scholarly journals Charge – fixed and floating: Agnew and Another v. Commissioner of Inland Revenue, Privy Council (New Zealand), 5 June 2001 (the “Brumark” case) Charge and Hypothec as Functional Equivalents

2021 ◽  
Vol 66 (3) ◽  
pp. 59-76
Author(s):  
Adrian Tamba
Keyword(s):  
New Zealand ◽  
Current Work ◽  
Final Part ◽  
Privy Council ◽  
The Third ◽  
Inland Revenue

Our endeavour is dedicated to a few security devices. The first part of the current work is called “Words of Introduction”. The second portion takes into account a Privy Council case: Agnew and Another v. Commissioner of Inland Revenue, Privy Council (New Zealand), 5 June 2001 (the Brumark case). The third part briefly focuses on charge and mortgage. The fourth portion, in a succinct manner, describes the hypothec. The fifth and final part shows that charge and hypothec are functional equivalents.

FIXED AND FLOATING CHARGES

2001 ◽  
Vol 60 (3) ◽  
pp. 441-492
Author(s):  
Philip R. Wood
Keyword(s):  
New Zealand ◽  
Fixed Charge ◽  
Privy Council ◽  
Council Decision ◽  
Inland Revenue ◽  
A Charge ◽  
A Company ◽  
Court Of Appeal ◽  
At Will

The Privy Council decision in Agnew v. Inland Revenue Commissioner [2001] B.C.C. 252 (on appeal from the New Zealand Court of Appeal in Re Brumark Investments Ltd.) decides that where a charge over the uncollected book debts of a company leaves the company free to collect and then to use the proceeds for its own benefit in the ordinary course of business, the charge is inevitably a floating charge and not a fixed charge, whatever the debenture might say. The court’s reason for this, in short, was that it makes no commercial sense to separate a book debt from its proceeds and so, if the company can use the proceeds at will, then the charge on the debt itself must be a floating charge.

scholarly journals Maori on the Silver Screen

2012 ◽  
Vol 5 (1) ◽  
pp. 2-30 ◽  
Author(s):  
Emiel Martens
Keyword(s):  
New Zealand ◽  
Film Industry ◽  
Final Part ◽  
The Third ◽  
Feature Films ◽  
Lee Tamahori

This article examines the evolution of Maori filmmaking since the 1980s and explores this Indigenous cinema in the context of developments in the New Zealand film industry. With Barry Barclay’s idea of ‘Fourth Cinema’ in mind, it focuses on the predominantly statefunded production of Maori feature films. The article is divided in three parts. The first part traces the beginnings of Maori cinema back to the 1970s and introduces the first three feature films directed by Maori filmmakers: Ngati (Barry Barclay, 1987), Mauri (Merata Mita, 1988), and Te Rua (Barry Barclay, 1991). The second part discusses the mainstream success of Once Were Warriors (Lee Tamahori, 1994) and the film’s paradoxical contribution to Maori cinema in the 1990s. The third and final part explores the intensified course of state-funded Maori filmmaking since the 2000s and addresses some of the opportunities and challenges facing Indigenous New Zealand cinema in the current environment of institutional and commercial globalisation.

Retroaktive Neuverhandlung

2018 ◽  
Vol 63 (1) ◽  
Author(s):  
Daniel Martin Feige
Keyword(s):  
Original Work ◽  
The Other ◽  
Final Part ◽  
Critical Reading ◽  
The Third ◽  
Works Of Art ◽  
The Relationship

