UIUC Earlybird Round 5
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Death Penalty: a Cruel and Inhuman Punishment Is an Unión Europea
Otros títulos de la Colección de estudios penales Marino Barbero Santos 1. Eurodelitos. El Derecho penal económico 12 en la Unión Europea. Klauss Tiedemann, dir. Adán Nieto Martín, coord. 2. Protección penal del consumidor en la Death penalty: A cruel and inhuman punishment is an Unión Europea. Nicolás García Rivas, coord. academic contribution by Academics for abolition aimed at fostering the debate launched by the United Nations General 3. Fraude y Corrupción en el Derecho penal económico europea. Eurodelitos de Assembly in its resolution 62/149 on 18 December 2007, Death Penalty: corrupción y fraude. calling for a worldwide moratorium on executions by 2015, and A Cruel and Inhuman Punishment Luis Arroyo Zapatero, coord. continued by the upcoming review process of the UN’s Adán Nieto Martín, coord. Millennium Development Goals (MDG). It is mainly a 4. La orden de detención y entrega europea. compilation of papers written by the speakers at the Seminar L. Arroyo Zapatero, W. Schabas y K. Takayama (edit.) Luis Arroyo Zapatero, dir. M. Muñoz de Morales (Coord.) Adán Nieto Martín, dir. “Against cruel and inhuman punishment and death penalty”, 5. El derecho penal de la Unión Europea. which took place at the Real Academia de Bellas Artes de San Situación actual y perspectivas de futuro. Fernando, in Madrid, on 9 June 2013, on the eve of the 5th Luis Arroyo Zapatero, dir. World Congress against the death penalty. The book deals Adán Nieto Martín, dir. with current issues of the process towards abolition as the Marta Muñoz de Morales Romero, coord. lack of evidence about the deterrence effect of death penalty 6. -
The Road to Liège, the Path of Crime, August 1914
rpTTp '^^^^ ^Hk "^Bbv '^Wvv^fffl' ROAD TO LIEGE usmvB SoM\ p Clatnell Unttiersitg Sibracg Jtifata. Sfeni ^nib THE GIFT OF CXju>^, crwsyyifW'0->-k/5 Cornell University Library D 626.G3S69 1916 load to Liege, 3 1924 027 865 397 Cornell University Library The original of tliis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924027865397 THE ROAD TO LIl&GE THE PATH OF CRIME AUGUST 1914 — ; THE ROAD TO LIEGE THE PATH OF CRIME AUGUST 1 9 14 BY GUSTAVE SOMVILLE With a Preface by HENRY CARTON DE WIART, Minister or Justice ' There is blood that is silent and blood tbatciies aloud: the blood of the battle-fields is drunk in secret by the earth the peaceful blood that is shed rises moaning toward the heavens : God receives and avenges it." Chateaubriand. Translated by BERNARD MULL HODDER AND STOUGHTON LONDON NEW YORK TORONTO MCMXVI MT^Hrt^TE- A i^i^..^ PriHiti in Grial Britain by Hia$U, W*lson & Vinty, Ld., London and AyUibwy. PREFACE On the 7th of August, 1914, upon receiving news of the excesses which the Germans had committed from the time of their entrance into Belgium, the Belgian Govenmient instituted an ofi&cial Commission, whose duty it was to collect, collate, and examine, with the greatest impartiaUty and attentiveness, aU such facts as came to its knowledge and appeared to be violations of the Law of Nations or of the laws and usages of war. -
Beyond Guernica and the Guggenheim
Beyond Guernica and the Guggenheim Beyond Art and Politics from a Comparative Perspective a Comparative from Art and Politics Beyond Guernica and the Guggenheim This book brings together experts from different fields of study, including sociology, anthropology, art history Art and Politics from a Comparative Perspective and art criticism to share their research and direct experience on the topic of art and politics. How art and politics relate with each other can be studied from numerous perspectives and standpoints. The book is structured according to three main themes: Part 1, on Valuing Art, broadly concerns the question of who, how and what value is given to art, and how this may change over time and circumstance, depending on the social and political situation and motivation of different interest groups. Part 2, on Artistic Political Engagement, reflects on another dimension of art and politics, that of how artists may be intentionally engaged with politics, either via their social and political status and/or through the kind of art they produce and how they frame it in terms of meaning. Part 3, on Exhibitions and Curating, focuses on yet another aspect of the relationship between art and politics: what gets exhibited, why, how, and with what political significance or consequence. A main focus is on the politics of art in the Basque Country, complemented by case studies and reflections from other parts of the world, both in the past and today. This book is unique by gathering a rich variety of different viewpoints and experiences, with artists, curators, art historians, sociologists and anthropologists talking to each other with sometimes quite different epistemological bases and methodological approaches. -
