Chapter 11: Is a Dramatic Theory of History Possible? Shakespeare’s Richard ii and ‘Historical Truth’

2017 ◽  
pp. 204-224
Keyword(s):  
Richard Ii ◽  
Dramatic Theory ◽  
Theory Of History ◽  
Historical Truth

Investor-State Dispute Settlement under NAFTA Chapter 11: The Shape of Things to Come?

1998 ◽  
Vol 35 ◽  
pp. 263-290
Author(s):  
J. Anthony VanDuzer
Keyword(s):  
Free Trade Agreement ◽  
Dispute Settlement ◽  
Trade Agreement ◽  
Minimum Standards ◽  
The North ◽  
State Behaviour ◽  
Nafta Chapter 11 ◽  
To Come ◽  
The Right

SummaryRecently, there has been a proliferation of international agreements imposing minimum standards on states in respect of their treatment of foreign investors and allowing investors to initiate dispute settlement proceedings where a state violates these standards. Of greatest significance to Canada is Chapter 11 of the North American Free Trade Agreement, which provides both standards for state behaviour and the right to initiate binding arbitration. Since 1996, four cases have been brought under Chapter 11. This note describes the Chapter 11 process and suggests some of the issues that may arise as it is increasingly resorted to by investors.

Preventive Debt Restructuring and the Nigerian Draft Insolvency Legislation: Lessons from a Comparative Perspective

2020 ◽  
Vol 28 (1) ◽  
pp. 66-84
Author(s):  
Sanford U. Mba
Keyword(s):  
European Union ◽  
Economic Crisis ◽  
Final Analysis ◽  
The European Union ◽  
Debt Restructuring ◽  
The Us ◽  
Financially Distressed ◽  
Bankruptcy Code ◽  
Second Chance

Recently, the Nigerian Senate passed the Bankruptcy and Insolvency (Repeal and Re-enactment) Bill. This is no doubt a welcome development following the continued demand by insolvency practitioners, academics and other stakeholders for such legislation. The call has not only been for the enactment of just about any legislation, but (consistent with the economic challenges faced by businesses in the country), one that is favourably disposed to the successful restructuring of financially distressed businesses, allowing them to weather the storm of (impending) insolvency, emerge from it and continue to operate within the economy. This article seeks to situate this draft legislative instrument within the present wave of preventive restructuring ably espoused in the European Union Recommendation on New Approaches to Business Rescue and to Give Entrepreneurs a Second Chance (2014), which itself draws largely from Chapter 11 of the US Bankruptcy Code. The article draws a parallel between the economic crisis that gave rise to the preventive restructuring approach of the Recommendation and the present economic situation in Nigeria; it then examines the chances of such restructuring under the Nigerian draft bankruptcy and insolvency legislation. It argues in the final analysis that the draft legislation does not provide for a prophylactic recourse regime for financially distressed businesses. Consequently, a case is made for such an approach.

Une anatomie du désordre : métaphores musicales du corps dans le théâtre élisabéthain

Moreana ◽  
2007 ◽  
Vol 43 & 44 (Number (4 & 1-2) ◽  
pp. 132-149
Author(s):  
Claire Bardelmann
Keyword(s):  
Richard Ii

Résumé La conception arithmético-musicale de l’univers à la Renaissance, connue sous le nom de musique des sphères, informe par analogie les représentations du corps. Par analogie encore, la musique instrumentale est une expression symbolique privilégiée du corps harmonieux, reproduisant dans le microcosme les proportions parfaites de l’architecture du monde. Les métaphores musicales sont donc, dans la littérature théorique, des codifications fréquentes de la dialectique de l’ordre et du désordre, reflétée par les images du corps harmonieux ou, au contraire, «dissonant». Cette métaphore du corps instrumentalisé est importante au théâtre, où elle traduit particulièrement l’idée de désordre, dans le microcosme, mais aussi le corps politique, comme le montre notamment l’étude de la métaphore des cloches. Les métaphores musicales du corps sont également intégrées à la structure dramatique, comme le montre l’exemple de Péricles et de Richard II.

