Legal Educator As Translator: a Critical Reflection’
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Creative Spaces in Westminster
Creative Spaces in Westminster Map Facilities Company/organisation name Address Postcode Telephone For more information Key: C = cultural and community event; E = exhibitions; F = film / photography / cinema; L = launch, fashion show, reception; M = meeting / class / workshop; P = performance; R = audition / rehearsal Large Mixed Use Spaces 1 C, M Abbey Community Centre 34 Great Smith Street SW1P 3BU 020 7222 0303 www.theabbeycentre.org.uk/venue/ 2 M, P, R Amadeus Centre 50 Shirland Road W9 2JA 020 7286 1686 www.amadeuscentre.co.uk Corporate GIS Team 3 C, E, M, R Beethoven Centre Third Avenue Queens Park W10 4LJ 020 8825 1067 www.a2dominion.co.uk/rte.asp?id=984 4 Natural History Museum contact the Arts and Culture Service - 020 7641 2498 SW7 5BD www.nhm.ac.uk/ 5 C, E, M, P, R Paddington Arts 32 Woodfield Road W9 2BE 020 7286 2722 www.paddingtonarts.org.uk/roomhire.php 6 M, P, R Royal Academy of Music Marylebone Road NW1 5HT 020 7873 7373 www.ram.ac.uk/venue-hire 21 7 E, L, M Royal College of Art Kensington Gore SW7 2EU 020 7590 4118 www.rca.ac.uk/Default.aspx?ContentID=159651&groupID=159651 8 Royal Geographical Society contact the Arts and Culture Service - 020 7641 2498 SW7 2AR www.rgs.org/HomePage.htm 9 M, R Rudolf Steiner House 35 Park Road NW1 6XT 020 7723 4400 www.rsh.anth.org.uk/pages/house_fac.html 15 10 Science Museum contact the Arts and Culture Service - 020 7641 2498 SW7 2DD www.sciencemuseum.org.uk/ 11 E, L, M, P, R Tabernacle 34-35 Powis Square W11 2AY 020 7221 9700 www.tabernaclew11.com/rooms-for-hire/ 12 Victoria & Albert -
Ideas of Equity (Pdf)
Ideas of Equity 00A_PoE_prelims.pmd 1 15/05/2017, 21:45 STUDIES IN SCOTS LAW Series Editor Kenneth G C Reid Editorial Board Alan R Barr Sandra M Eden George L Gretton Volumes in the series 1. Ross Gilbert Anderson, Assignation (2008) 2. Andrew J M Steven, Pledge and Lien (2008) 3. Craig Anderson, Possession of Corporeal Moveables (2015) 4. Jill Robbie, Private Water Rights (2015) 5. Daniel J Carr, Ideas of Equity (2017) 00A_PoE_prelims.pmd 2 15/05/2017, 21:45 STUDIES IN SCOTS LAW VOLUME 5 Ideas of Equity Daniel J Carr Lecturer in Private Law, University of Edinburgh Lecturer in Law, Robert Gordon University EDINBURGH LEGAL EDUCATION TRUST 2017 00A_PoE_prelims.pmd 3 15/05/2017, 21:45 Published by Edinburgh Legal Education Trust School of Law University of Edinburgh Old College South Bridge Edinburgh EH8 9YL http://www.centreforprivatelaw.ed.ac.uk/monograph_series First published 2017 © Daniel J Carr, 2017 The author asserts his moral rights. ISBN 978-0-9556332-9-4 British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the written permission of the copyright owner. Applications for the copyright owner’s permission to reproduce any part of this publication should be addressed to the publisher. Typeset by Etica Press Ltd, Malvern Printed and bound by Martins the Printers, Berwick-upon-Tweed 00A_PoE_prelims.pmd 4 15/05/2017, 21:45 Contents Preface vii Table of Cases ix Table of Statutes xvii Abbreviations xix 1 Introduction 1 2 Historical Understandings of Equity 14 3 Unjustified Enrichment 53 4 Trusts 104 5 Constructive Trusts 134 6 Fiduciary Law 184 7 Conclusion 219 Index 219 v 00A_PoE_prelims.pmd 5 15/05/2017, 21:45 00A_PoE_prelims.pmd 6 15/05/2017, 21:45 Preface This book is an updated version of my doctoral thesis submitted in 2009, and awarded by the University of Cambridge in 2010. -
MERRIE ENGLAND Music by Edward German
Press Information The Finborough Theatre is now fully air conditioned Summer Season | April to July 2012 Part of the Finborough Theatre's Celebrating British Music Theatre series Citric Acid in association with Neil McPherson for the Finborough Theatre presents The first professional London production for 52 years MERRIE ENGLAND Music by Edward German. Libretto by Basil Hood. Directed by Alex Sutton. Musical Direction by Eamonn O’ Dwyer. Designed by Philip Lindley. Lighting by Miguel Vicente. Produced by Luke Holbrook. Costume Design by Sophia Anastasiou. Cast: Sammy Andrews. Alexander Beck. Jamie Birkett. Daniel Cane. Luke Courtier. Stephen Darcy. Virge Gilchrist. Tom Giles. Stuart Hickey. Rachel Holbrook. Nichola Jolley. Christopher Killik. Ruth