:24Z

PTissen: Created page with "The Royal Entertainment at Elvetham was an elaborate event in honour of Queen Elizabeth I's visit in 1591. It was organised and planned by Edward Seymour, the Earl of Hertford..."

The Royal Entertainment at Elvetham was an elaborate event in honour of Queen Elizabeth I's visit in 1591. It was organised and planned by Edward Seymour, the Earl of Hertford (cf.

* ''An Entertainment for Elizabeth I at Elvetham, 1591''. The British Library. URL: https://www.bl.uk/collection-items/an-entertainment-for-elizabeth-i-at-elvetham-1591. Accessed 4 July 2022.
* Breight, Curt. “Realpolitik and Elizabethan Ceremony: The Earl of Hertford’s Entertainment of Elizabeth at Elvetham, 1591.” ''Renaissance Quarterly'', vol. 45, no. 1, 1992, pp. 20–48. DOI: https://doi.org/10.2307/2862830. Accessed 4 July 2022.

Copyright Act 1911

2021-07-24T11:56:02Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act replaced copyright law previously established in the UK and its territories. It was later superseded by the Copyright Act of 1956.

== Enactment ==

The act was instated as follows:

{| class="wikitable"
|-
! Region !! Date of enactment
|-
| United Kingdom || 1 July 1912
|-
| Channel Islands* || 1 July 1912
|-
| Isle of Man || 5 July 1912
|-
| India || 30 October 1912
|-
| Jersey || 8 March 1913
|-
| Papua || 1 February 1931
|-
| (remaining territories) || 1 July 1912
|}
*sans Jersey 

(cf. Partridge, 154f.)

== Content ==

The Copyright Act of 1911 repealed the previous act from 1842. It consists of '''three''' separate sections: 

Part 1: Imperial Copyright 
Part 2: International Copyright 
Part 3: Supplemental Provisions 

The Imperial Copyright is reserved to works published in the UK or other parts of the Empire's territories and to unpublished works created by British citizens or residents. All original literary, dramatic, musical and artistic work that these criteria apply to is in the scope of this act - however other works are exempt from this right. The term "copyright" in itself refers to the right to not only (re-)produce, perform or publish a translation of a work but also the right to create adaptations (in form of novels or performances) and, interestingly, "to make any record, perforated roll, cinematograph film, or other contrivance by means of which the work may be mechanically performed or delivered" (''Copyright Act 1911'', 1(2d)). Generally speaking, copyright is an innate property of any work that falls under the aforementioned descriptions and applies the moment these works have manifested in physical form (e.g. as soon as an author has written his novel). Copyright is not eternal - as such it runs out after 50 years following the author's death and extends to both published and unpublished works. 
The various laws in this act were, of course, not as plain as this summary may suggest and included several more sophisticated nuances. An example of that may be that if a copyright holder other than the a work's author is in place, they will retain their right to the work for only the first 25 of the 50 years after the author's death while for the latter 25 years the author retains the default copyright (cf. D'Agostino, 116). 
In cases of collective works (such as magazines or journals) the publishing body may retain only partial copyright i.e. a contribution by a different author may only be published in the context of the collective work (cf. ibid 59). In other words, the original author of an article would retain the full copyright to publish their work as they wish while a magazine publisher may not separately (re)publish the original author's work outside of the publisher's journal unless given permission to do so. 
Perhaps surprisingly to some, copyright also extends to deliveries of lectures and speeches as part of this act. As such copyrighted work does not exclusively include tangible material objects or contents bound to such (e.g. audio tapes) but also oral performances. More modern media such as broadcasts, which were invented after 1911, did naturally not get protected by this Copyright Act and were instead covered by the following act in 1956. As a consequence, broadcasts from before 1957 are not copyright-protected as the Copyright Act of 1956 does not cover them. 
 
Evidently, the Copyright Act 1911 contains a sleugh of details that are elementary for the copyright that is so commonplace in the protection of intellectual property today. The full Copyright Act from 1911 can be found by clicking [https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted here] or in the link under "Works cited".

