Reversal of Fortune: ECG STEMI Mimic

2021 ◽  
Vol 43 (4) ◽  
pp. 303-308
Author(s):  
Michael Sweeney
Keyword(s):  
2020 ◽  
Author(s):  
Rabah Arezki ◽  
Simeon Djankov ◽  
Ha Nguyen ◽  
Ivan Yotzov

1995 ◽  
Vol 77 (2) ◽  
pp. 251-259 ◽  
Author(s):  
Julian M. Alston ◽  
Will J. Martin

1999 ◽  
Vol 48 (1) ◽  
pp. 207-216 ◽  
Author(s):  
Colin Warbrick ◽  
Dominic McGoldrick ◽  
Hazel Fox

The case of Pinochet has aroused enormous interest, both political and legal. The spectacle of the General, whose regime sent so many to their deaths, himself under arrest and standing trial has stirred the hopes of the oppressed. His reversal of fortune, loss of liberty with a policeman, on the door, has been heralded by organisations for the protection of human rights as one small step on the long road to justice. For lawyers generally, the House of Lords' majority decision of 1998 that General Pinochet enjoyed no immunity signalled a shift from a State-centred order of things.1 It suggested that the process of restriction of State immunity, so effectively begun with the removal of commercial transactions from its protection, might now extend some way into the field of criminal proceedings. And it further posed the intriguing question whether an act categorised as within the exercise of sovereign power, so as to relieve the individual official of liability in civil proceedings, may at the same time, as well as subsequent to his retirement, attract parallel personal criminal liability.


2014 ◽  
Vol 2014 (1) ◽  
pp. 15256
Author(s):  
Tomasz Marek Mickiewicz ◽  
Fred Nyakudya ◽  
Nicholas Theodorakopoulos ◽  
Mark Hart

Author(s):  
Edward Lamberti

Chapter 5 considers Barbet Schroeder’s English-language American true-life drama Reversal of Fortune (1990) and his French-language political documentary Terror’s Advocate (2007), two films about lawyers and legal systems. Desmond Manderson refers in his collection Essays on Levinas and Law: A Mosaic (2009) to the ‘mosaic’ of a Levinasian approach to the law, as, sceptical of legal systems but devoted to justice, Emmanuel Levinas posits an ethics that refuses to crystallise into a prescriptive view of how the law should work in respect of the Other. I argue that these two Schroeder films, with their multi-faceted, ‘mosaic-like’ styles and structures, perform this fractured Levinasian refusal to settle on a fixed, simplistic definition of the law’s purpose. I analyse Reversal of Fortune for its multiple story strands and the different visual styles Schroeder deploys to delineate them, along with elements of performance – especially from Jeremy Irons as Claus von Bülow – that complicate questions of otherness. In discussing the documentary Terror’s Advocate, I draw on Stella Bruzzi’s work on performative documentary (2006) to explore how Schroeder uses film style to perform both the bravado of the film’s protagonist, the real-life criminal lawyer Jacques Vergès, and the Levinasian ‘mosaic’ of the legal situations he surveys.


1975 ◽  
Vol 25 (1) ◽  
pp. 58-81 ◽  
Author(s):  
Erich S. Gruen

Ancient Rhodes reached a pinnacle of power in the early second century B.C. For twenty years—from Apamea to Pydna—her fleet was unrivalled in the Aegean and her mainland possessions encompassed most of Lycia and Caria. Ally and helpmate of Rome in the war on Antiochus III, Rhodes gained much profit from the association, in prestige and territorial acquisitions. But her heyday was brief, her fall swift and calamitous. After Pydna, Rhodes felt the heavy hand of Rome: she forfeited most of her mainland holdings; her economy suffered ruinous setback; the island republic was humbled and humiliated. So dramatic a reversal of fortune demands explanation.


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