Leavesley. Brendan Matthew. Michael Riseley. Jody Ellen Robinson. Gemma Sandzer. Rhys Saunders. Originally written for the Savoy Theatre in 1902 and a longtime British musical classic, this rediscovery celebrates both the Queen’s Diamond Jubilee as well as the 150th anniversary of the birth of composer Edward German. Merrie England plays at the Finborough Theatre for a limited run of nine Sunday and Monday evening performances and Tuesday matinees, opening on Sunday, 27 May 2012 (Press Night: Monday, 28 May 2012 at 7.30pm). Edward German's patriotic pageant deals with love and rivalries at the court of Queen Elizabeth I as the monarch visits the townsfolk of Windsor to celebrate May Day. With a plot that includes such historical personages as Sir Walter Raleigh and the Earl of Essex, murder plots and tales of witchcraft unravel to the background of the May Day revels... An English light opera in the style made famous by Gilbert and Sullivan, Merrie England features a prominent chorus and a range of principal numbers including ballads, patter songs, duets and quintets. -
Judicial Diversity
Cambridge Journal of International and Comparative Law Publication Copyright and open-access policy The Cambridge Journal of International The CJICL is an open-access publication gov- and Comparative Law is an open- erned by our publishing and licensing agree- access publication available online at ment. Any commercial use and any form of <http://www.cjicl.org.uk>. Each volume con- republication of material not covered by the sists of two or more general issues and a spe- cial issue examining the jurisprudence of the applicable license is subject to the express per- UK Supreme Court. mission of the Editors-in-Chief. Editorial Policy Contact information All submissions are subject to a double-blind Cambridge Journal of International and Com- peer-review editorial process by our Aca- parative Law demic Review Board and/or our Editorial Faculty of Law, 10 West Road Team. Cambridge, CB3 9DZ Submissions United Kingdom The journal accepts the following types of manuscript: E-mail: [email protected] (i) Long Articles between 6,000 and 12,000 Web: http://www.cjicl.org.uk words but not exceeding 12,000 words in- cluding footnotes; Typeset in Crimson and Gentium Book Basic, (ii) Short Articles not exceeding 5,000 words distributed under the terms of the SIL Open Font including footnotes; (iii) Case Notes not exceeding 3,000 words license, available at <http://scripts.sil.org/OFL>. including footnotes; and (iv) Book Reviews not exceeding 2,500 words including footnotes. Please visit our website for submission details. ISSN 2050-1706 (Print) ISSN 2050-1714 (Online) © 2013 Cambridge Journal of International and Comparative Law and Contributors This issue should be cited as (2013) 2(1) C.J.I.C.L. -
Drama and Theatre
Drama and Theatre You need to do three things to be a top quality dramatist – watch theatre, read plays and create. The more you do these three things, the more you will fall in love with theatre, deepen your appreciation and understanding of the art form and develop your ability to produce sophisticated pieces of theatre. Doing any of these will develop your knowledge and ability, but the top drama students find the balance between all three: Watching theatre is the best way a drama practitioner gets inspired and generates initial ideas. You will see things on stage which will make you think or feel a certain way; it may prompt a cathartic response, shock you or make you consider a topic in a completely new light. As practitioners, we are constantly stealing and adapting each other’s ideas to create great theatre. Reading plays gives you a deeper appreciation of the history and tradition of theatre. It also allows you to consider a story and imagine your own directorial, design and performance interpretations. The more you read, the more you exercise your imagination. Creating is crucial to actually applying and practising the skills and ideas you get from watching and reading theatre. You cannot be a top quality dramatist if you do not practise the craft. And the process works both ways. Watching theatre and reading plays will make you a more inspired and informed creator. But creating will also give you a deeper and richer appreciation of the plays you watch and read. Below, I have outlined 16 of my favourite plays, all of which have made an incredibly important cultural contribution to theatre history. -
Key to Creative Spaces in Or Near Westminster Map Activity Name of Organisation Address Postcode Telephone
Key to Creative Spaces in or near Westminster Map Activity Name of Organisation Address Postcode Telephone Most venues offer spaces which can be adapted to a variety of uses: auditions, workshops Places of worship classes, filming and events. Please contact the venues direct to discuss your requirements 35 R St Anne's Church, Soho 55 Dean Street W1D 6AF 020 7437 8039 Facilities suitable for specific arts activities: A = artist's studio D = dance studio 36 R St Gabriel's Halls Churchill Gardens SW1V 3AA 07967 655 515 E = exhibition space F = film or TV studio M = music P = performance R = rehearsal 37 E P R St James the Less Westminster Thorndike Street SW1V 2PS 020 7630 6282 Map Activity Name of Organisation Address Postcode Telephone 38 P R St John's, Smith Square Smith Square SW1P 3HA 020 7222 2168 Large Mixed Use Spaces 39 R St Martin-in-the-Fields Trafalgar Square WC2N 4JJ 020 7766 1165 1 Abbey Community Centre 34 Great Smith Street SW1P 3BU 020 7222 0303 40 St Mary Magdalene Church Rowington Close W2 5TF 07973 859 995 2 E D F M P Asia House 63 New Cavendish Street W1 7LP 020 7307 5454 41 P R St Saviour Pimlico St. George’s Square SW1V 3QW 020 7834 9520 3 R Amadeus Centre 50 Shirland Road W9 2JA 020 7286 1686 Private Sector 4 D P R Cecil Sharp House 2 Regent's Park Road NW1 7AY 020 7485 2206 42 Electric Barge Grand Union Canal W2 6NA 020 7266 8247 5 P R Rudolf Steiner House 35 Park Road NW1 6XT 020 7723 4400 43 Institute Francais 17 Queensberry Place SW7 2DT 020 7871 3516 6 Serpentine Gallery Kensington Gardens W2 3XA 020 7298 1522 -
Society of Legal Scholars Conference 2016 Legislation Or Judicial Law Reform
Society of Legal Scholars Conference 2016 Legislation or judicial law reform: where should judges fear to tread? Lady Hale, Deputy President of The Supreme Court 7 September 2016 James Lee set me a challenge in his paper on ‘The Etiquette of Law Reform’ at the seminar held last year to celebrate 50 years since the creation of the Law Commissions1: why, he asked, was the Law Commission’s competence a factor against judicial development of the law on pre-nuptial agreements in Radmacher v Granatino 2 (or, he might more pertinently have asked, on witness immunity in Jones v Kaney3) but not similarly a factor in the joint ownership cases of Stack v Dowden4 and Jones v Kernott?5 Although generally a respecter of the judicial motto, ‘never explain and never apologise’, this is a fair question and I shall attempt to give it a fair answer. The wider question is ‘when should a judge feel free to develop, change or reform the law rather than leaving it to Parliament?’ In trying to answer the question, please forgive me for concentrating on the cases in which I have been involved. Recently in the Supreme Court There is a tendency, noticeable among some law students, but not among the members of this Society, to think of Stack v Dowden and Jones v Kernott as family law cases, concerned with discretionary property adjustment when an unmarried couple’s relationship breaks down. They were no such thing. They were property law cases concerned with deducing the intentions of the 1 Ch 29 in M Dyson, J Lee and S Wilson Stark (eds),Fifty Years of the Law Commissions (2016) Bloomsbury; see also Ch 20, Andrew Burrows, ‘Post-legislative Scrutiny, Legislative Drafting and the “Elusive Boundary”’. -
Introduction to Ecovenue Ecovenue Is a Signifi Cant Theatre-Specifi C Environmental Project Being Run by the Theatres Trust
Introduction to Ecovenue Ecovenue is a signifi cant theatre-specifi c environmental project being run by The Theatres Trust. It aims to improve the environmental performance of forty-eight London theatres and raise awareness of how to make theatres greener. Ecovenue is promoting the sustainability of theatres and the reduction of carbon emissions through the provision of free theatre-specifi c, environmental advice. The project started in 2009 and runs until 2012. Forty-eight venues each undergo an Environmental Audit, and receive a Display Energy Certifi cate (DEC) and Advisory Report. They track their energy use through SMEasure. Each venue