Der Beitrag widmet sich der Frage historischer Folgeverhältnisse in der Kunst. Gegenüber dem Gedanken, dass es ein ursprüngliches Werk in der Reihe von Werken gibt, das späteren Werken seinen Sinn gibt, schlägt der Text vor, das Verhältnis umgekehrt zu denken: Im Lichte späterer Werke wird der Sinn früherer Werke neu ausgehandelt. Dazu geht der Text in drei Schritten vor. Im ersten Teil formuliert er unter der Überschrift ›Form‹ in kritischer Abgrenzung zu Danto und Eco mit Adorno den Gedanken, dass Kunstwerke eigensinnig konstituierte Gegenstände sind. Die im Gedanken der Neuverhandlung früherer Werke im Lichte späterer Werke vorausgesetzte Unbestimmtheit des Sinns von Kunstwerken wird im zweiten Teil unter dem Schlagwort ›Zeitlichkeit‹ anhand des Paradigmas der Improvisation erörtert. Der dritte und letzte Teil wendet diese improvisatorische Logik unter dem Label ›Neuaushandlung‹ dann dezidiert auf das Verhältnis von Vorbild und Nachbild an. The article proposes a new understanding of historical succession in the realm of art. In contrast to the idea that there is an original work in the series of works that gives meaning to the works that come later, the text proposes to think it exactly the other way round: in the light of later works, the meanings of earlier works are renegotiated. The text proceeds in three steps to develop this idea. Under the heading ›Form‹ it develops in the first part a critical reading of Danto’s and Eco’s notion of the constitution of the artworks and argues with Adorno that each powerful work develops its own language. In the second part, the vagueness of the meaning of works of art presupposed in the idea of renegotiating earlier works in the light of later works is discussed under the term ›Temporality‹ in terms of the logic of improvisation. The third and final part uses this improvisational logic under the label ›Renegotiation‹ to understand the relationship between model and afterimage in the realm of art.

Anthropology and Theology

2018 ◽  
Author(s):  
Douglas J. Davies
Keyword(s):  
Institutional Factors ◽  
Final Part ◽  
The Third

This tripartite chapter calls for a creative approach that engages diverse themes while striving for satisfying resolutions of disciplinary tensions between anthropology and theology. It calls for this even if these resolutions are not achieved. The first part, entitled “Intrapersonal and Interpersonal Dialogue,” is heavily autobiographical, and offers a case study of reflexivity, excusing its indulgence in biographical reflection on account of its intention to pinpoint the very particular and contextual nature of idea development. The second part, headed “Further Conversation Pieces,” picks up just such ideas open to anthropological–theological conversation, including a cautionary gloss on the over-easy use of anthropology and theology as discrete terms. The third and final part, described as “Disciplinary Quandaries,” takes some of these formal classifications of disciplines further and also brings together some personal and institutional factors surrounding both anthropological and theological practice.

scholarly journals Is Liturgy Ludic? Distinguishing between the Phenomena of Play and Ritual

Religions ◽  
2021 ◽  
Vol 12 (4) ◽  
pp. 232
Author(s):  
Christina M. Gschwandtner
Keyword(s):  
Present Article ◽  
Phenomenological Analysis ◽  
Final Part ◽  
Ritual Practice ◽  
The Third ◽  
Ontological Claim

What is the nature (or “Wesen”) of the liturgical phenomenon? It has become immensely popular to describe liturgical or ritual practice as a kind of “holy play,” whether as metaphor, as productive analogy for pragmatic or theological purposes, or even as making an ontological claim about what liturgy “is” in its essence. The present article seeks to complicate the association of the phenomena of liturgy and of play. The first part traces the origins of the notion of play and the development of its application to ritual in the most influential sources from Kant to Gadamer. The second part highlights its prevalence in the contemporary discussion and elucidates how it is being used. The third part provides a phenomenological analysis to demonstrate important differences between the two phenomena and to question the contention that liturgy is a form of play. The final part tries to ascertain the broader practical and theological aims being served by the association of the two phenomena and—via a return to the question of the nature of the liturgical phenomenon in a more theological mode—suggests that these aims might be accomplished more productively in ways that avoid the downsides of identifying ritual or liturgy with play.

Aliens and Citizens: The Case for Open Borders

1987 ◽  
Vol 49 (2) ◽  
pp. 251-273 ◽  
Author(s):  
Joseph H. Carens
Keyword(s):  
Political Theory ◽  
Third World ◽  
Final Part ◽  
Michael Walzer ◽  
Human Beings ◽  
The Third ◽  
Oppressed People ◽  
Open Borders ◽  
To Come ◽  
The Third World

Many poor and oppressed people wish to leave their countries of origin in the third world to come to affluent Western societies. This essay argues that there is little justification for keeping them out. The essay draws on three contemporary approaches to political theory — the Rawlsian, the Nozickean, and the utilitarian — to construct arguments for open borders. The fact that all three theories converge upon the same results on this issue, despite their significant disagreements on others, strengthens the case for open borders and reveals its roots in our deep commitment to respect all human beings as free and equal moral persons. The final part of the essay considers communitarian objections to this conclusion, especially those of Michael Walzer.

scholarly journals The Illusory Trust Doctrine: Formal or Substantive?