== Works cited ==

* ''Copyright Act 1911''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted. Last Access: 22 July 2021.
* ''Copyright Act 1956''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/1956/74/contents/enacted. Last Access: 22 July 2021.
* D'Agostino, Giuseppina. ''Copyright, Contracts, Creators: New Media, New Rules''. 2010. Edward Elgar.
* Partridge, R. C. Barrington. ''The History of the Legal Deposit of Books''. 2008. Read Books.

Copyright Act 1911

2021-07-22T19:32:11Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories. It was later superseded by the Copyright Act of 1956.

== Enactment ==

The act was instated as follows:

{| class="wikitable"
|-
! Region !! Date of enactment
|-
| United Kingdom || 1 July 1912
|-
| Channel Islands* || 1 July 1912
|-
| Isle of Man || 5 July 1912
|-
| India || 30 October 1912
|-
| Jersey || 8 March 1913
|-
| Papua || 1 February 1931
|-
| (remaining territories) || 1 July 1912
|}
*sans Jersey 

(cf. Partridge, 154f.)

== Content ==

The Copyright Act of 1911 repealed the previous act from 1842. It consists of '''three''' separate sections: 

Part 1: Imperial Copyright 
Part 2: International Copyright 
Part 3: Supplemental Provisions 

The Imperial Copyright is reserved to works published in the UK or other parts of the Empire's territories and to unpublished works created by British citizens or residents. All original literary, dramatic, musical and artistic work that these criteria apply to is in the scope of this act - however other works are exempt from this right. The term "copyright" in itself refers to the right to not only (re-)produce, perform or publish a translation of a work but also the right to create adaptations (in form of novels or performances) and, interestingly, "to make any record, perforated roll, cinematograph film, or other contrivance by means of which the work may be mechanically performed or delivered" (''Copyright Act 1911'', 1(2d)). Generally speaking, copyright is an innate property of any work that falls under the aforementioned descriptions and applies the moment these works have manifested in physical form (e.g. as soon as an author has written his novel). Copyright is not eternal - as such it runs out after 50 years following the author's death and extends to both published and unpublished works. 
The various laws in this act were, of course, not as plain as this summary may suggest and included several more sophisticated nuances. An example of that may be that if a copyright holder other than the a work's author is in place, they will retain their right to the work for only the first 25 of the 50 years after the author's death while for the latter 25 years the author retains the default copyright (cf. D'Agostino, 116). 
In cases of collective works (such as magazines or journals) the publishing body may retain only partial copyright i.e. a contribution by a different author may only be published in the context of the collective work (cf. ibid 59). In other words, the original author of an article would retain the full copyright to publish their work as they wish while a magazine publisher may not separately (re)publish the original author's work outside of the publisher's journal unless given permission to do so. 
Perhaps surprisingly to some, copyright also extends to deliveries of lectures and speeches as part of this act. As such copyrighted work does not exclusively include tangible material objects or contents bound to such (e.g. audio tapes) but also oral performances. More modern media such as broadcasts, which were invented after 1911, did naturally not get protected by this Copyright Act and were instead covered by the following act in 1956. As a consequence, broadcasts from before 1957 are not copyright-protected as the Copyright Act of 1956 does not cover them. 
 
Evidently, the Copyright Act 1911 contains a sleugh of details that are elementary for the copyright that is so commonplace in the protection of intellectual property today. The full Copyright Act from 1911 can be found by clicking [https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted here] or in the link under "Works cited".

== Works cited ==

* ''Copyright Act 1911''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted. Last Access: 22 July 2021.
* ''Copyright Act 1956''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/1956/74/contents/enacted. Last Access: 22 July 2021.
* D'Agostino, Giuseppina. ''Copyright, Contracts, Creators: New Media, New Rules''. 2010. Edward Elgar.
* Partridge, R. C. Barrington. ''The History of the Legal Deposit of Books''. 2008. Read Books.

