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Strategic Indeterminacy in the Law

為了解決Lay down the law的問題，作者Lanius, David 這樣論述：

Though indeterminacy in legal texts is pervasive, there is a widespread misunderstanding about what indeterminacy is, particularly as it pertains to law. Legal texts present unique challenges insofar as they address a heterogeneous audience, are applied in a variety of unforeseeable circumstances an

d must, at the same time, lay down clear and unambiguous standards. Sometimes they fail to do so, however, either by accident or by intention. While many have claimed that indeterminacy facilitates flexibility and can be strategically used, few have recognized that there are more forms of indetermin

acy than vagueness and ambiguity. A comprehensive account of legal indeterminacy is thus called for. David Lanius here answers that call and in so doing, addresses three central questions about the role of indeterminacy in the law. First, what are the sources of indeterminacy in law? Second, what ef

fects do the different forms of indeterminacy have? Third, how can and should these forms be intentionally used? Based on a thorough examination of the advantages and disadvantages of the different forms of indeterminacy in the wording of laws, contracts, and verdicts, Lanius argues for the claim th

at semantic vagueness is less relevant than commonly supposed in the debate, while other forms of indeterminacy (in particular, polysemy and standard-relativity) are mistakenly underrated or even ignored. This misconception is due to a systematic confusion between semantic vagueness and these other

forms of indeterminacy. Once it is resolved, the value and functions of linguistic indeterminacy in the law can be clearly shown. David Lanius is Post-Doctoral Researcher at DebateLab of Karlsruhe Institute of Technology. He works on strategic indeterminacy in the law and politics, constructive di

scourse, argument analysis, fake news, and populism.

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論音樂著作之定義與實質近似之判斷— 以美國實務判決為出發

為了解決Lay down the law的問題，作者溫家緯 這樣論述：

音樂抄襲的問題在美國一直是備受關注的議題，特別是2018年Williams v. Gaye判決做成後，音樂著作的保護範圍以及法院在音樂著作實質近似上之判斷，皆成為實務與學說討論的重心。故本文將以美國實務為核心，並參酌美國學者之見解，首先探討在法律上音樂著作之定義為何，比較現行美國實務過度擴張音樂著作保護範圍之多元認定與學者呼籲應以「旋律」作為劃分保護範圍標準之單一認定；接著回歸我國實務，目前透過判決整理，僅能確認我國法院認為旋律為音樂著作之保護核心，但尚未對其他元素是否能受保護發表意見。在音樂著作實質近似之比較上，本文發現現行聯邦第二巡迴上訴法院採用之「普通觀察者測試法」與第九巡迴上訴法院採

用之「外部及內部測試法」，皆過度仰賴判斷者之主觀評價，且無法有效過濾不受保護之元素，因此本文對現行之測試法進行檢討，並主張捨棄以普通觀察者對兩著作進行整體觀念與感覺測試之實質近似判斷方式。而我國現行實務對音樂著作實質近似之判斷，尚無一套統一的判斷標準，故本文最後乃借鑑美國法之經驗，從音樂著作權利界線的劃分、實質近似之測試方式、鑑定人與專家證人之參與等三方面，提出我國實務將來在面對相關案例時，可以參考之侵權判斷。期盼未來我國法院在面臨音樂著作抄襲之個案時，能在音樂創作與著作權保護中取得平衡，使我國音樂產業蓬勃發展。

Though the Heavens Fall

為了解決Lay down the law的問題，作者Emery, Anne 這樣論述：

As 1995 dawns in the North of Ireland, Belfast is a city of army patrols, bombed-out buildings, and "peace walls" segregating one community from the other. But the IRA has called a ceasefire. So, it's as good a time as any for Monty Collins and Father Brennan Burke to visit the city: Monty to do a s

hort gig in a law firm, and Brennan to reconnect with family. And it's a good time for Brennan's cousin Ronan to lay down arms and campaign for election in a future peacetime government.But the past is never past in Belfast, and it rises up to haunt them all: a man goes off a bridge on a dark, lonel

y road; a rogue IRA enforcer is shot; and a series of car bombs remains an unsolved crime. The trouble is compounded by a breakdown in communication: Brennan knows nothing about the secrets in a file on Monty's desk. And Monty has no idea what lies behind a late-night warning from the IRA. With a sm

oking gun at the center of it all, Brennan and Monty are on a collision course and will learn more than they ever wanted to know about what passes for law in 1995 Belfast. An inscription on a building south of the Irish border says it all: "Let justice be done though the heavens fall." Named ＂one

of Canada’s finest novelists＂ (Ottawa Review of Books), Anne Emery is a lawyer and the author of the Collins-Burke mystery series. She has won an Arthur Ellis Award, an Independent Publisher Book Awards silver medal, and a Dartmouth Book Award. She lives in Halifax, Nova Scotia. Though the Heavens F

all is her tenth novel.

不同生物處理程序使用於廢水除氮 之操作策略研究

為了解決Lay down the law的問題，作者羅賀馨 這樣論述：

為避免氨氮等含氮化合物排入水環境中造成優養化的問題，環保署從民國 103 年起逐步增加相關行業別之氨氮放流水標準，因此如何妥善處理含氮廢水為 相關廢水處理廠當務之急。因此本研究針對目前較常使用之生物脫硝硝化處理程 序及較新穎的厭氧氨氧化程序進行各種探討，期望能提出有用的操作策略，解決 此問題。在傳統脫硝硝化生物處理程序的部份，本研究採用較為難生物分解之煉焦廢 水為目標，此廢水中除 COD 濃度平均達 2000 mg/L，同時含有約 200 mg N/L 的氨 氮，探討在何種操作策略及條件下，可快速啟動且處理水達到放流水標準。結果 顯示，在水力停留時間 128 小時，硝化液回流比為 4 的操作

條件下，處理水的氨 氮濃度可低於 30 mg N/L，化學需氧量濃度可低於 200 mg/L，硝酸氮濃度約為 50 mg N/L，整體氨氮去除率可達 90% ，化學需氧量去除率 75%以上，達到預期目 標。另外實驗結果亦顯示脫硝槽中去除之 COD 與硝酸氮的比值(C/N)為約 4.4，但 進流水之 C/N 比過高，最高可達 7，導致脫硝槽出流水中仍殘留有 COD，此殘留 的 COD，在進入硝化槽後會使得分解 COD 的異營菌與自營的硝化菌產生競爭現 象，並且當濃度達到 500 mg COD/L 之後會抑制硝化菌的活性，進而影響氨氮的轉化率。故進流之 C/N 比過高時，建議增加活性污泥槽或加大硝

化反應槽之體 積，使殘留之 COD 可以被進一步去除，若脫硝/硝化槽之體積比增加為 1/ 2.5-3， 應可確保硝化反應槽之操作穩定性。在厭氧氨氧化處理程序部份，本研究針對相關文獻較少探討的上升流速及攪 拌速度對處理效率及污泥增殖率進行探討。試程一、二及三保持相同之上升流 速，改變攪拌速度，分別為 5、10、20 rpm，試程四、五及六則保持相同的攪拌速 度，但改變上升流速為 2.9、3.5、4.3 m/hr 進行測試，各試程之試驗結果顯示，上 升流速及攪拌速度對處理效率並無明顯影響;但對污泥增殖則有所影響。最佳的攪拌速度為 5 rpm，同時隨著攪拌速度的增加，增泥污泥增殖量降低， 依序為 5

rpm > 10 rpm > 20 rpm，造成此結果的主要原因，推測可能為轉速增大， 造成剪力增加，使得污泥膠羽被破壞，污泥流失所造成。在上升流速的部份則是 污泥增殖率隨著上升流速的增大而增加，依序是 4.3 m/hr >3.5 m/hr >2.9 m/hr。由 追蹤劑試驗結果顯示，反應槽內攪拌混合均勻的程度由大到小依序為 20 rpm > 10 rpm > 5 rpm，即轉速較快時槽內混合情況較均勻。但轉速快時，因剪力較大污泥 呈現較分散狀態，反之轉速較慢時，剪力減小，污泥呈現較為顆粒化的現象，而 較分散的污泥，因為質量較小密度也低，當發生厭氧氨氧化反應產生氮氣時容易 受氮氣上浮的影響而

流出反應槽外。由上述結果得知，在反應槽啟動階段需注意 上升流速及攪拌速度之設定，本研究得到之結果為上升流速為 4.3 m/hr 且攪拌速 度為 5 rpm 時可得到最大污泥增殖率，但若在一般穩定操作階段，因處理效率與 上升流速及攪拌速度無明顯相關性，因此可降低上升流速減少動力之消耗。關鍵字:厭氧氨氧化、氨氧化菌、亞硝酸菌、增殖率