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1、外文文献原文When the graphical Web entered into the public scene in 1994, it was followed by an almost literal explosion of available content. The number of internet hosts had seen a steady increase since the 1980s, from 231 in 1981 to more than a million in 1992. However, after 1994 the increase is marke
2、d, with the number of hosts reaching just under 30 million machines by 1998.18 In December 1995, Altavista had indexed just over 20 million text documents, while by June 1999 it counted 150 million.19 Such an explosion responded to the vast amount of users and companies discovering the Net for the f
3、irst time, and posting as much content as they could. It could be argued that this presented a golden era for human creativity and inventiveness, as people where faced with a democratic publishing environment where anybody with an Internet account and some technical knowledge could upload anything t
4、hey wanted. The gatekeepers of human creativity were gone.Why has the graphical Internet been so important to copyright law? It could be argued that the modern Web has prompted changes in the legislation, just like any other new technology causes the law to evolve. But the Internets impact in copyri
5、ght goes further than that. The Internet has made copyright more relevant and important to the mainstream. In the past, copyright was something that happened to a few people. Writers, artists, publishers and movie-makers were interested in copyright, but it could be argued that the general public pa
6、id little attention to it, unless they decided to become creators, and often not even then. The Internet has brought a change to all that by turning everyone who uses the network into a potential publisher. The emergence of free web space in the shape of “cyber towns” like Geocities and Tripod7 allo
7、wed knowledgeable users to publish their own website. This liberty has been enhanced by the ease of setting up web logs (blogs), uploading pictures online, posting on web forums and creating and generating content of all sorts. At the same time, Netizens have had to become acquainted with copyright
8、to answer their own questions. What happens if somebody copies my pictures? Can somebody steal my poem? Am I in trouble if I post this cartoon online? Do I own this story I wrote based on Harry Potter? Can I post it to a Harry Potter website as fan fiction? Can I download music online? Where can I g
9、et the latest episode of Desperate Housewives?What then can be done to protect copyright on the Internet? Perhaps it is impossible, and there may be an argument to resurrecting the idea that Cyberspace cannot be regulated. Perhaps the copyright industries may have to realize that they must operate i
10、n a thoroughly new technological environment, and therefore change the way in which they conduct business. The recent growth in “legal” downloads through successful sites like iTunes, and the potential of some P2P technologies for lawful uses, may very well prove that a new era has arrived, and that
11、 Cyberspace has indeed changed copyright forever.外文文献译文自从1994年图形网页进入公众视野以来，可利用文字作品出现了几乎爆炸式的发展。从20世纪80年代开始联网主机的数量有稳步的增长，人数由1981年的二百三十一台增长到1992年一百多万台。然而1994以后，增长记录显示主机台数到1998年没有达到三千万台。在1995年12月Altavista编入索引中的文本文件刚超过两千万，而到1999年6月达到了一亿五千万。如此爆炸式增长使得大量的用户和公司第一时间发现其中的利润，尽可能多的粘贴内容。当人们面对具有网络账户和一些技术知识的人都可以上传他
12、们想要上传的任何东西的民主出版环境，可以说这为人们的创造和发明提供一个黄金时期。人们创造力的大门被打开了。为什么图形互联网对于著作权法如此重要呢？有人可能认为，现代的Web促使了立法的变化，就像其他任何新技术促使法律发展。但是互联网在著作权中的影响远不止这样。互联网使得著作权更加相关和重要对于主流来说。在过去，著作权只是一些人关心的东西。作家，艺术家，出版商和电影制作者对著作权感兴趣，但是有人认为，除非他们决定成为创作者，否则公众很少会注意到它，并且通常情况下不会的。因特网将每个使用网络的人变成了一个潜在的出版商。免费网络空间就像网络城镇Geocities和Tripod7的出现使得有技术用户可
13、以在他们自己的网站上发布东西。这种自由通过易于设置web日志（博客）、在线上传照片，在网络论坛上粘贴和创造和产生各种各样的内容得到了加强。同时网民们不得不熟悉著作权来解决他们自己的问题。如果有人复制了我的照片怎么办？别人会偷我的诗么？如果我在线寄这幅卡通会惹来麻烦么？我能够拥有我自己写的基于“哈利波特”的故事么？我能够将它作为一个粉丝的小说贴到哈利波特的网站上么？我能够在线下载音乐么？我从哪儿能找到最新一集的“绝望主妇”？接下来要做什么来保护互联网上的版权？或许这是不可能的，而且要恢复网络空间不可不可被规范这个想法是存在着争议的。也许版权产业可能已经意识到他们必须运行在一个完全的新技术环境中，而且因此改变他们开展业务的方式。最近在通过成功的网址比如iTunes上的合法下载的增长和潜在的一些P2P技术的合法使用很可能证明一个新的时代已经来临，网络空间确实已经永远地改变了著作权。