Redefining the outer boundaries of EU Law: the Zambrano, McCarthy and Dereci trilogy

In its three recent rulings in the cases of Zambrano, McCarthy, and Dereci, the Court appears to have been determined to redefine the external boundaries of EU law, in cases involving the family reunification rights of Union citizens.These three judgments can be read as an indication that for Article 20 TFEU to apply, there is no longer a requirement of a cross-border element on the facts of the case, and that it is sufficient if the contested national measure has the effect of ‘depriving citizens of the Union of the genuine enjoyment of the substance’ of their rights (the ‘Zambrano principle’).The cases can, at the same time, also be read as a confirmation that the free movement provisions do – still – require a cross-border element and, in particular, the exercise of inter-State movement, in order to apply. Though the result in these cases has not been entirely unexpected, especially in the aftermath of the Rottmann ruling, it is rather problematic in that, although it is obvious that the Court wishes to redraw the line dividing the national and EU spheres of competence, it does not make it entirely clear where this line now lies and leaves many essential questions unanswered, which will obviously require some time to be resolved. EU lawyers are consequently, once more, left with having to decipher as best as they can the real intentions of the Court in this new line of case-law, which has been further complicated by the fact that what the Court seems to have given with one hand in Zambrano (and before that in Rottmann), has taken it back to a large extent through its rulings in McCarthy and Dereci, which appear to confine the former two cases to their own exceptional facts.6 Moreover, the ‘reverse discrimination Pandora’s box’, the opening of which appears to have been the real target of these references, remains untouched: instead of providing a direct solution to this problem, the Court has chosen to – once again – broaden the scope of the Treaty provisions in order to include within it as many situations as possible and, thus, prevent the emergence of this type of differential treatment on a case-by-case basis.As will be explained, nonetheless, this is by no means an appropriate solution to the reverse discrimination conundrum.

The trilogy of John of God

Monteiro’s assertion of the almighty auteur, after the post-structuralist and post-modern experiences, which had shattered the author and his work in theory and practice, reinstates an authority aimed at organising the chaos caused by the lack of narrative. In a way, therefore, Monteiro’s output is conservative, displaying a peculiar atemporal style, which seems entirely immune to fashion. On the other hand, however, few contemporary films could be more radical than his. Authorship, in his case, means the absence of limits and total freedom of expressing his obsessive world.

“There’s something very familiar about all this”: generic play and performance in the Back to the Future trilogy (Robert Zemeckis, 1985, 1989, 1990)

The Back to the Future Trilogy incorporates several different generic elements, including aspects of the fifties teen movie, science fiction, comedy and the western. These different modes playfully intertwine with each other creating a complex world of repetitions, echoes and modulations. This essay seeks to interrogate the construction of generic elements and the play between them through a close analysis of a repeated performance. Genre is signalled through various strategies employed within the construction of mise-en-scène, a significant portion of this, as I would like to argue, is transmitted through performance. The material detail of a performance – incorporating gesture, movement, voice, and even surrounding elements such as costume – as well as the way it its presented within a film is key to the establishment, invocation and coherence of genre. Furthermore, attention to the complexity of performance details, particularly in the manner in which they reverberate across texts, demonstrates the intricacy of genre and its inherent mutability. The Back to the Future trilogy represents a specific interest in the flexibility of genre. Within each film, and especially across all three, aspects of various genres are interlaced through both visual and narrative detail, thus constructing a dense layer of references both within and without the texts. To explore this patterning in more detail I will interrogate the contribution of performance to generic play through close analysis of Thomas F. Wilson’s performance of Biff/Griff/Burford Tannen and his central encounter with Marty McFly (Michael J. Fox) in each film. These moments take place in a fifties diner, a 1980s retro diner and a saloon respectively, each space contributing the similarities and differences in each repetition. Close attention to Wilson’s performance of each related character, which contains both modulations and repetitions used specifically to place each film’s central generic theme, demonstrates how embedded the play between genres and their flexibility is within the trilogy.

Queering Philip Roth: homosocial discourse in 'An actor’s life for me', 'Letting go', 'Sabbath’s theater' and the 'American trilogy'

Much has been written on Roth’s representation of masculinity, but this critical discourse has tended to be situated within a heteronormative frame of reference, perhaps because of Roth’s popular reputation as an aggressively heterosexual, libidinous, masculinist, in some versions sexist or even misogynist author. In this essay I argue that Roth’s representation of male sexuality is more complex, ambiguous, and ambivalent than has been generally recognized. Tracing a strong thread of what I call homosocial discourse running through Roth’s oeuvre, I suggest that the series of intimate relationships with other men that many of Roth’s protagonists form are conspicuously couched in this discourse and that a recognition of this ought to reconfigure our sense of the sexual politics of Roth’s career, demonstrating in particular that masculinity in his work is too fluid and dynamic to be accommodated by the conventional binaries of heterosexual and homosexual, feminized Jew and hyper-masculine Gentile, the “ordinary sexual man” and the transgressively desiring male subject.

