{"id":7915,"date":"2025-12-25T21:49:45","date_gmt":"2025-12-25T19:49:45","guid":{"rendered":"https:\/\/inprojournal.org\/?page_id=7915"},"modified":"2026-02-04T10:41:43","modified_gmt":"2026-02-04T08:41:43","slug":"2024-3-1","status":"publish","type":"page","link":"https:\/\/inprojournal.org\/en\/2024-3-1\/","title":{"rendered":"2024-3-1"},"content":{"rendered":"\n<p><\/p>\n\n\n\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-9d6595d7 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:33.33%\">\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"734\" height=\"1024\" src=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-734x1024.jpg\" alt=\"\" class=\"wp-image-3609\" style=\"width:217px;height:302px\" srcset=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-734x1024.jpg 734w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-215x300.jpg 215w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-768x1071.jpg 768w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-1101x1536.jpg 1101w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-1468x2048.jpg 1468w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-scaled.jpg 1835w\" sizes=\"auto, (max-width: 734px) 100vw, 734px\" \/><\/figure>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\">Theory and practice of intellectual property<br>\u2116 3 \/ 2024<\/p>\n\n\n\n<p class=\"has-small-font-size\">ISSN (Print) 2308-0361<br>ISSN (Online) 2519-2744<\/p>\n\n\n\n<div class=\"wp-block-buttons has-custom-font-size is-content-justification-left is-layout-flex wp-container-core-buttons-is-layout-fdcfc74e wp-block-buttons-is-layout-flex\" style=\"font-size:10px\">\n<div class=\"wp-block-button is-style-outline is-style-outline--1\"><a class=\"wp-block-button__link has-black-color has-text-color has-custom-font-size wp-element-button\" href=\"https:\/\/drive.google.com\/file\/d\/1RgshvNVsBrxgvFnz-xlN0_kdKh2NL0Wa\/view\" style=\"border-radius:10px;font-size:10px\" target=\"_blank\" rel=\"noreferrer noopener\"><img loading=\"lazy\" decoding=\"async\" width=\"14\" height=\"14\" class=\"wp-image-362\" style=\"width: 14px;\" src=\"https:\/\/test.inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153.png\" alt=\"\" srcset=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153.png 512w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-300x300.png 300w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-150x150.png 150w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-450x450.png 450w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-106x106.png 106w, https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/01\/free-icon-pdf-201153-80x80.png 80w\" sizes=\"auto, (max-width: 14px) 100vw, 14px\" \/> PDF (Ukrainian)<\/a><\/div>\n<\/div>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\">DOI: <a href=\"https:\/\/doi.org\/10.33731\/32024.311406\">https:\/\/doi.org\/10.33731\/32024.311406<\/a><\/p>\n\n\n\n<p class=\"has-small-font-size\">Submitted&nbsp; &nbsp;&nbsp; 2024-07-12<br>Accepted &nbsp;&nbsp; &nbsp; 2024-07-15<br>Published &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2024-09-18<\/p>\n\n\n\n<div style=\"height:8px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img decoding=\"async\" src=\"https:\/\/inprojournal.org\/wp-content\/uploads\/2025\/11\/CC-2.png\" alt=\"\" class=\"wp-image-6960\" style=\"width:131px;height:auto\"\/><\/figure>\n\n\n\n<p