Principles of Evidences by Jon Smibert

Total Page:16

File Type:pdf, Size:1020Kb

Principles of Evidences by Jon Smibert principles of evidence Jon Smibert Principles of Evidence Jon Smibert, J.D., LL.M. (Lond.) United States Department of Justice Pristina 2014 1 Publisher: United States Department of Justice Office of Overseas Prosecutorial Development, Assistance and Training Office of the Resident Legal Advisor United States Embassy, Pristina © Jon Smibert 2014 No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage or retrieval system, without the prior written approval of the Author or the United States Department of Justice, unless such copying is expressly permitted by the relevant copyright law. Translation: Linda Baleta (Albania), Julija Ivanovic (Serbian) Special Assistance: Benina Kusari Printing: Xhad Studio, Pristina 347.97/99 Smibert, Jon Principles of Evidence / Jon Smibert ; translacion Linda Baleta (albania), Julija Ivanovic (serbian).- Pristina : United States Department of Justice, Office of Overseas Prosecutorial Development, Assistance and Training, 2014.- 238 f. : ilustr. me ngjyra ; 21 cm. Glossary : f. 225-238 1. Baleta, Linda 2. Ivanovic, Julija ISBN 978-995-8686-2-4 2 To Arta 3 4 Principles of C riminal Evidence Introduction 7 Part I – Understanding Evidence and its Qualities 1) What is proof? 13 2) How is proof obtained? 25 3) Inferences and Objectives. 45 4) What is the quality of proof? 59 5) Review 81 Part II – Challenges and Inferences 6) How can proof be challenged? 89 7) Inferential Evidence: Judicial Notice, Judicial Admissions, and Presumptions. 111 8) Inferential Evidence: Statistical Evidence 125 9) Inferential Evidence: Expert Opinion Evidence 161 Part III – The Body of Evidence 10) The Essence of Evidence: Critical Thinking and Logic 189 11) A Holistic Approach to Evidence 211 12) Epilogue 219 Glossary 225 5 6 Principles of C riminal Evidence Introduction Any legal action requires evidence, especially in a criminal proceeding. In some systems, evidence is gathered and evaluated by the court, providing less opportunity for litigants to challenge or analyze evidence. In systems which are more adversarial, there are more opportunities to challenge evidence. In either system, though, the judges, prosecutors, defense attorneys and representatives of the injured parties can all benefit from a deeper understanding of evidence. That deeper understanding of evidence permits the practitioner to describe the evidence more clearly, understand the weakness or strength of evidence, and to test the evidence in court. It is particularly important that the judge, prosecutor, defense attorney and others have a similar vocabulary and similar understanding when discussing evidence. If people can all describe the weakness or strength of particular kinds of evidence using the same language and principles, then it allows the adjudication of a case to be done with clarity and a depth of fairness. Principles of evidence are often more familiar to lawyers in common-law countries, especially those with juries. The court uses exclusionary evidentiary rules to prevent juries from hearing and being prejudiced by improper evidence. In inquisitorial systems, instead, the principle of "free proof" has dominated and there has not been a tradition of excluding evidence. This does not mean that inquisitorial systems do not have traditions or guiding principles of evaluating evidence.1 They simply are not focused on exclusion of evidence. Indeed, both systems strive for judges or juries to consider a wide degree of evidence which is 1 In fact, many inquisitorial systems developed in the wake of canon law, which assigned weight or priorities to different kinds of evidence. The idea of "free proof" rejected those strict categories from canon law. Some inquisitorial systems also had constraints on the use of certain classes of evidence. See Jackson J. and Summers S., The Internationalisation of Criminal Evidence, Beyond the Common Law and Civil Law Traditions, Pp. 30‐31 (Cambridge Univ. Press 2012). Canon law and the roots of inquisitorial legal systems were, at the time, progressive because it sought evidence and did not simply test innocence by subjecting the defendant to oaths or tests. However, it created capricious and strict evidentiary procedures. By 1215 the Fourth Lateran Council forbade trial by ordeal in European church courts, but courts had already begun adopting modes of proof in civil and criminal cases in accordance with ordo iudiciarius, or Romano‐canonical procedure. This ordo required an accusation in writing, the presentation of legitimate witnesses, a conviction only after a confession or presentation of evidence, and a written court decision. The ordo also lead to inquisitorial procedure, most likely by Pope Innocent III (1198‐1215) in Qualiter et quando (c.8)(1215), a document which compiled the developing procedural rules. Those procedural rules included the