Chess endgame knowledge advances

This review of recent developments starts with the publication of Harold van der Heijden's Study Database Edition IV, John Nunn's second trilogy on the endgame, and a range of endgame tables (EGTs) to the DTC, DTZ and DTZ50 metrics. It then summarises data-mining work by Eiko Bleicher and Guy Haworth in 2010. This used CQL and pgn2fen to find some 3,000 EGT-faulted studies in the database above, and the Type A (value-critical) and Type B-DTM (DTM-depth-critical) zugzwangs in the mainlines of those studies. The same technique was used to mine Chessbase's BIG DATABASE 2010 to identify Type A/B zugzwangs, and to identify the pattern of value-concession and DTM-depth concession in sub-7-man play.

Pil and Galia Kollectiv: solo exhibition at Te Tuhi Art Centre, Auckland, New Zealand.

The exhibition presents the full Future Trilogy which was completed in 2009. The trilogy is based on the opening of a new IKEA store in Edmonton, London in November 2005. IKEA celebrated with a twenty-four hour launch accompanied by significant price reductions on leather sofas. But when six thousand people arrived to compete for the discount a riot ensued which injured sixteen shoppers and required the store to be closed after just thirty minutes. The Future Trilogy takes this event as the starting point to speculate on a future where the popular fascination with modern designer furniture has morphed into state religions underpinned by the ideals of the early twentieth century avant-garde. The exhibition also presents their 2010 work Co-Operative Explanatory Capabilities in Organizational Design and Personnel Management which narrates a fictional story of a company that adopts highly experimental approaches to achieving worker productivity. The project investigates the place of creativity in efficiency management and the operation of bureaucratic systems in a post-industrial work environment. The Kollectiv's pseudo documentary creates a careful blend of fact and fiction through the combination of a distinctive BBC narrator's voice with imagery sourced from an online photographic archive for an early computing company. The story becomes increasingly provocative as more and more of the bizarre antics of the company employees are revealed, leading to the members of the company eventually forming a religious cult.

Flatpack revolution

The project consists of a trilogy of films and a live performance. The Future trilogy takes IKEA riot of 2005 as the starting point for a speculative history of a fictional future, culminating in a choreographed re-enactment of the original event. Shot on 16mm and 8mm film, the series explores the possibility of collective action emerging from the capitalist relations inherent in the consumer riot. The live performance No Haus Like Bau, staged at the HAU 1 theatre in Berlin for the 5th Berlin Biennale, continues this research into re-enactment and post-1989 politics by dramatizing the rise and fall of the soviet union as a neo-Constructivist mime using a stage set made of flatpack furniture. Using the aesthetics of Modernism and the avant garde, from Constructivist and Futurist constumes to biomechanics and Bauhaus theatre theory, the project transposes early twentieth century utopian ideology to a present day setting where mass uprisings are motivated by cheap commodities. These explorations of consumerism and revolution have been widely exhibited internationally and supported by Film London, Arts Council England, Collective Gallery and the Berlin Biennale. The Future Trilogy formed the basis of a solo exhibition at the Te Tuhi Art Centre in Auckland, New Zealand and was screened as part of the Signal and Noise media art festival in Vancouver, as well as other exhibitions and screenings including “Roll it to Me” at Collective Gallery, Edinburgh, and Apocatopia, Castlefield Gallery, Manchester.

Dare voce agli invisibili: Il teatro di Beppe Rosso

The article – which is co-authored with Irene Zagrebelsky – focuses on the work of the Italian playwright and actor Beppe Rosso, and it is the most detailed critical account on Rosso’s production so far. Based on original material and interviews, it not only analyses Rosso’s widely acclaimed “Trilogy of invisibility” in the light of recent political events in Italy, but it also – in its first two sections – introduces the so called “teatro di narrazione” to Italian scholars in the UK, and in its two last sections opens up new perspectives on the relationship between contemporary theatre, citizenship and political participation.

