摘 要本文从对世界各国和地区对民间文学艺术的概念区分、权利主体的确立和立法模式的选择等方面的考察出发，结合我国目前采取的司法实践和立法的趋势，进行对比，分析利弊，提出自己的观点和建议。虽然在 2014 年，我国相关部门出台了民间文学艺术作品著作权保护条例 （征求意见稿） ，对我国民间文学艺术的概念、权利主体等的确立作出了回应，但是在某些具体性内容的规定方面却仅仅是点到为止。除此之外，该意见稿以著作权保护模式为依托，许多学者纷纷表示仅在著作权法范围内讨论民间文学艺术并不能对其进行全面的保护。因此相关的制度建设和立法仍然有很大的改善空间。本论文的主要内容分为以下四个部分（不包括引言和结语部分）：第一章主要从文学艺术理论研究者视角、国际立法文件视角以及我国立法文件下的视角三个方面来探讨民间文学艺术的特征、种类及其内容。第二章对民间文学艺术的权利主体进行探究，主要介绍了国际较为认同的几类主流学说并对其进行评析，除此之外还涉及到对传承人、演绎者和采风者的权利保护问题的探讨。第三章主要对外国立法和国际立法保护模式进行介绍。第四章是结合我国目前主流的保护模式和司法实践对我国保护模式提出的选择及建议。关键词：民间文学艺术；国际保护；模式研究AbstractThis article talks about different worlds and regions views on the definition of folk literature and art, the establishment of the main body of rights and the choice of legislative models and other aspects of the study, combined with Chinas current judicial practice and legislative trends. Compare the advantages and disadvantages and propose my own views and suggestions. Although in 2014, Chinas relevant departments promulgated the Folk Literature and Art Works copyright protection regulations (draft), making a response to the concept of Chinas folk literature and art, the main body of the right, but there are still details need to be improved in some specific content. In addition, due to the draft based on copyright protection model, many scholars have said that it cannot be fully protected only in this aspect. Thus, the relevant system construction and legislation still have a lot of room for improvement. The main contents of this paper are divided into the following four parts (not including the introduction and conclusion part):The first chapter mainly discusses the characteristics, types and contents of folk literature and art from three aspects: the perspective of literary and artistic theory, the perspective of international legislative documents and the perspective of our legislative documents. The second chapter talks about the owners of folk literature and art, which mainly introduces and evaluates several kinds of mainstream theories of international recognition. In addition, it also involves discussions about relevant rights owners, such as inheritors, performers and collectors. The third chapter mainly introduces the foreign legislation and the protection mode of international legislation. The fourth chapter provides some suggestions combined with our countrys protecting model and legal practice.Key words：Folklore；international protection ；study of mode目 录一 引言 .5二 不同视角下的民间文学艺术基本内容 .6（一）我国文学艺术理论研究者视角下的民间文学艺术 .61.民间文学艺术的发展 .62.民间文学艺术的特征 .63.民间文学艺术的种类 .7（二）国际立法文件视角下的民间文学艺术 .71.匿名作品 .72.民间文学艺术作品 .73.民间文学艺术表达形式 .8（三）我国立法文件视角下的民间文学艺术 .8三 民间文学艺术权利主体探究 .10（一）国际法律文件关于民间文学艺术主体的规定 .10（二）国内外关于民间文学艺术主体的学说及评析 .111.个人主义作者观 .112. 集体主体和个人主体相结合的二元主体观 .123.多层主体说和国家主体说 .124.行政机构诉讼主体说 .13（三）与民间文学艺术集体主体相关的主体问题的探讨 .141. 传承人 .142. 演绎者 .143. 采风者 .15四 民间文学艺术国际保护模式考察 .16（一）国际条约和地区协定的保护模式 .16（二）世界各国或地区的保护模式 .17五 我国民间文学艺术保护模式的选择及建议 .19（一） 民间文学艺术作品著作权保护条例（征求意见稿） .191.意见稿的特点 .192.意见稿的不足之处 .19（二）对我国民间文学艺术作品著作权保护的建议 .201.坚持公权与私权相结合的原则 .202.采取有层次性、多元化的综合性保护 .213.注重对传承人的政策支持和权利保护 .214规范报酬收取与分配的程序性 .21结 语 .