Dust

2012 ◽  
Vol 34 (1) ◽  
pp. 25-49
Author(s):  
Geoffrey Bennington
Keyword(s):  
Richard Ii ◽  
Complex Figure

The motif of dust, especially in Richard II, is foregrounded as a complex figure of the deconstruction of sovereignty in Shakespeare.

The Guatemalan Genocide Through Indigenous Mayan Literature Twenty Years After the Peace Accords: Rigoberta Menchú, Humberto Ak´Abal and Victor Montejo

2017 ◽  
Vol 7 (1) ◽  
pp. 31
Author(s):  
David Caballero Mariscal
Keyword(s):  
Social Exclusion ◽  
Dark Period ◽  
Social Situation ◽  
Point Of View ◽  
Contemporary History ◽  
Rigoberta Menchu ◽  
Testimonial Literature ◽  
History Of ◽  
Peace Accords ◽  
Historical Truth

Guatemala experienced a cruel genocide in the early eighties, in the context of a repressive Conflict. Due to the different governments´ repressive policies, this terrible social situation was little known abroad, and even in the own country. Just after the Peace Accords, several organisms worked to uncover the historical truth. In any case, we cannot forget that testimonial literature is a privileged mean to know this dark period of the contemporary history of Guatemala. This genre is particularly relevant, because the main writers are originally Mayans, and have directly suffered both repression and social exclusion due to ethnic reasons. Rigoberta Menchú, Unmberto Ak´abal and Víctor Montejo represent a new and original point of view in the measure in which they describe feelings and situations from the perspective of those who experience them personally. Testimonial literature or the Testimonio becomes an ethnographic document that allows us to know not just a period but a people who have suffered from repression and exclusion for centuries.

Chapter 11. Nonschool Upbringing Work with Children

1984 ◽  
Vol 26 (5) ◽  
pp. 5-23
Author(s):  
M. N. Kolmakova

The screen performance as an instrument of propaganda (on the example of Ivan Kavaleridze’s film «Koliivshchyna», 1933)

2019 ◽  
Vol 25242644 ◽  
pp. 63-68
Author(s):  
Alina Lisnevska
Keyword(s):  
Video Content ◽  
The Public ◽  
Screen Media ◽  
Social Settings ◽  
Soviet Ideology ◽  
The One ◽  
Historical Truth ◽  
Screen Performance ◽  
Personalized Video ◽  
Remote Past

The myth-making processes in the communicative space are the «cornerstone» of ideology at all times of mankind’s existence. One of the tools of the effective impact of propaganda is trust in information. Today this come round due to the dissemination of information on personalized video content in social networks, including through converged media. New myths and social settings are creating, fate of the countries is being solved, public opinion is being formed. It became possible to create artificially a model of social installation using the myths (the smallest indivisible element of the myth) based on real facts, but with the addition of «necessary» information. In the 20–30 years of the XX century cinematograph became the most powerful screen media. The article deals with the main ideological messages of the Ukrainian Soviet film «Koliivshchyna» (1933). In the period of mass cinematography spread in the Soviet Ukraine, the tape was aimed at a grand mission – creation of a new mythology through the interpretation of the true events and a con on the public, propaganda of the Soviet ideology. This happened in the tragic period of Ukrainian history (1933, the Holodomor) through the extrapolation of historical truth and its embodiment in the most formative form at that time – the form of the screen performance. The Soviet authorities used the powerful influence of the screen image to propagate dreams, illusions, images, stereotypes that had lost any reference to reality. I. Kavaleridze’s film «Koliivshchyna» demonstrates the interpretation of historical events and national ideas, the interpretation of a relatively remote past through the ideology of the «Soviet-era». The movie is created as a part of the political conjuncture of the early 1930s: the struggle against Ukrainian «bourgeois nationalism» and against the «Union of Liberation Ukraine», the repressive policies against the peasants, the close-out of the «back to the roots» policy. The movie, on the one hand, definitely addresses to the Ukrainian ideas, on the other hand it was made at the period of the repressions against the Ukrainian peasantry. In the movie «Koliivshchyna», despite the censorship, I. Kavaleridze manages to create a national inclusive narrative that depicts Ukrainian space as multi-ethnic and diverse, but at the same time nationally colorful.

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