Absent Witnesses and the U.K. Supreme Court: Judicial Deference as Judicial Dialogue?

This article analyses the position of absent witness evidence under the UK Criminal Justice Act 2003 after significant European and domestic case law on the topic. It argues that flexibility in the hearsay regime under the 2003 Act and a permissive approach by appellate courts has increased the potential for fair trial violations in recent years. Moreover, the UK Supreme Court decision in R v Horncastle preserves domestic courts’ authority to determine the meaning of European rights and selectively defer to Parliament. This area of the law demonstrates the scope that the domestic system retains for divergence from European standards.

Situating relational ontology and transformative activist stance within the ‘everyday’ practice of coteaching and cogenerative dialogue.

This paper attempts to advance the thinking in Stetsenko’s paper by situating the concepts of relational ontology and transformative activist stance in the context of coteaching and cogenerative dialogue. In so doing, we hope to make Stetsenko’s ideas more operational in terms of access and application by researchers, teachers, policy makers and other stakeholders in education. Stetsenko argues that moving from relational ontology to a transformative activist stance can be considered as moving from participation to contribution. When this model was applied to coteaching and cogenerative dialogue, it was apparent that the coteaching and cogenerative dialogue moved further, from contribution to shared contribution, adding even greater potential for transformation. The paper also discusses the use of cultural historical activity theory in articulating the relationships, dynamics and interpretations of coteaching and cogenerative dialogue in relation to the wider context of their application.

Autobiography and Invention: Towards a Critical Understanding of Identity, Dialogue and Resistance in Improvised Musics

In this article I will argue that acts of improvisation are not productively understood in opposition to other practices which form our wider musical culture. Improvisation might be better understood as both rooted in, but not limited by, personal and cultural memory. Improvisational activities are legible to the performer and audience through a shared understanding of social norms, but only become a singular instance of improvisation through unique performative actions. This tension between experience and invention is played out in a dialogue between performer and listener, demanding a response that crucially takes the form of self-articulation, or autobiography. Finally, I contend that it is from this position that improvisation offers the possibility to transgress established personal and cultural identities.