NASAT 2011 Round #4
NASAT 2011 Round 4 Tossups 1. During this war, the five time consul Marcus Claudius Marcellus prevented the capture of Nola at three separate battles. The consul Gaius Nero won the Battle of the Metaurus in this war. One side in this war successfully employed the Fabian strategy until it became politically unpopular. Cato the Elder thought the terms that ended this war were too gentle, an opinion he made clear after each of his speeches. One leader in this conflict was the brother of Hasdrubal, who demonstrated classic double envelopment in his victory at Cannae and boldly marched his army over the Alps. For 10 points, name this war lost by Hannibal, the second to be fought between Rome and Carthage. ANSWER: Second Punic War [prompt on Punic Wars] 015-11-30-04102 2. One character in this play reads a letter which says “Some are born great, some achieve greatness, and some have greatness thrust upon 'em.” A note in this play is forged by Maria and asks its recipient to wear yellow stockings and cross garters. In this play, the sea captain Antonio becomes enraged at the supposed theft of his purse and is arrested by the Duke of Ilyria. One of its subplots concerns a duel in which Andrew Aguecheek and Toby Belch are wounded. A group of characters plot against the pompous steward Malvolio in this play, which centers on the courts of the wealthy countess Olivia and Duke Orsino. For 10 points, name this Shakespeare comedy in which the twins Viola and Sebastian are separated after a shipwreck. -
Could Neurological Illness Have Influenced Goya's Pictorial Style
Received: 14 May 2012 / Accepted: 18 July 2012 © 2013 Sociedad Española de Neurología Neurosciences and History 2013; 1 (1): 12-20 Original Could neurological illness have influenced Goya’s pictorial style? C. Guijarro-Castro Institute of Biomedical Research, Hospital 12 de Octubre, Madrid. Department of Medicine, Universidad Complutense de Madrid. Madrid, Spain. ABSTRACT Introduction. In 1792, at the age of 46, Goya suffered a neurological illness with symptoms including headache, vertigo, ataxia, changes in vision, and possibly motor deficit. That illness left him with permanent hearing loss. In 1819, at the age of 73, he fell seriously ill once again, but with no sequelae on that occasion. One might postulate that the change in his pictorial style, which culminated in his famous Black Paintings, could have been related to his brush with death, or to his disease and its lasting consequences. Methods and Procedure. This article offers an analysis of the artist’s correspondence with friends and family members after 1790, and of writings and theories regarding his illness and change in artistic style. It also examines several of his Black Paintings and their symbolism. Conclusion. Goya’s illness may best be explained by Susac’s syndrome, but we must be wary of the tendency to attribute rare diseases to exceptional people. Another compelling possibility is that he suffered from cerebral malaria, and that prolonged treatment with high doses of cinchona bark caused cinchonism (quinine poisoning) and permanent hearing loss. Goya, a genius both before and after his illness, was a painter by vocation. Analysis of relevant texts seems to indicate that his escape from death let him overcome personal inhibitions and social conventions and paint whatever he wanted. -
Round 19 - Tossups
NASAT 2015 - Round 19 - Tossups 1. This process produces a class of butenolides called karrikins, which bind to KAI2 receptors on seeds. Banksia plants have serotinous follicles and lignotubers that facilitate resprouting in response to this stimulus. Smudge pots use this process to protect fruit orchards from frost. This phenomenon is promoted by eucalypts, which have epicormic buds and insulated seed capsules. This phenomenon occurs in surface and crown types and is common in a namesake regime that is supported by plants such as ponderosa pine, which have resin- sealed cones and sparse lower branches. It can increase soil nutrition by producing an ash bed. For 10 points, name this destructive phenomenon that clears out dry underbrush and is often caused by lightning. ANSWER: wildfire [or brushfire; or forest fire; or burning; or obvious equivalents; prompt on heat and smoke] <Smart> 2. After somebody dies in Zoroastrianism, one of these creatures is fed three times a day for three days and takes part in the sag did ritual, where they repel the Nasus spirits around the dead. In the Middle Ages, one of these animals was worshiped in the Dombes region of France as a healer of sick children, Saint Guignefort. In the Islamic story of the Cave of the Seven Sleepers, one of these animals stands guard in front of the cave while the saints sleep for hundreds of years. Travelers along the Silk Road told of a race of men with the heads of these animals in the east called the Cynocephali. For 10 points, name these animals, who in several Indo- European traditions guard the entrance to the Milky Way as the constellations Canis Minor and Canis Major. -