Copyright Act 1911

2021-07-22T19:12:27Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories. It was later superseded by the Copyright Act of 1956.

== Enactment ==

The act was instated as follows:

{| class="wikitable"
|-
! Region !! Date of enactment
|-
| United Kingdom || 1 July 1912
|-
| Channel Islands* || 1 July 1912
|-
| Isle of Man || 5 July 1912
|-
| India || 30 October 1912
|-
| Jersey || 8 March 1913
|-
| Papua || 1 February 1931
|-
| (remaining territories) || 1 July 1912
|}
*sans Jersey 

(cf. Partridge, 154f.)

== Content ==

The Copyright Act of 1911 repealed the previous act from 1842. It consists of '''three''' separate sections: 

Part 1: Imperial Copyright 
Part 2: International Copyright 
Part 3: Supplemental Provisions 

The Imperial Copyright is reserved to works published in the UK or other parts of the Empire's territories and to unpublished works created by British citizens or residents. All original literary, dramatic, musical and artistic work that these criteria apply to is in the scope of this act - however other works are exempt from this right. The term "copyright" in itself refers to the right to not only (re-)produce, perform or publish a translation of a work but also the right to create adaptations (in form of novels or performances) and, interestingly, "to make any record, perforated roll, cinematograph film, or other contrivance by means of which the work may be mechanically performed or delivered" (''Copyright Act 1911'', 1(2d)). Generally speaking, copyright is an innate property of any work that falls under the aforementioned descriptions and applies the moment these works have manifested in physical form (e.g. as soon as an author has written his novel). Copyright is not eternal - as such it runs out after 50 years following the author's death and extended to both published and unpublished works. 
The various laws in this act were, of course, not as plain as this summary may suggest and included several more sophisticated nuances. An example of that may be that if a copyright holder other than the a work's author is in place, they will retain their right to the work for only the first 25 of the 50 years after the author's death while for the latter 25 years the author retains the default copyright (cf. D'Agostino, 116). 
In cases of collective works (such as magazines or journals) the publishing body may retain only partial copyright i.e. a contribution by a different author may only be published in the context of the collective work (cf. ibid 59). In other words, the original author would retain the full copyright to publish their work as they wish while other publishers may not separately (re)publish the author's work unless given permission to do so. 
Perhaps surprisingly to some, copyright also extends to deliveries of lectures and speeches as part of this act. As such copyrighted work does not exclusively include tangible material objects or contents bound to such (e.g. audio tapes) but also oral performances. Broadcasts, which were invented after 1911, did naturally not get protected by this Copyright Act and were instead covered by the following act in 1956. Since that act was not retrospective in nature, broadcasts under the 1911 Act (i.e. all radio and television broadcasts from before 1957) are not copyright-protected whatsoever. 
 
Evidently, the Copyright Act 1911 contains a sleugh of details that are elementary for the copyright that is so commonplace in the protection of intellectual property today. The full Copyright Act from 1911 can be found by clicking [https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted here] or in the link under "Works cited".

== Works cited ==

* ''Copyright Act 1911''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted. Last Access: 22 July 2021.
* D'Agostino, Giuseppina. ''Copyright, Contracts, Creators: New Media, New Rules''. 2010. Edward Elgar.
* Partridge, R. C. Barrington. ''The History of the Legal Deposit of Books''. 2008. Read Books.

Copyright Act 1911

2021-07-22T19:10:59Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories.

== Enactment ==

The act was instated as follows:

{| class="wikitable"
|-
! Region !! Date of enactment
|-
| United Kingdom || 1 July 1912
|-
| Channel Islands* || 1 July 1912
|-
| Isle of Man || 5 July 1912
|-
| India || 30 October 1912
|-
| Jersey || 8 March 1913
|-
| Papua || 1 February 1931
|-
| (remaining territories) || 1 July 1912
|}
*sans Jersey 

(cf. Partridge, 154f.)