class=\"has-small-font-size\"><\/p>\n\n\n\n<div style=\"height:26px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"has-small-font-size\"><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:66.66%\">\n<p class=\"has-medium-font-size\"><strong>Peculiarities of copyright in a theatrical production<\/strong><\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Anna Shtefan<\/strong><br>Doctor of Legal Sciences\/Dr. Habil. (Law), Associate Professor, Head of the Copyright and Related Rights Department of the Intellectual Property Scientific Research Institute of the National Academy of Legal Sciences of Ukraine<br>Ukraine<br><a href=\"https:\/\/orcid.org\/0000-0003-2382-4849\">https:\/\/orcid.org\/0000-0003-2382-4849<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>Abstract<br><\/strong>The article examines the features of a theatrical production as a work of theatrical art that is created on the basis of a dramaturgical work (literary, musical, choreographic, or other), has a single idea, and a specific title.<\/p>\n\n\n\n<p>Ukrainian legislation does not define the composition of the authors of a theatrical production. The study proves that the authors of a theatrical production may include the author of a dramatic work specially created for a particular theatrical production, directors, and the author of a musical work with or without lyrics specially created for a particular theatrical production. Given the unequal nature of creative contributions to a theatrical production, the belonging of creative contributions to different types of art, a theatrical production is a complex work that is characterized by a synthesis of arts. The authors of a theatrical production enter into a co-authorship that is characterized not by the unity of the creative process, but by the unity of the result in the form of one coherent work. Despite the fact that the content of each author\u2019s creativity is different and may belong to different areas of art, in the end, all these elements are combined in one work.<\/p>\n\n\n\n<p>The primary subjects of copyright in a theatrical production are its authors. At the same time, a theatrical production is often a work for hire created by an employee under an employment contract. Under Ukrainian law, copyright in a work for hire is transferred to the employer from the moment the work is created, unless otherwise provided by contract or law. However, if the producer orders the creation of a theatrical production, copyright in it shall be transferred to the producer. Thus, the right holder of a theatrical production may be determined in different ways.<\/p>\n\n\n\n<p>The main way of using a theatrical production is its public performance, as presenting it to the public directly through the performance of roles (parts) and other presentations of artistic images. A public performance is not a form of expression of a theatrical production that arises as a result of the creativity of its authors before its public performance, and its existence does not cease after the performance is over.<\/p>\n\n\n\n<p>The current legislation of Ukraine reflects the specifics of a theatrical production as an object of copyright only partially, and therefore needs to be improved.