James Byrne / Seamus Heaney, Francisco Goya, and Unveiling The
JAMES BYRNE Seamus Heaney, Francisco Goya, and Unveiling the Myth of History n 1844, when Emerson spoke of America as “a poem in our eyes; its ample geography dazzles the imagination,” he called on Americans to produce a poet to lend it “metres.” In 1996, in recognition of his Emersonian contribution to Ipoetry, in large part of producing poetry which gave form to Northern Ireland’s “ample geography that dazzles the imagination,” Seamus Heaney was appointed the Emerson poet in Residence at Harvard. When Emerson made his call to Americans, to which Walt Whitman would duly respond with Leaves of Grass, his reference to America’s “ample geography” was carefully chosen to include not just the simple territorial geography of America, but also, by necessity, its social, cultural, and political geography. All of this we see in Whitman’s response. Through looking at just one poem from Heaney’s collection of poetry that most directly engages the landscape of Northern Ireland— North—I will argue that Heaney has risen to the Emersonian definition of the poet as “the Namer, or Language-maker, naming things sometimes after their appearance, sometimes after their essence, and giving to each one its own name and not another’s” (73). There are many arguments that challenge the success of Heaney’s cultural reproduction in North. The most incisive and convincing of these comes from postcolonial and Irish Studies critic, David Lloyd, in his 1985 essay, “Pap for the dispossessed: Seamus Heaney and the Poetics of Identity.” Here Lloyd cogently argues that Heaney’s investment in aesthetic production forecloses any ethical engagement with the contemporary political situation in Northern Ireland. -
Francisco José De Goya Y Lucientes 1746-1828
Francisco José de Goya y Lucientes 1746-1828 La Real Fábrica de Tapices, 1775-1792 Creyó carones originales para los tapices Decoraron las paredes de los palacios Representaciones realistas de la vida española La nobleza, 1783-1805 Mecenas (patrons) de la clase alta Retratos oficiales de la nobleza La duquesa de Alba La familia de los duques de Osuna El rey Carlos IV y la reina María Luisa 1792, enfermo y sordo, nueva visión artística Tiempos de guerra, 1808-1818 Tropas napoleónicas en España El dos de mayo, 1808, La lucha con los mamelucos El tres de mayo, 1808, Los fusilamientos de Moncloa Las Pinturas Negras, 1819 -1823 La finca de Goya cerca de Madrid, Quinta del Sordo 14 murales en las paredes de su casa Pesadillas y visiones fantasticas de Goya Reacción a cambios políticos Exilio en Francia, 1824-1828 El reinado despótico de Fernando VII GOYA, SPA 203, Slide Show, Page 1 LAS DIAPOSITIVAS DE GOYA 1. Autorretrato 1815 2. Cristo crucificado 1780 3. La maja desnuda 1798-1805 4. La maja vestida 1798-1805 5. La familia del duque de Osuna 1790 6. Doña Tomasa Palafox 1804 7. María Luisa a caballo 1799 8. La familia de Carlos IV 1800-1801 9. Francisco Bayeu 1795 10. El Dos de Mayo de 1808 en Madrid: la lucha con los 1814 mamelucos 11. El tres de mayo de 1808: los fusilamientos de Moncloa 1814 12. La lechera de Burdeos (Milkmaid of Bordeuux) 1825-1827 LOS TAPICES 13. El quitasol (The Parasol) 1777 14. El ciego de la guitarra (The Blind Guitarrist) 1778 15. -
Francisco De Goya Against the Cruelty of Capital Punishment
Francisco de Goya Contra la crueldad de la pena de muerte Against the cruelty of capital punishment Francisco de Goya Contra la crueldad de la pena de muerte Against the cruelty of capital punishment Juan Bordes Caballero Luis Arroyo Zapatero (edit.) Primera edición, Madrid, 2013 Segunda edición, Ciudad de México, 2013 AGRADECIMIENTOS AGRADECIMIENTOS Museo Nacional del Prado Instituto Nacional de Ciencias Penales INACIPE Biblioteca Nacional de España Grupo Editorial Miguel Ángel Porrúa GEMAP SIGNE S.A. UNIVERSIA © De los textos: sus autores. © De esta edición: © De las traducciones: sus autores. Red Académica Internacional contra la pena de muerte © De las imágenes: sus autores. © De esta edición: Calcografía Nacional Con el Patrocinio de la Acción Complementaria