== Content ==

The Copyright Act of 1911 repealed the previous act from 1842. It consists of '''three''' separate sections: 

Part 1: Imperial Copyright 
Part 2: International Copyright 
Part 3: Supplemental Provisions 

The Imperial Copyright is reserved to works published in the UK or other parts of the Empire's territories and to unpublished works created by British citizens or residents. All original literary, dramatic, musical and artistic work that these criteria apply to is in the scope of this act - however other works are exempt from this right. The term "copyright" in itself refers to the right to not only (re-)produce, perform or publish a translation of a work but also the right to create adaptations (in form of novels or performances) and, interestingly, "to make any record, perforated roll, cinematograph film, or other contrivance by means of which the work may be mechanically performed or delivered" (''Copyright Act 1911'', 1(2d)). Generally speaking, copyright is an innate property of any work that falls under the aforementioned descriptions and applies the moment these works have manifested in physical form (e.g. as soon as an author has written his novel). Copyright is not eternal - as such it runs out after 50 years following the author's death and extended to both published and unpublished works. 
The various laws in this act were, of course, not as plain as this summary may suggest and included several more sophisticated nuances. An example of that may be that if a copyright holder other than the a work's author is in place, they will retain their right to the work for only the first 25 of the 50 years after the author's death while for the latter 25 years the author retains the default copyright (cf. D'Agostino, 116). 
In cases of collective works (such as magazines or journals) the publishing body may retain only partial copyright i.e. a contribution by a different author may only be published in the context of the collective work (cf. ibid 59). In other words, the original author would retain the full copyright to publish their work as they wish while other publishers may not separately (re)publish the author's work unless given permission to do so. 
Perhaps surprisingly to some, copyright also extends to deliveries of lectures and speeches as part of this act. As such copyrighted work does not exclusively include tangible material objects or contents bound to such (e.g. audio tapes) but also oral performances. Broadcasts, which were invented after 1911, did naturally not get protected by this Copyright Act and were instead covered by the following act in 1956. Since that act was not retrospective in nature, broadcasts under the 1911 Act (i.e. all radio and television broadcasts from before 1957) are not copyright-protected whatsoever. 
 
Evidently, the Copyright Act 1911 contains a sleugh of details that are elementary for the copyright that is so commonplace in the protection of intellectual property today. The full Copyright Act from 1911 can be found by clicking [https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted here] or in the link under "Works cited".

== Works cited ==

* ''Copyright Act 1911''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted. Last Access: 22 July 2021.
* D'Agostino, Giuseppina. ''Copyright, Contracts, Creators: New Media, New Rules''. 2010. Edward Elgar.
* Partridge, R. C. Barrington. ''The History of the Legal Deposit of Books''. 2008. Read Books.

Copyright Act 1911

2021-07-22T18:39:11Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories.

== Enactment ==

The act was instated as follows:

{| class="wikitable"
|-
! Region !! Date of enactment
|-
| United Kingdom || 1 July 1912
|-
| Channel Islands* || 1 July 1912
|-
| Isle of Man || 5 July 1912
|-
| India || 30 October 1912
|-
| Jersey || 8 March 1913
|-
| Papua || 1 February 1931
|-
| (remaining territories) || 1 July 1912
|}
*sans Jersey 

(cf. Partridge, 154f.)

== Content ==

The Copyright Act of 1911 repealed the previous act from 1842. It consists of '''three''' separate sections: 

Part 1: Imperial Copyright 
Part 2: International Copyright 
Part 3: Supplemental Provisions 