<\/p>\n\n\n\n<p><strong>Keywords: <\/strong>theatrical affairs, theatrical production, theater director, copyright<\/p>\n\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p><strong>References<\/strong><\/p>\n\n\n\n<p>\u041f\u0440\u043e \u0442\u0435\u0430\u0442\u0440\u0438 \u0456 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0443 \u0441\u043f\u0440\u0430\u0432\u0443: \u0417\u0430\u043a\u043e\u043d \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0432\u0456\u0434 31 \u0442\u0440\u0430\u0432\u043d\u044f 2005 \u0440\u043e\u043a\u0443 \u2116 2605-IV. \u0412\u0412\u0420. 2005. \u2116 26. \u0421\u0442. 350.<\/p>\n\n\n\n<p>\u041f\u0440\u043e \u0430\u0432\u0442\u043e\u0440\u0441\u044c\u043a\u0435 \u043f\u0440\u0430\u0432\u043e \u0456 \u0441\u0443\u043c\u0456\u0436\u043d\u0456 \u043f\u0440\u0430\u0432\u0430: \u0417\u0430\u043a\u043e\u043d \u0423\u043a\u0440\u0430\u0457\u043d\u0438 \u0432\u0456\u0434 01 \u0433\u0440\u0443\u0434\u043d\u044f 2022 \u0440\u043e\u043a\u0443 \u2116 2811-\u0406\u0425. \u041e\u0444\u0456\u0446\u0456\u0439\u043d\u0438\u0439 \u0432\u0456\u0441\u043d\u0438\u043a \u0423\u043a\u0440\u0430\u0457\u043d\u0438. 2023. \u2116 3. \u0421\u0442. 196.<\/p>\n\n\n\n<p>\u0421\u043b\u043e\u0432\u043d\u0438\u043a \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0457 \u043c\u043e\u0432\u0438. \u0412 11 \u0442. \u0422. 6. \/ \u0406. \u041a. \u0411\u0456\u043b\u043e\u0434\u0456\u0434, \u0410. \u0410. \u0411\u0443\u0440\u044f\u0447\u043e\u043a \u0442\u0430 \u0456\u043d\u0448\u0456. \u041a\u0438\u0457\u0432: \u041d\u0430\u0443\u043a\u043e\u0432\u0430 \u0434\u0443\u043c\u043a\u0430, 1975. 832 \u0441.<\/p>\n\n\n\n<p>\u041a\u043b\u0435\u043a\u043e\u0432\u043a\u0456\u043d \u041e. THEATRICA: \u041b\u0435\u043a\u0441\u0438\u043a\u043e\u043d.&nbsp;\u041a\u0438\u0457\u0432: \u0424\u0435\u043d\u0456\u043a\u0441, 2012.&nbsp;800 \u0441.<\/p>\n\n\n\n<p>\u041f\u0430\u0432\u0456 \u041f. \u0421\u043b\u043e\u0432\u043d\u0438\u043a \u0442\u0435\u0430\u0442\u0440\u0443 \/\u043f\u0435\u0440. \u0437 \u0444\u0440\u0430\u043d\u0446. \u041c. \u042f\u043a\u0443\u0431\u044f\u043a. \u041b\u044c\u0432\u0456\u0432: \u0412\u0438\u0434\u0430\u0432\u043d\u0438\u0447\u0438\u0439 \u0446\u0435\u043d\u0442\u0440 \u041b\u041d\u0423 \u0456\u043c\u0435\u043d\u0456 \u0406\u0432\u0430\u043d\u0430 \u0424\u0440\u0430\u043d\u043a\u0430, 2006. 640 \u0441.<\/p>\n\n\n\n<p>\u0421\u0430\u043d\u0447\u0435\u043d\u043a\u043e \u041e. \u0406. \u0422\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u0430 \u043f\u043e\u0441\u0442\u0430\u043d\u043e\u0432\u043a\u0430 \u044f\u043a \u043e\u0431\u2019\u0454\u043a\u0442 \u043f\u0440\u0430\u0432\u0430 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456: \u0434\u0438\u0441. \u2026 \u043a\u0430\u043d\u0434. \u044e\u0440\u0438\u0434. \u043d\u0430\u0443\u043a: 12.00.03. \u0425\u043c\u0435\u043b\u044c\u043d\u0438\u0446\u044c\u043a\u0438\u0439, 2019. 209 \u0441.<\/p>\n\n\n\n<p>\u0421\u043b\u043e\u0432\u043d\u0438\u043a \u0443\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u043e\u0457 \u043c\u043e\u0432\u0438. \u0412 11 \u0442. \u0422. 7. \/ \u0406. \u041a. \u0411\u0456\u043b\u043e\u0434\u0456\u0434, \u0410. \u0410. \u0411\u0443\u0440\u044f\u0447\u043e\u043a \u0442\u0430 \u0456\u043d\u0448\u0456. \u041a\u0438\u0457\u0432: \u041d\u0430\u0443\u043a\u043e\u0432\u0430 \u0434\u0443\u043c\u043a\u0430, 1976. 724 \u0441.