DER2009-08240-E Patrocinio: Instituto Nacional de Ciencias Penales INACIPE De la Dirección General de Investigación Científica y Técnica Grupo Editorial Miguel Ángel Porrúa GEMAP del Ministerio de Economía y Competitividad de España. Editores Edición mexicana: Juan Bordes Caballero Miguel Ángel Porrúa, librero-editor Luis Arroyo Zapatero Textos Texto adicional para la edición mexicana Luis Arroyo Zapatero Sergio García Ramírez Juan Bordes Caballero José Manuel Matilla Federico Mayor Zaragoza Traducciones Traducción Lambe & Nieto Antony Price Dwight Porter Antony Price Diseño Edición Enrique Bordes Aldonza Porrúa / Gabriela Pardo Imágenes Diagramación Biblioteca Nacional de España Verónica Santos / Omar Ponce Museo del Prado Impresión Impresión y terminado Gráficas Palermo Impresora y Encuadernadora Progreso S.A de C.V. ISBN: 978-84- 9044-043-83 www.inacipe.gob.mx DL: CU 94-2013 [email protected] D.R. © 2013 Instituto Nacional de Ciencias Penales Magisterio Nacional 113, Col. -
MARK MURPHY : SCRIBBLE 08 ARTISTIC INSPIRATION and FINE ART RESOURCE 3.14.2010 Hugo Crosthwaite : Brutal Beauty
2685 S La Cienega Blvd, Los Angeles, CA 90034 T 310 838 6000 | F 310 838 6001 [email protected] | luisdejesus.com MARK MURPHY : SCRIBBLE 08 ARTISTIC INSPIRATION AND FINE ART RESOURCE 3.14.2010 Hugo Crosthwaite : Brutal Beauty The San Diego Museum of Art (SDMA) in Balboa Park offered a new dimension in artistic programming as they reserved their main gallery wall for contemporary artist, Hugo Crosthwaite to create, render and paint a new painting for the museum’s permanent collection. Hugo delivered an exception piece entitled, “La Cola de dos Ciudades,” (“A Tale of Two Cities”) inspired by the duality of daily life shared between Tijuana and San Diego. Untitled, New York #1 : 2007 : Graphite and Charcoal on Paper : Details On Sunday, March 14, 2010 Hugo delivered an inspirational talk, discussing his new work while offering glimpses into his creative process. SDMA shared their boardroom, filled to capacity, as Amy Galpin, (Project Curator for American Art), proudly introduced Hugo and shared, “Hugo brought a great energy to the museum…” The audience experienced inspirational energy, as the artist presented the transformation of his painting over two short weeks up and to its final completion earlier in the day. Hugo Crosthwaite : Tattoo Boy : 9" x 12" (L) and Jack Kirby (R) Hugo’s process for creating “La Cola de dos Ciudades” was the result of constructing a mural piece directly onto the wall’s surface in a pop-up gallery space in a Brooklyn warehouse in 2009. The experience was freeing, as Hugo began composing pieces for the overall composition, he moved across the space and then back, searching for visual narrative as charcoal, ink and graphite were applied to the wall’s surface. -
Reading Seamus Heaney‟S
The Troubled Workings of Multidirectionality: Reading Seamus Heaney‟s Intertextualities Research Master Thesis Comparative Literary Studies Maria Zirra [email protected] 3428966 July 2012 Supervisor Prof. Dr. Ann Rigney Second Reader Prof. Dr. Paulo de Medeiros To my wonderful mother, Ioana Zirra, who introduced me to Heaney’s poetry Table of Contents Acknowledgements ii Preface: Poetry and Cultural Memory? iii Introduction: Cultural Memory Debates and their Multidirectionality 1 Chapter 1: Heaney‟s „Object Poems‟: 27 Northern Etymologies, Northern Archaeologies, and Softer Option Intertextualities Chapter 2: Picturing the Troubles: Ekphrastic Intertextualities 63 and the Intermediality of Cultural Memory Chapter 3: “The Impact of Translation”: Heaney‟s Sweeney, Heaney‟s Dante 90 Chapter 4: The Ethical Effects of Multidirectionality: 121 Complicitous Poetics and Infinite Mourning Conclusions 163 Bibliography 168 Acknowledgements First and foremost, I want to thank my mom, Ioana Zirra, for introducing me to the wonderful poetry of Seamus Heaney and literature, in general. Thank you for being the best and most attentive and instructive first reader anyone could ever wish for (this does not even begin to describe the effort, patience and guidance you have provided me with over the past few months). Thank you for spending so much of your limited time helping me. It means the world to me. I am incredibly grateful to Ann Rigney for her always inspiring comments, her endless patience with my discombobulated writing style, her constant encouragements, her perfect editing skills and the care with which she has supervised this lengthy paper. Moreover, her wonderful lectures in Cultural Memory Studies have proven to be the single most useful theoretical tool for this dissertation and the conferences she has organized were always incredibly stimulating and fascinating.