right of defendants to defend themselves with testimony, witnesses and exceptions, as well as the option for courts to give oaths and require compurgation. It also required substantial proof, although the system did permit brutal measures to obtain the proof. In Germany, for example, the standard of proof for a conviction was "certainty," with a high premium placed on confession. The procedural rules, the Constitutio Criminalis Carolina of 1532, permitted torture, but mandated that questioners solicit answers and did not provide them. See Shaffern, R. Law and Justice from Antiquity to Enlightenment, pp. 195‐201. (Rowman & Littlefield 2009). However, by the time these procedural laws developed into the 1808 Napoleonic Code of Criminal Procedure in France and the 1877 StraffprozessordnunG (StPO) in Germany, judicial inquiry was focused on obtaining evidence without such extreme measures. 7 relevant to the allegations. In any system, however, it is necessary for practitioners to have a common language and a common framework to understand and discuss evidence. In this book, that vocabulary and those principles of evidence are examined and explored. It begins with basic principles of evidence and builds upon those principles to explain why they are important and how they can have a practical impact in criminal investigations, indictments and during a criminal trial. These principles are important for simple cases, but become critical while investigating, prosecuting, defending or adjudicating a complicated case. One of the first questions that a practitioner needs to ask is what needs to be proven? If a prosecutor is investigating a crime, he or she needs to find evidence that is relevant to that crime, but may also need to find evidence that a victim was harmed. He or she may need to find evidence that supports the confiscation of property or an asset. He or she may need to find evidence to convince a court to order detention on remand. He or she may also find evidence to convince a court to issue a higher sentence for the defendant. For a defense attorney, the goals are different. He or she may want to find evidence to support an alibi, or to show that a victim wasn't harmed. He or she may also want to find evidence that convinces a court to issue a lower sentence. For a judge, the goal is also different. He or she wants to evaluate the evidence to determine if it is relevant, believable and convincing. The judge may also realize that the criminal charges were not proven. Thus, it is important to understand what needs to be proven. As he or she seeks evidence, a practitioner should realize that evidence is not simply a witness or document that you mechanically present to the court. A witness can describe an event. A document may also describe the event. A video of that event can also be available. If they describe something different, which one is more believable? If they all describe the same set of events, does that make the story more convincing? Evidence can thus be obtained in a number of different ways, and each way can be more or less effective. It is important to understand that an investigation rarely uncovers "the truth." Rather, it uncovers different kinds of evidence that may tell different stories. It is up to the court to eventually decide which "truth" is the most probable. As the practitioner gathers evidence and then evaluates it, he or she should understand how each piece of evidence can be more or less important. He or she should understand how relevant the evidence is to the case. Something that doesn't matter to the case is far less important than something that directly affects some decision by the court. The practitioner should understand how credible the evidence is. In other words, are there reasons to believe the evidence? Are there reasons to mistrust it? If evidence isn't trustable, it shouldn't be very important to a final decision by the prosecutor or the court. Finally, is the evidence convincing? Does the body of evidence as a whole compel the judge to decide in a certain way? Is it internally consistent and well-corroborated? Does it make sense? A lawyer can often be faced with evidence that he or she believes isn't right. How do you challenge that evidence? One way to challenge the evidence is to find contradicting evidence. Another way to challenge evidence, however, is to examine its qualities. Can you question its credibility and make the 8 judge believe it less? Can you challenge whether it is even relevant? Can you make the evidence seem less convincing? Another dimension of evidence is to consider what it proves. Some evidence provides direct proof of guilt or directly shows that someone was injured by the crime. Other evidence suggests that someone may be guilty, or proves something that supports a theory that someone is guilty. Direct evidence and indirect evidence are examples of how a judge determines whether something is more or less probable.
Recommended publications
  • FALL 2016 NEWSLETTER Dean’S Message Welcome to the College of Applied Sciences and Arts (CASA) Fall Newsletter
    SHAPING THE WAY WE LIVE, WORK AND PLAY FALL 2016 NEWSLETTER Dean’s Message Welcome to the College of Applied Sciences and Arts (CASA) Fall Newsletter. In this issue you will learn about a INSIDE THIS ISSUE sampling of the many interesting and innovative learning opportunities for all our students within CASA. I want to personally invite you to take the time to read about the accomplishments in the Department of Justice Studies that includes the Fifth Annual CSI Camp as well as a program we are very proud of, the Records Clearance Project. CSI Camp 4 The School of Journalism and Mass Communications offered the first ever Data Journalism Workshop with many experts in the journalism field. Another first, is that CASA coordinated hosting a portion of the annual Alzheimer’s Association Walk on SJSU’s campus. Records Clearance Project 5 We had a chance to meet with many of our emeritus and retired faculty at our annual luncheon. Many are vitally contributing to our community in so many ways as are all our alums, take a look at what they are doing. Data Journalism Workshop 6 We are proud of our CASA alums who are teaching in many of our departments and schools as well as volunteering as guest speakers, and hiring our graduates whenever possible. As I begin my second year as dean of CASA, I am very proud of the accomplishments that the staff, faculty, administrators and students Emeritus and Retired Faculty Luncheon 7 have achieved in the past year. CASA has grown to 352 faculty members, 4454 undergraduates as well as 2397 graduate students in 11 departments and schools.
    [Show full text]
  • ALSCW 17Th Annual Conference
    ALSCW 17th Annual Conference Friday, October 14, 2011 – Sunday, October 16, 2011 with special thanks to the Boston University Center for the Humanities (Professor James Winn, Director) We warmly invite non-members of the ALSCW to register for this conference and enjoy our stimulating menu of events and the convivialities of the weekend. If you would like to join our Association and enjoy all the privileges of membership—including a member-rate for conference registration—please visit our website ALSCW.org We look forward to seeing our members again and to welcoming new members. Thursday October 13 Prologue to the Conference 7:00pm: A Novelist and a Poet: Tim Parks and Mark Halliday Reading The Poetry Reading Series at Boston University Presents TIM PARKS and MARK HALLIDAY Thursday October 13th at 7 p.m. The Castle, 225 Bay State Road Supported by the BU Center for the Humanities, College of General Studies, and the Association of Literary Scholars, Critics, and Writers Free and open to the public Please contact Meg Tyler ([email protected], 617-358-4199) with any questions Mark Halliday teaches at Ohio University. His books of poems are: Little Star (William Morrow, 1987), Tasker Street (University of Massachusetts, 1992), Selfwolf (University of Chicago, 1999), Jab (University of Chicago, 2002), and Keep This Forever (Tupelo Press, 2008). His critical study Stevens and the Interpersonal appeared in 1991 from Princeton University Press. He co-authored with Allen Grossman a book on poetics, The Sighted Singer (John Hopkins University Press, 1991). Tim Parks was born in Manchester in 1954, and studied at Cambridge and Harvard before moving permanently to Italy in 1981.
    [Show full text]
  • TK TK TK TK the Change in Spain Is Mainly On
    THE BUSINESS JOURNAL OF FILM, BROADCASTING, BROADBAND, PRODUCTION, DISTRIBUTION JANUARY/FEBRUARYJUNE/JULY 20102011 VOL. 3031 NO. 41 $9.75 In This Issue: A SusskindTK of TV Latin TVTK Directory ATF’s GentleTK Touch ToiletSección Paper en inEspañol Europe ® www.videoage.org Caracol’s TelenovelaTK Unfolds The ChangeTK In Spain Is Daily On andTK Off TV Screens Mainly On The Air By Dom Serafini TK By BoB JenkinheS Although, as David Esquinas, Research f Colombia’s Caracol planned to broadcast a telenovela on the Santo Domingo affaele Annechino, senior and Strategic Resources director at By Dom Serafini family, it would not be fiction, but reality: A real life telenovela produced by vice president and general Spanish ad agency Optimedia pointed rgentina’s the family itself, since it owns the Bogotá-based TV network. manager, MTV Iberia, out, even though “The final move to All the ingredients for a telenovela are there: Fabulous fortune; beautiful expressed his belief that, digital was made in April, this is a process “Spain is currently one people jet-setting around South America, North America and Europe, (Continued on Page 22)18) and a patriarch. Plus, of the most drama, love, nobility and T interesting, if glamour. Wrote The New York not the most interesting, MiracleTK NATPE I Rbroadcast markets in the Post last year in its popular “Page Comparing two marketsTK in Miami Beach: 1994, 2011 A world. This,” he explained, Six” gossip column, “The Santo “Is because all of the he above headline doesn’t refer to NATPE Domingos Take New York.” hris 2011, even though its renewed success could changes that are happening The patriarch in this case is be attributed to a miracle.
    [Show full text]
  • A Textual Analysis of the Closer and Saving Grace: Feminist and Genre Theory in 21St Century Television
    A TEXTUAL ANALYSIS OF THE CLOSER AND SAVING GRACE: FEMINIST AND GENRE THEORY IN 21ST CENTURY TELEVISION Lelia M. Stone, B.A., M.P.A. Thesis Prepared for the Degree of MASTER OF ARTS UNIVERSITY OF NORTH TEXAS December 2013 APPROVED: Harry Benshoff, Committee Chair George Larke-Walsh, Committee Member Sandra Spencer, Committee Member Albert Albarran, Chair of the Department of Radio, Television and Film Art Goven, Dean of the College of Arts and Sciences Mark Wardell, Dean of the Toulouse Graduate School Stone, Lelia M. A Textual Analysis of The Closer and Saving Grace: Feminist and Genre Theory in 21st Century Television. Master of Arts (Radio, Television and Film), December 2013, 89 pp., references 82 titles. Television is a universally popular medium that offers a myriad of choices to viewers around the world. American programs both reflect and influence the culture of the times. Two dramatic series, The Closer and Saving Grace, were presented on the same cable network and shared genre and design. Both featured female police detectives and demonstrated an acute awareness of postmodern feminism. The Closer was very successful, yet Saving Grace, was cancelled midway through the third season. A close study of plot lines and character development in the shows will elucidate their fundamental differences that serve to explain their widely disparate reception by the viewing public. Copyright 2013 by Lelia M. Stone ii TABLE OF CONTENTS Chapters Page 1 INTRODUCTION ..............................................................................................
    [Show full text]
  • Alicia González-Camino Calleja English, French, Italian and German Translator
    Alicia González-Camino Calleja English, French, Italian and German translator Born in Madrid, Spain, 1983 Calle General Arrando 32 – 28010 – Madrid +34 649 37 73 75 / +39 3738330526 [email protected] Profile Profile 2001 - 2005 Bachelor’s Degree in Translation and Interpreting Universidad Pontificia Comillas (Madrid) Specialization: conference interpreting 2002 - 2003 Langues Appliquées Étrangères Université Marc Bloch (Strasbourg) Erasmus Grant EDUCATION 2005 Sworn English translator Spanish Ministry of Foreign Affairs and Cooperation [Exp. nº 3899/lic] 2009 - 2010 Master’s Degree in Dubbing, Translation and Subtitling Universidad Europea de Madrid. Translation and subtitling of cinema and TV scripts, quality control, production and marketing in the dubbing business, videogames and website localization 2011 Quality control trainee: script translations and end product at Disney Character Voices (Madrid) 2010 Quality control internship: script translations and end product in the Disney Dept. at Soundub (Madrid) 2006 Translation internship of legal/technical texts at Romera Translations (Heidelberg, Germany) TRAINING TRAINING Goya-Leonardo Grant EXPERIENCE 2005 Interpreter trainee at the Court of Justice in Madrid 2004 Translation and proofreading internship at McLehm Traductores (Madrid) SPANISH Mother tongue (Castilian) ENGLISH Excellent knowledge ≈CPE Proficiency, Cambridge University 1995-2004 Plymouth (England), Normandy (France) and California (USA) FRENCH Excellent knowledge ≈ Diplôme DALF C2, Alliance Française 2002-2003
