El plagio: la dicotomía entre la idea y la expresión de la idea
This article emerges from the idea that is not easy to determine the border between plagiarism and original creation. In principle, the plagiarism is an appropriation of the effort of others. The question, however, is whether it is always a fraud or sometimes it is inevitable of committing: the insp...
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2020
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Online Access: | https://dialnet.unirioja.es/servlet/oaiart?codigo=7351385 |
Source: | Revista Iberoamericana de las Ciencias Sociales y Humanísticas: RICSH, ISSN 2395-7972, Vol. 9, Nº. 17, 2020, pags. 330-350 |
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Revista Iberoamericana de las Ciencias Sociales y Humanísticas: RICSH, ISSN 2395-7972, Vol. 9, Nº. 17, 2020, pags. 330-350
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estilo imitación originalidad técnica copyright style imitation originality technique direitos autorais estilo imitação originalidade técnica |
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estilo imitación originalidad técnica copyright style imitation originality technique direitos autorais estilo imitação originalidade técnica López Fernández, Elba El plagio: la dicotomía entre la idea y la expresión de la idea |
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This article emerges from the idea that is not easy to determine the border between plagiarism and original creation. In principle, the plagiarism is an appropriation of the effort of others. The question, however, is whether it is always a fraud or sometimes it is inevitable of committing: the inspiration or reciprocal influence between two works break into the discussion. How to know what can or cannot be done, where is the line between the legitimate and the illegitimate? The objective here it was to determine the scope and limits of the figure of plagiarism. For this, certain linguistic ambiguities implicit in its definition were analyzed. The sources consulted helped to determine that, although the laws argue that the ideas themselves are not protectable, for practical purposes this reality is not so clear. The methodology used was descriptive; as an instrument was resorted to documentary research. As a result, it could be established, through the analysis of lookalikes, that ideas can be protected even in their abstract sense, namely, the primary ideas that are in the mind and not only in the form that it has adopted when expressing itself, since the idea is defined by its expression, the same idea can be expressed in different ways. It is concluded that, in reality, the absolute lack of protection of ideas is not an axiom, despite the latter constitutes one of the doctrinal principles of copyright, since the idea to be materialized and shared is linked to a mode of expression and indirectly protected by this. Intellectual property, in principle, does not protect artistic or creative techniques neither styles nor themes; but the protection of the work, although it tries to exclude what is exposed, namely: the idea, the method, the style and the technique, cannot always do it, incurring a contradiction that forgets that the creation is partly imitation.
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López Fernández, Elba
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López Fernández, Elba
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López Fernández, Elba
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El plagio: la dicotomía entre la idea y la expresión de la idea
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El plagio: la dicotomía entre la idea y la expresión de la idea
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El plagio: la dicotomía entre la idea y la expresión de la idea
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El plagio: la dicotomía entre la idea y la expresión de la idea
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El plagio: la dicotomía entre la idea y la expresión de la idea
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el plagio: la dicotomía entre la idea y la expresión de la idea
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2020
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dialnet-ar-18-ART00013770412020-04-28El plagio: la dicotomía entre la idea y la expresión de la ideaLópez Fernández, Elbaderechos de autorestiloimitaciónoriginalidadtécnicacopyrightstyleimitationoriginalitytechniquedireitos autoraisestiloimitaçãooriginalidadetécnicaThis article emerges from the idea that is not easy to determine the border between plagiarism and original creation. In principle, the plagiarism is an appropriation of the effort of others. The question, however, is whether it is always a fraud or sometimes it is inevitable of committing: the inspiration or reciprocal influence between two works break into the discussion. How to know what can or cannot be done, where is the line between the legitimate and the illegitimate? The objective here it was to determine the scope and limits of the figure of plagiarism. For this, certain linguistic ambiguities implicit in its definition were analyzed. The sources consulted helped to determine that, although the laws argue that the ideas themselves are not protectable, for practical purposes this reality is not so clear. The methodology used was descriptive; as an instrument was resorted to documentary research. As a result, it could be established, through the analysis of lookalikes, that ideas can be protected even in their abstract sense, namely, the primary ideas that are in the mind and not only in the form that it has adopted when expressing itself, since the idea is defined by its expression, the same idea can be expressed in different ways. It is concluded that, in reality, the absolute lack of protection of ideas is not an axiom, despite the latter constitutes one of the doctrinal principles of copyright, since the idea to be materialized and shared is linked to a mode of expression and indirectly protected by this. Intellectual property, in principle, does not protect artistic or creative techniques neither styles nor themes; but the protection of the work, although it tries to exclude what is exposed, namely: the idea, the method, the style and the technique, cannot always do it, incurring a contradiction that forgets that the creation is partly imitation.Este artículo surge a partir de la idea de que no resulta fácil determinar la frontera entre plagio y creación original. En principio, el plagio trata de una apropiación del esfuerzo ajeno. La cuestión es, sin embargo, si siempre se está ante un fraude o si a veces es un acto inevitable de cometer: la inspiración o la influencia recíproca entre dos obras irrumpen en la discusión. ¿Cómo saber qué es lo que se puede o no se puede hacer y dónde está el límite entre lo legítimo y lo ilegítimo? El objetivo aquí fue determinar el alcance y los límites de la figura del plagio. Y para ello se analizaron ciertas ambigüedades lingüísticas implícitas en su definición. Las fuentes consultadas ayudaron a determinar que, a pesar de que las leyes argumentan que las ideas en sí mismas no son protegibles, a efectos prácticos esta realidad no está tan clara. La metodología usada en este artículo fue descriptiva. Como instrumento se recurrió a la investigación documental. Entres los resultados se pudo establecer, a través del análisis de lookalikes, que las ideas pueden estar protegidas incluso en su sentido abstracto, ya que aunque queden definidas por su expresión pueden ser expresadas de formas diferentes. Se concluye que en realidad la desprotección absoluta de las ideas no es un axioma, a pesar de que este último constituye uno de los principios doctrinales del derecho de autor, ya que la idea, al ser materializada y compartida, queda ligada a un modo de expresión e indirectamente protegida por este. La propiedad intelectual, en principio, tampoco protege las técnicas artísticas o creativas ni los estilos ni los temas; pero la protección de la obra, aunque trate de excluir lo que se expone, esto es: la idea, el método, el estilo y la técnica, no siempre puede hacerlo, incurriendo en una contradicción que olvida que la creación es en parte imitación.2020text (article)application/pdfhttps://dialnet.unirioja.es/servlet/oaiart?codigo=7351385(Revista) ISSN 2395-7972Revista Iberoamericana de las Ciencias Sociales y Humanísticas: RICSH, ISSN 2395-7972, Vol. 9, Nº. 17, 2020, pags. 330-350spaLICENCIA DE USO: Los documentos a texto completo incluidos en Dialnet son de acceso libre y propiedad de sus autores y/o editores. Por tanto, cualquier acto de reproducción, distribución, comunicación pública y/o transformación total o parcial requiere el consentimiento expreso y escrito de aquéllos. 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