<\/p>\n\n\n\n<p>\u041c\u0435\u043b\u044c\u043d\u0438\u0447\u0443\u043a \u042e. \u0421. \u0420\u0435\u0436\u0438\u0441\u0435\u0440\u0441\u044c\u043a\u0430 \u043a\u043e\u043d\u0446\u0435\u043f\u0446\u0456\u044f \u044f\u043a \u0448\u043b\u044f\u0445 \u0434\u043e \u0441\u0442\u0432\u043e\u0440\u0435\u043d\u043d\u044f \u043e\u0431\u0440\u0430\u0437\u043d\u043e\u0457 \u0441\u0438\u0441\u0442\u0435\u043c\u0438 \u0432\u0438\u0441\u0442\u0430\u0432\u0438. \u0412\u0456\u0441\u043d\u0438\u043a \u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0457 \u0430\u043a\u0430\u0434\u0435\u043c\u0456\u0457 \u043a\u0435\u0440\u0456\u0432\u043d\u0438\u0445 \u043a\u0430\u0434\u0440\u0456\u0432 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0438 \u0456 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432. 2021. \u2116 3. \u0421. 267-272.<br><a href=\"https:\/\/doi.org\/10.32461\/2226-3209.3.2021.244499\">https:\/\/doi.org\/10.32461\/2226-3209.3.2021.244499<\/a><\/p>\n\n\n\n<p>\u041a\u0430\u0448\u0443\u0431\u0430 \u0412. \u0420\u0435\u0436\u0438\u0441\u0435\u0440\u0441\u044c\u043a\u0430 \u0435\u043a\u0441\u043f\u043b\u0456\u043a\u0430\u0446\u0456\u044f \u0432 \u0442\u0435\u0430\u0442\u0440\u0456: \u0441\u0443\u0442\u043d\u0456\u0441\u0442\u044c \u0456 \u043f\u0440\u043e\u0431\u043b\u0435\u043c\u0430\u0442\u0438\u043a\u0430 \u043c\u0435\u0442\u043e\u0434\u0443. \u041d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u0432\u0456\u0441\u043d\u0438\u043a \u041a\u0438\u0457\u0432\u0441\u044c\u043a\u043e\u0433\u043e \u043d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0443 \u0442\u0435\u0430\u0442\u0440\u0443, \u043a\u0456\u043d\u043e \u0456 \u0442\u0435\u043b\u0435\u0431\u0430\u0447\u0435\u043d\u043d\u044f \u0456\u043c\u0435\u043d\u0456 \u0406. \u041a. \u041a\u0430\u0440\u043f\u0435\u043d\u043a\u0430-\u041a\u0430\u0440\u043e\u0433\u043e. 2018. \u2116 23. \u0421. 47-51.<br><a href=\"https:\/\/doi.org\/10.34026\/1997-4264.23.2018.216655\">https:\/\/doi.org\/10.34026\/1997-4264.23.2018.216655<\/a><\/p>\n\n\n\n<p>Bailey M. Exit Stage, Enter Streaming: Copyright of the Theatrical Stage Design Elements in a Changing Theater Industry. Journal of Intellectual Property Law. 2021. Vol. 28(2). \u0420. 365-395.<\/p>\n\n\n\n<p>\u041f\u043e\u0433\u0440\u0435\u0431\u043d\u044f\u043a \u0413. \u0410\u0432\u0442\u043e\u0440\u0441\u044c\u043a\u0430 \u0440\u0435\u0436\u0438\u0441\u0443\u0440\u0430 \u0432 \u0435\u043a\u0440\u0430\u043d\u043d\u043e\u043c\u0443 \u0442\u0430 \u0441\u0446\u0435\u043d\u0456\u0447\u043d\u043e\u043c\u0443 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0456. \u041d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u0432\u0456\u0441\u043d\u0438\u043a \u041a\u0438\u0457\u0432\u0441\u044c\u043a\u043e\u0433\u043e \u043d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0443 \u0442\u0435\u0430\u0442\u0440\u0443, \u043a\u0456\u043d\u043e \u0456 \u0442\u0435\u043b\u0435\u0431\u0430\u0447\u0435\u043d\u043d\u044f \u0456\u043c\u0435\u043d\u0456 \u0406. \u041a. \u041a\u0430\u0440\u043f\u0435\u043d\u043a\u0430-\u041a\u0430\u0440\u043e\u0433\u043e. 2017. \u2116 20. \u0421. 115-122.