The Imperial Copyright is reserved to works published in the UK or other parts of the Empire's territories and to unpublished works created by British citizens or residents. All original literary, dramatic, musical and artistic work that these criteria apply to is in the scope of this act - however other works are exempt from this right. The term "copyright" in itself refers to the right to not only (re-)produce, perform or publish a translation of a work but also the right to create adaptations (in form of novels or performances) and, interestingly, "to make any record, perforated roll, cinematograph film, or other contrivance by means of which the work may be mechanically performed or delivered" (''Copyright Act 1911'', 1(2d)). Generally speaking, copyright is an innate property of any work that falls under the aforementioned descriptions and applies the moment these works have manifested in physical form (e.g. as soon as an author has written his novel). Copyright is not eternal - as such it runs out after 50 years following the publication of a work or, in case of an unpublished work, after 50 years following the author's death. 
The various laws in this act were, of course, not as plain as this summary may suggest and included several more sophisticated nuances. An example of that may be that if a copyright holder other than the a work's author is in place, they will retain their right to the work for only the first 25 of the 50 years after the author's death while for the latter 25 years the author retains the default copyright (cf. D'Agostino, 116). 
In cases of collective works (such as magazines or journals) the publishing body may retain only partial copyright i.e. a contribution by a different author may only be published in the context of the collective work (cf. ibid 59). In other words, the original author would retain the full copyright to publish their work as they wish while other publishers may not separately (re)publish the author's work unless given permission to do so.

== Works cited ==

* ''Copyright Act 1911''. UK Public General Acts. URL: https://www.legislation.gov.uk/ukpga/Geo5/1-2/46/contents/enacted. Last Access: 22 July 2021.
* D'Agostino, Giuseppina. ''Copyright, Contracts, Creators: New Media, New Rules''. 2010. Edward Elgar.
* Partridge, R. C. Barrington. ''The History of the Legal Deposit of Books''. 2008. Read Books.

Copyright Act 1911

2021-07-22T18:27:09Z

PTissen:

Copyright Act 1911

2021-07-22T17:50:12Z

PTissen:

Copyright Act 1911

2021-07-22T17:41:32Z

PTissen:

Copyright Act 1911

2021-07-22T17:34:27Z

PTissen:

Copyright Act 1911

2021-07-22T17:23:54Z

PTissen:

Copyright Act 1911

2021-07-22T17:23:07Z

PTissen:

Copyright Act 1911

2021-07-22T16:43:50Z

PTissen:

Copyright Act 1911

2021-07-22T16:12:59Z

PTissen:

Copyright Act 1911

2021-07-22T16:12:27Z

PTissen:

Copyright Act 1911

2021-07-22T16:08:11Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories.

== Enactment ==

The act was instated as follows:

United Kingdom: 1 July 1912
Channel Islands: 1 July 1912
Jersey: 8 March 1913
Isle of Man: 5 July 1912
India: 30 October 1912
Papua: 1 February 1931
(all remaining territories: 1 July 1912)
(cf. Partridge, 154f.)

Works cited:

Partridge, R. C. Barrington (2008). ''The History of the Legal Deposit of Books''. Read Books.

Copyright Act 1911

2021-07-22T16:07:57Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories.

=== Enactment ===

The act was instated as follows:

United Kingdom: 1 July 1912
Channel Islands: 1 July 1912
Jersey: 8 March 1913
Isle of Man: 5 July 1912
India: 30 October 1912
Papua: 1 February 1931
(all remaining territories: 1 July 1912)
(cf. Partridge, 154f.)

Works cited:

Partridge, R. C. Barrington (2008). ''The History of the Legal Deposit of Books''. Read Books.

Copyright Act 1911

2021-07-22T16:05:29Z

PTissen:

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories.
The act was instated as follows:

United Kingdom: 1 July 1912
Channel Islands: 1 July 1912
Jersey: 8 March 1913
Isle of Man: 5 July 1912
India: 30 October 1912
Papua: 1 February 1931
(all remaining territories: 1 July 1912)
(cf. Partridge, 154f.)

Works cited:

Partridge, R. C. Barrington (2008). ''The History of the Legal Deposit of Books''. Read Books.

Copyright Act 1911

2021-07-22T15:54:07Z

PTissen: Created page with "The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories. The act was insta..."

The Copyright Act of 1911 is a parliamentary act of the United Kingdom. The act obsoleted copyright law previously established in the UK and its territories.
The act was instated as follows: