Law and Literature – a Meaningful Connection

The connection between law and (imaginative) literature can still affect surprisingly. The theme of the present article is to summarize some of the basic features of the movement, which is called „Law and Literature” and to suggest some starting-points with which it is associated. These starting points include, for instance linguistic conception of law, narratology in law or the relations between law and culture. The article offers an overview of the classical approaches connecting law and literature and mentions the reasons for this connection: e.g. cultivation of law and lawyers, improvement of judicial decisions or improvement of legal interpretation. Some of the findings resulting from the joint of law and literature can be used in practice and goes beyond „mere” theory. The article is to be seen as an introduction to the movement of „Law and Literature”, presentation of ideas on which this movement is based and offering the possibility of its further development.

The economics of organized crime and optimal law enforcement

This paper extends the optimal law enforcement literature to organized crime.We model the criminal organization as a vertical structure where the principal extracts some rents from the agents through extortion. Depending on the principal's information set, threats may or may not be credible. As long as threats are credible, the principal is able to fully extract rents.In that case, the results obtained by applying standard theory of optimal law enforcement are robust: we argue for a tougher policy. However, when threats are not credible, the principal is not able to fully extract rents and there is violence. Moreover, we show that it is not necessarily true that a tougher law enforcement policy should be chosen when in presence of organized crime.

The Welsh people; chapters on their origin, history, laws, language, literature, and characteristics,

Mode of access: Internet.

The Welsh people; chapters on their origin, history, laws, language, literature, and characteristics,

Mode of access: Internet.

The normative ontology of the law - Peter Cane's responsibility in law and morality

Implications of Peter Cane's analysis of responsibility in 'Responsibility in Law and Morality' - Cane's preconceptualisation of the 'symbiotic' relationship between law and morality - a principal criticism is that Cane does not develop his seven methodological principles into a more ambitious argument.

A Comparative Policy Analysis of Seat Belt Laws, RB37-013, 2014

This analysis examined data from a variety of sources to estimate the benefit of enhancing Iowa’s current law to require all passengers to use seat belts. In addition to assessing Iowans’ opinions about changing the law, a literature review, a legislative policy review, and analysis of Iowa crash data were completed. Currently 28 states enforce seat belt laws for all passengers. Belted passengers riding with an unbelted passenger are 2 to 5 times more likely to suffer fatal injuries in a crash relative to when all occupants are using seat belts. Iowans are highly compliant (90%-94%) with the current seat belt law for front seat occupants. Of more than 1000 Iowans surveyed, 85% said they always use a seat belt when riding in the front seat, but only 36% always do so when they ride in the back seat. The most common reasons given for not using seat belts in the back seat are forgetting to buckle up and because it is not the law. Iowans widely support strengthening Iowa’s seat belt law — 62% said Iowa law should require all rear seat passengers to use seat belts. Four out of five respondents said they would use seat belts more often when sitting in the rear seat if it was the law. It is estimated rear seat fatalities would decrease about 48%, from 13 to 7 fatalities annually, if an all-passenger law was implemented in Iowa.

No Laughing Matter: Shakespearean Melancholy and the Transformation of Comedy

Mon projet de thèse démontre le rôle essentiel que tient la mélancolie dans les comédies de Shakespeare. J’analyse sa présence au travers de multiples pièces, des farces initiales, en passant par les comédies romantiques, jusqu’aux tragicomédies qui ponctuent les dernières années de sa carrière. Je dénote ainsi sa métamorphose au sein du genre comique, passant d’une représentation individuelle se rapportant à la théorie des humeurs, à un spectre émotionnel se greffant aux structures théâtrales dans lesquelles il évolue. Je suggère que cette progression s’apparent au cycle de joie et de tristesse qui forme la façon par laquelle Shakespeare dépeint l’émotion sur scène. Ma thèse délaisse donc les théories sur la mélancolie se rapportant aux humeurs et à la psychanalyse, afin de repositionner celle-ci dans un créneau shakespearien, comique, et historique, où le mot « mélancolie » évoque maintes définitions sur un plan social, scientifique, et surtout théâtrale. Suite à un bref aperçu de sa prévalence en Angleterre durant la Renaissance lors de mon introduction, les chapitres suivants démontrent la surabondance de mélancolie dans les comédies de Shakespeare. A priori, j’explore les façons par lesquelles elle est développée au travers de La Comedie des Erreurs et Peines d’Amour Perdues. Les efforts infructueux des deux pièces à se débarrasser de leur mélancolie par l’entremise de couplage hétérosexuels indique le malaise que celle-ci transmet au style comique de Shakespere et ce, dès ces premiers efforts de la sorte. Le troisième chapitre soutient que Beaucoup de Bruit pour Rien et Le Marchand de Venise offrent des exemples parangons du phénomène par lequel des personnages mélancoliques refusent de tempérer leurs comportements afin de se joindre aux célébrations qui clouent chaque pièce. La mélancolie que l’on retrouve ici génère une ambiguïté émotionnelle qui complique sa présence au sein du genre comique. Le chapitre suivant identifie Comme il vous plaira et La Nuit des Rois comme l’apogée du traitement comique de la mélancolie entrepris par Shakespeare. Je suggère que ces pièces démontrent l’instant où les caractérisations corporelles de la mélancolie ne sont plus de mise pour le style dramatique vers lequel Shakespeare se tourne progressivement. Le dernier chapitre analyse donc Périclès, prince de Tyr et Le Conte d’Hiver afin de démontrer que, dans la dernière phase de sa carrière théâtrale, Shakespeare a recours aux taxonomies comiques élucidées ultérieurement afin de créer une mélancolie spectrale qui s’attardent au-delà des pièces qu’elle hante. Cette caractérisation se rapporte aux principes de l’art impressionniste, puisqu’elle promeut l’abandon de la précision au niveau du texte pour favoriser les réponses émotionnelles que les pièces véhiculent. Finalement, ma conclusion démontre que Les Deux Nobles Cousins représente la culmination du développement de la mélancolie dans les comédies de Shakespeare, où l’incarnation spectrale du chapitre précèdent atteint son paroxysme. La nature collaborative de la pièce suggère également un certain rituel transitif entre la mélancolie dite Shakespearienne et celle développée par John Fletcher à l’intérieure de la même pièce.

«Às portas da lei»(?): reflexos do diálogo divergente entre West e Posner sobre as possíveis leituras de Kafka na perspetivação do homem perante o direito

Considerando duas diferentes perspetivas acerca da relevância do Movimento Law and Literature na sua configuração Law in Literature, a de Robin WEST e a de Richard POSNER, especificamente confrontando as suas divergentes leituras de Franz KAFKA, o presente artigo propõe uma leitura crítica das consequências das correspondentemente conflituantes compreensões antropológicas para os problemas do sentido do direito e da posição do homem perante o direito.