<br><a href=\"https:\/\/doi.org\/10.34026\/1997-4264.20.2017.221210\">https:\/\/doi.org\/10.34026\/1997-4264.20.2017.221210<\/a><\/p>\n\n\n\n<p>\u0414\u043c\u0438\u0442\u0440\u0435\u043d\u043a\u043e \u041d. \u0412. \u0421\u0438\u043d\u043a\u0440\u0435\u0442\u0438\u0437\u043c \u0445\u0443\u0434\u043e\u0436\u043d\u044c\u043e\u0457 \u043e\u0431\u0440\u0430\u0437\u043d\u043e\u0441\u0442\u0456 \u0442\u0430 \u0441\u0438\u043d\u0442\u0435\u0437 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432: \u0434\u043e \u043f\u0440\u043e\u0431\u043b\u0435\u043c \u0442\u0435\u0440\u043c\u0456\u043d\u043e\u043b\u043e\u0433\u0456\u0457. \u041d\u0430\u0443\u043a\u043e\u0432\u0438\u0439 \u0432\u0456\u0441\u043d\u0438\u043a \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0433\u043e \u0433\u0443\u043c\u0430\u043d\u0456\u0442\u0430\u0440\u043d\u043e\u0433\u043e \u0443\u043d\u0456\u0432\u0435\u0440\u0441\u0438\u0442\u0435\u0442\u0443. \u0421\u0435\u0440\u0456\u044f: \u0424\u0456\u043b\u043e\u043b\u043e\u0433\u0456\u044f. 2018. \u0412\u0438\u043f. 35(1). \u0421. 84-88.<\/p>\n\n\n\n<p>\u042f\u0432\u043e\u0440\u0441\u044c\u043a\u0430 \u041e. \u0421., \u0422\u0430\u0440\u0430\u0441\u0435\u043d\u043a\u043e \u041b. \u041b. \u0406\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u0430 \u0432\u043b\u0430\u0441\u043d\u0456\u0441\u0442\u044c \u0443 \u0441\u0444\u0435\u0440\u0456 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430. \u0412\u0456\u0441\u043d\u0438\u043a \u041d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u043e\u0457 \u0430\u043a\u0430\u0434\u0435\u043c\u0456\u0457 \u043a\u0435\u0440\u0456\u0432\u043d\u0438\u0445 \u043a\u0430\u0434\u0440\u0456\u0432 \u043a\u0443\u043b\u044c\u0442\u0443\u0440\u0438 \u0456 \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432. 2020. \u2116 2. \u0421. 258-262.<br><a href=\"https:\/\/doi.org\/10.32461\/22263209.2.2020.220583\">https:\/\/doi.org\/10.32461\/22263209.2.2020.220583<\/a><\/p>\n\n\n\n<p>\u0422\u0430\u0454\u0432\u0441\u044c\u043a\u0430 \u041c. \u0425\u0430\u0440\u0430\u043a\u0442\u0435\u0440\u0438\u0441\u0442\u0438\u043a\u0430 \u0430\u043a\u0442\u043e\u0440\u0430 \u0442\u0435\u0430\u0442\u0440\u0443 \u044f\u043a \u0441\u0443\u0431\u2019\u0454\u043a\u0442\u0430 \u0432\u0438\u043a\u043e\u043d\u0430\u043d\u043d\u044f \u0442\u0432\u043e\u0440\u0443 \u0442\u0435\u0430\u0442\u0440\u0430\u043b\u044c\u043d\u043e\u0433\u043e \u043c\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430. \u0422\u0435\u043e\u0440\u0456\u044f \u0456 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0430 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456. 2015. \u2116 6. \u0421. 40-45.<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Theory and practice of intellectual property\u2116 3 \/ 2024 ISSN (Print) 2308-0361ISSN (Online) 2519-2744 DOI: https:\/\/doi.org\/10.33731\/32024.311406 Submitted&nbsp; &nbsp;&nbsp; 2024-07-12Accepted &nbsp;&nbsp; &nbsp; 2024-07-15Published &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2024-09-18 Peculiarities of copyright in a theatrical production Anna ShtefanDoctor of Legal Sciences\/Dr. Habil. (Law), Associate Professor, Head of the Copyright and Related Rights Department of the Intellectual Property Scientific Research Institute of [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-7915","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/7915","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/comments?post=7915"}],"version-history":[{"count":6,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/7915\/revisions"}],"predecessor-version":[{"id":8225,"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/pages\/7915\/revisions\/8225"}],"wp:attachment":[{"href":"https:\/\/inprojournal.org\/en\/wp-json\/wp\/v2\/media?parent=7915"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}