Sleepwalking certainties: agency, aesthetics, and incapacity in W.G. Sebald’s 'Austerlitz' and Hermann Broch’s 'The Sleepwalkers'

When we first encounter the narrator of Austerlitz, he is wandering around the unfamiliar town of Antwerp with, he tells us, “unsicheren Schritten” (1; 9). As well as reflecting the unfamiliarity of the locale, these “uncertain steps” evince a proud modesty characteristic of the classic Sebaldian narrator, a wanderer who discreetly relays the stories of the people and places he is privileged to encounter. Although Sebald does not use the phrase, steps of this sort, unpurposed yet unerring, are made with what is commonly known in German as somnambule Sicherheit: the legendary surefootedness of the sleepwalker. The convergence of sleepwalking and certainty in a single phrase poses an interesting challenge to one of the central tenets of the English-language canonization of Sebald, for his writing has been most highly valued for its ability to move the reader through apparent certainties towards a salutary uncertainty. But somnambule Sicherheit also presents the possibility that the current may be reversed, that narrative may move under cover of uncertainty towards certainty. That Sebald criticism has not been more troubled by this possibility is in no small part due to the fact that it tends to deploy the notion of sleepwalking with a minimum of reflection on its theoretical ramifications. To evoke some of the complexities of this matter, I first offer a brief cultural history of sleepwalking, as well as a brief account of the topic of uncertainty in Sebald criticism. Most of my argument, however, involves an extended comparative analysis of sleepwalking in Sebald's Austerlitz and Hermann Broch's 1933 trilogy The Sleepwalkers. Although these writers have not previously been the object of any sustained comparison, sleepwalking in Broch's novels illuminates much that is left implicit on the topic in Sebald's fiction and points toward some difficult questions regarding the role of aesthetics and agency in Sebald's work.

An introductory perspective to horticulture: plants for people and places

Horticulture is “the first of all the arts and sciences”. This definition indicates both the breadth and depth of the discipline and its early inception as mankind changed from being hunter-gatherers to cultivators. Intensive crop production which is a form of horticulture preceded more extensive agricultural practices. From that time onwards the intricate involvement of horticulture in man’s life has become very apparent by its multitude of applications and the interests of those involved. These extend from the provision of foodstuffs and nutritional benefits through pharmaceuticals to aspects of rest and relaxation onto encouraging physical and mental well-being. Horticulture is therefore, a discipline with many components and as such that it can mean different things in the varying context of its use. This chapter introduces the meanings of horticulture as expressed by the authors who have contributed to this Trilogy of Books. They have analysed in considerable depth “Horticulture” as expressed in its facets of production, environment and society. Horticulture has impact and expression in each of these fields of human activity. This chapter also sets Horticulture into the wider context of the world of plants and their intensive cultivation both in their use by mankind and in the natural world. The aim is to demonstrate the depth and breadth of human activity associated with this discipline for it stretches from crop production, through landscape design and maintenance and into aspects of society and its expression in the arts and humanities. Horticulture touches almost every aspect of human activity. Increasingly Horticulture has significant importance in contributing towards the mitigation of the major problems which now face life on Earth such as:- climate change, food security, the loss of natural biodiversity, pollution, resource erosion and over-population. Indeed despite or perhaps because of its antiquity and therefore its strong connection between science, technology and practice horticulture can offer solutions that might allude other disciplines.

Science drives horticulture's progress and profit

Horticultural science linked with basic studies in biology, chemistry, physics and engineering has laid the foundation for advances in applied knowledge which are at the heart of commercial, environmental and social horticulture. In few disciplines is science more rapidly translated into applicable technologies than in the huge range of man’s activities embraced within horticulture which are discussed in this Trilogy. This chapter surveys the origins of horticultural science developing as an integral part of the 16th century “Scientific Revolution”. It identifies early discoveries during the latter part of the 19th and early 20th centuries which rationalized the control of plant growth, flowering and fruiting and the media in which crops could be cultivated. The products of these discoveries formed the basis on which huge current industries of worldwide significance are founded in fruit, vegetable and ornamental production. More recent examples of the application of horticultural science are used in an explanation of how the integration of plant breeding, crop selection and astute marketing highlighted by the New Zealand industry have retained and expanded the viability of production which supplies huge volumes of fruit into the world’s markets. This is followed by an examination of science applied to tissue and cell culture as an example of technologies which have already produced massive industrial applications but hold the prospect for generating even greater advances in the future. Finally, examples are given of nascent scientific discoveries which hold the prospect for generating horticultural industries with considerable future impact. These include systems modeling and biology, nanotechnology, robotics, automation and electronics, genetics and plant breeding, and more efficient and effective use of resources and the employment of benign microbes. In conclusion there is an estimation of the value of horticultural science to society.

The storms of war

The Storms of War, is the first in a trilogy about the de Witt family. The first explores their lives from 1914-1918, as the youngest girl, Celia, sees her perfect world crumble and change. Inspired to write about the wars since Kate visited the trenches in France when she was ten on a school trip. Kate was fascinated by how small they were - and how men could ever live in such places. She really wanted to go into the lives of Germans - the Victorians couldn't get enough of them. Then - almost overnight - they were the enemy and people saw German spies everywhere and the newspapers demanded that all Germans in the country be imprisoned. At the beginning of the book, Rudolf and Verena have four children - and their lives will never be the same again.