receives a second DEC a year after their fi rst to measure progress. Ecovenue includes a ‘DEC Pool’ of performing arts venues across the UK that have obtained DECs. The DEC Pool helps us to evaluate the project and share best practice and information, establish meaningful benchmarks, and provide a better understanding of energy use of theatres. Any theatre can join the DEC Pool. The Trust’s Theatres Magazine provides quarterly reports on the participants and the work of the Ecovenue project. The Theatres Trust Ecovenue project receives fi nancial support from the European Regional Development Fund. Participating Theatres Albany Theatre Etcetera Theatre Old Vic Arcola Finborough Theatre Orange Tree Theatre Arts Theatre Gate Theatre Pleasance Islington artsdepot Greenwich & Lewisham Young Polka Theatre Brockley Jack People’s Theatre Putney Arts Theatre Bush Theatre Greenwich Playhouse Questors Camden People’s -
Antigone-Programme.Pdf
aod are a Brighton based theatre company with a vigorous passion to ‘make magic from myth’. We create fresh, bold and urgent interpretations of Classical Greek plays and develop new plays inspired by Greek mythology. We have a strong national and international profile and regularly tour our work. At the heart of our work is collaboration. We have recently embarked on the exciting adventure of working with new young writers and we offer a mentoring programme to emerging directors. This production is an example of the exciting new work we produce when such collaborations take place. We are passionate about providing opportunities for practitioners to develop their craft. We actively invest in and support promising individuals as they begin to develop their careers as theatre artists. An important aspect of our work is introducing young people to the Classics – particularly those who have never had any Classical education. Through our 25 years we have built up a wealth of experience and knowledge of both Classical Greek theatre and Greek myths. Our team of education experts have created a unique educational and outreach programme. This encompasses a wide range of workshops which we deliver to schools and colleges across Britain. Our workshops are unique, engaging and practical, allowing students to delve deeper into their work. We are able to tailor workshops to the needs of a particular class or to examination requirements. We are currently offering a special discount to school and college groups who have been to see Antigone. Please contact our Education Officer Mark Katz at [email protected] or 07903 390 087 and use the word ‘Antigone’ to be offered a discount. -
Singer / Actor
Hugo Trebels Mob: 07889 043 682 E-Mail: [email protected] Website: www.hugotrebels.co.uk. Equity no: M00205460. Spotlight view: 2373-8947-7489 • Hair: Short / Shaven • Eyes: Brown • Playing age: 35 to 45 • Height: 5’9’’ • Build: Medium • Singing range: Baritone - bottom A to top A • Nationality: Dutch / Indonesian Performing Experience - Theatre – NYC (US) Perfecting the kiss Harvest Carruthers 2017 NuBox Theater Dir: Paula D'Alessandris The road less travelled The stranger 2016 Manhattan Theatre Club Dir: Hugo Trebels In defence of Cruella DeVil Grandson 2016 Manhattan Theatre Club Dir: Paula D'Alessandris Still Waters James 2016 Manhattan Theatre Club Dir: Paula D'Alessandris Dream Tim Phil 2015 Videograf Dir: Hugo Trebels Clearance Alfie 2015 Videograf Dir: Paula D'Alessandris I.C.U. Michael Powell 2013 Sonnet Theater - Dir: Paula D'Alessandris Producer's Club I am yours now Man 2012 Space on White Dir: Paula D'Alessandris Performing Experience - Theatre - UK Fear & misery of the Third Various workers and 2018 Brockley Jack Theatre Dir: Rachael Belis Reich The Man Feast of fools Brian 2017 Theatre N16 Dir: Myles Horgan Professor Bernhardi Professor Flint 2016 University of Cambridge Dir: Trine Garrett The Unutterable Thing The Termite 2016 Rowing Dir: Milo v/d Maaden Helmer Hardcore The Chinaman 2015 Rose Lipman Building Dir: Trine Garrett Helmer Hardcore (rehearsed The Chinaman 2014 Foreign Affairs Dir: Trine Garrett reading) On the ropes (Spaced 2014) Ensemble 2014 Theatre Delicatessen Dir: Lawrence Carmichael Mummy's Boy (rehearsed -
Rethinking the Common Intention Constructive Trusts in Stack V Dowden and Jones V Kernott – Should the Resulting Trusts Be Preferred?
Rethinking the Common Intention Constructive Trusts in Stack v Dowden and Jones v Kernott – should the Resulting Trusts be preferred? by Yee Ching Leung Abstract Yee Ching Leung takes the two landmark cases, Stack v Dowden [2007] UKHL 17 and Jones v Kernott [2011] UKSC 53, as starting points to consider the new Common Intention Constructive Trust approach in dealing with the issue of how the beneficial interest of a property is to be shared between two separating cohabitants. The article analyses whether this new approach should be preferred over the traditional Resulting Trust approach. The author explains the two approaches and gives three arguments in support of the Resulting Trust approach. First, it provides a greater degree of certainty, which is crucial in property law. Secondly, the traditional approach is more coherent in principle when comparing to the Common Intention Constructive Trust approach. Thirdly, the author argues that the Resulting Trust approach would not leave the discretion of judges unconfined. Toward the end of the article, the author gives two brief replies to the critics of the Resulting Trust approach. However, the Common Intention Constructive Trust approach is now the law of England and whether the Resulting Trust approach will return remains to be seen. I. Introduction This article concerns the issue of how the beneficial interest of a property is to be shared between two separating cohabitants. Generally, the issue can be resolved by either an express trust or an express agreement. However, in a domestic context, it is common that cohabitants do not make explicit arrangements. Accordingly, the courts have to decide the issue when disputes arise during their separation. -
40 More Theatres Supported with Final Theatre Reopening Fund Grants
Theatres Trust supports 40 more theatres with final Theatre Reopening Fund grants The national public advisory body for theatre has awarded a further £155,265 of grants to help theatres with costs of Covid-secure reopening, including changes to the building to reduce congestion, improvements to ventilation systems and simple measures like installing hand sanitisers and screens. The theatres supported reflect the vital elements that make up the theatre ecosystem with awards made to significant producing theatres – Hampstead Theatre, Lyric Hammersmith, Pitlochry Festival Theatre, Theatre Royal Bath – major receiving houses Capital Theatres and Worthing Theatres, venues specialising in dance (Northern Ballet), new writing (Traverse, New Diorama, Gate Theatre) and one of the country’s few puppet theatres, Upfront Theatre. Community theatres across the country have received grants, including young people-focused Blue Elephant Theatre and Hanger Farm Arts Centre, which works with people with learning disabilities. Theatres Trust has also given grants to help reopen every type of theatre building, including the country’s last remaining Regency theatre, Theatre Royal Bury St Edmunds, theatres in converted cinemas (People’s Theatre and Blackburn Empire) and former churches (Headgate Theatre and Lowestoft Players Theatre), pub theatres (Jack Studio Theatre), outdoor theatre (Rutland Open Air) and even a travelling theatre – Paines Plough. Theatres Trust Director Jon Morgan says, We are beginning to look forward to a time when theatres can reopen, welcome audiences back inside and continue to play a vital role in their communities. It has been a difficult year, but Theatres Trust is pleased to have been able to support so many theatres through this grant scheme as well as our free advice service and the #SaveOurTheatres Crowdfunding campaign.