2020 ◽  
Vol 51 (2) ◽  
pp. 193
Author(s):  
Mark Bennett
Keyword(s):  
New Zealand ◽  
Privy Council ◽  
Cook Islands ◽  
Trust Law ◽  
Court Of Appeal

"A document is put before us. Does it or does it not create a trust?" This article considers the illusory trust doctrine (ITD) and claims that although the ITD has been criticised as doctrinally unfounded and therefore based in substantive, non-legal reasons rather than pre-existing law, there are formal reasons of trusts law to support it. It begins by considering Atiyah and Summers' concepts of form and substance, and then examines how they apply in the context of equity (in general), and then trusts law (in particular). It then briefly considers a number of recent decisions on the ITD: the four cases constituting the Clayton v Clayton litigation in New Zealand, Pugachev and the Cook Islands Court of Appeal and Privy Council decisions in Webb v Webb. Finally, it analyses these ITD decisions using the form and substance distinction, concluding that it is arguable that the ITD is grounded in principles of established trust law, as opposed to purely substantive reasoning.

scholarly journals GURIAH LIMPAPEH

2018 ◽  
Vol 7 (2) ◽  
pp. 218
Author(s):  
Intania Ananda Jonisa ◽  
Susas Rita Loravianti ◽  
Rasmida Rasmida
Keyword(s):  
Social Life ◽  
Open Space ◽  
Final Part ◽  
Behavior Patterns ◽  
Female Behavior ◽  
The Third ◽  
The Past ◽  
The Social ◽  
Main Medium ◽  
The Ideal

AbstrakKarya tari yang berjudul “Guriah Limpapeh” terinspirasi dari kehidupan sosial perempuan Minangkabau yang pengkarya amati di sekeliling pengkarya bersikap dan bertingkah laku tidak sesuai dengan etika idealnya perempuan Minangkabau. Dalam aplikasinya menginterpretasikan bergesernya nilai dan etika perempuan hari ini dan mengungkap nilai yang relevan dengan adat dan budaya Minangkabau. Dalam konsep gerak sebagai media utama tari pengkarya mengembangkan gerak yang relevan dengan konsep garapan, selain itu diperkuat dengan menggunakan drum sebagai properti dan setting. Karya ini digarap dalam tiga bahagian yakni pada bagian pertama menginterpretasikan tentang kehidupan dan aktivitas masyarakat di Kecamatan Matur, bahagian kedua menggambarkan perubahan memori pada dahulu dan zaman sekarang, kemudian bahagian ketiga menginterpretasikan bagaimana pola tingkah laku perempuan yang dalam adat Minangkabau yang disebut Simarewan dan Mambang Tali Awan yang menjadi konflik dalam garapan, sedangkan bagian endingnya adalah mengekspresikan idealnya perempuan Minangkabau yang disebut dengan Parampuan. Karya ini diperkuat dengan musik untuk memperkuat suasana, demikian juga elemen-elemen dan artistik lainnya untuk penampilannya memilih ruang terbuka atau outdoor. Kata Kunci: interpretasi, perempuan, adat MinangkabauAbstractThis work of dance entitled  as "Guriah Limpapeh" which is inspired from the social life of Minangkabau women, that the observed around the worker’s attitude and behaved not in accordance with the ideal ethics of Minangkabau women. In its application interpet the shifting values and ethics of women today and reveal values relevant to the customs and culture of Minangkabau. In the concept of motion as the main medium of the dance the developer develops a motion that is relevant to the concept of arable, besides being strengthened by using drums as property and settings. This work is worked on in three parts, namely in the first part of interpreting the life and activities of the community in the mature sub-district, the second part describes the change of memory in the past and present, then the third part interprets how the female behavior patterns in the Minangkabau tradition called simarewan and mambang tali awan  which becomes conflict in claim while the final part is expressing ideally the Minangkabau women who is called parampuan. This work is strengthened by music to strengthen the atmosphere, as well as other artistic and elements for his appearance in choosing open space or outdoor.Keywords: interpretation, women, adat Minangkabau.

Sign in / Sign up

Export Citation Format

Share Document