    [Show full text]
  • See 2019 Festival Program for Review
    Celebrating 10 years in the Media Capital of the World September 5th - 9th September 5, 2018 Dear Friends: On behalf of the City of Los Angeles, welcome to the 2018 Burbank International Film Festival. Since 2009, the Burbank International Film Festival has promoted up-and-coming filmmakers from around the world by providing a gateway to expand their careers in the entertainment industry. I applaud the efforts of the Festival’s organizers and sponsors to create an event that generates an appreciation of storytelling through film. Thank you for your contributions to the vibrant artistic culture of Los Angeles. Congratulations to all the Industry Icon honorees. I send my best wishes for what is sure to be a successful and memorable event. Sincerely, ERIC GARCETTI Mayor September 5, 2018 Dear Friends, Welcome to the 2018 Burbank International Film Festival as we celebrate 10 successful years in "The Media Capitol of the World." The Burbank International Film Festival has given a platform to promising filmmakers, sharing their hard work with an eager audience and providing the means to expand their budding careers. As champions of independent filmmaking, the Festival organizers represent true benefactors to the colorful Los Angeles arts scene that we all enjoy. Congratulations to all the Festival honorees at this pivotal point in their careers. We appreciate your dedication and the contribution it makes to our arts culture. Sincerely, ANTHONY J. PORTANTINO Senator 25th Senate District Board of Directors Jeff Rector President / Festival Director Jeff is an award-winning filmmaker and working actor. His feature film “Revamped” which he wrote, directed and produced, is currently being distributed worldwide.
    [Show full text]
  • Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION P
    Mediated Intimacies: Legal, Literary, and Journalistic Textualities of Gender Violence in Post-War Nicaragua DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Alicia Zoe Miklos, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2015 Dissertation Committee: Ileana Rodríguez, Advisor Ignacio Corona Laura Podalsky Copyright by Alicia Zoe Miklos 2015 Abstract My dissertation examines representations of femicide as gender violence in legal, journalistic, literary, and online cultural production in contemporary post-war Nicaragua. I begin with the passing of Law 779, the Integral Law Against Violence Towards Women, approved by the Nicaraguan National Assembly in February 2012. The law fills a legal vacuum in the country by codifying femicide, as well as sexual, psychological, patrimonial, and labor abuse into Nicaraguan law as gender specific crimes. Prohibiting the long-standing practice of police and judicial mediation between accusers and aggressors, Law 779 set out to endow women with judicial agency in what had been largely hostile and re-victimizing institutional spaces. The focus of the project is cultural, examining representations of gender violence as part of a social dialogue about Law 779, covering a variety of textual realms. The goal of the project is to explain how different mediums and social actors explain gender violence by studying discourse and narrative modes. The debate centered on Law 779’s re-balancing of power relations and its controversy stemmed from its challenge to existing family structures, which disguise masculine authority and impunity. The inertia of the status quo proved strong, with Law 779 being reformed and regulated between 2012 and 2014, reverting its original radical spirit.
    [Show full text]
  • Winners BAFTA Children's Awards Announced Big CBS Prime Wants To
    Inside TV International 280 November 26 - December 2, 2010 weekly magazine with a focus on content www.insidetv.info [email protected] I N T INTERNATIONAL E Winners BAFTA Children’s FremantleMedia ap- R points Kim Ardal as MD N A Awards announced of Blu in T The British Academy of Film and Television Arts has Denmark - p. 2 I NBC Universal Interna- Body Of Proof 4 unveiled the winners of the 2010 Children’s Awards. In O the Animation category Aardman Animations’ ‘Shaun The tional signs deal with N Sheep’ (CBBC) won. The BAFTA for best Comedy went to Canadian Lark A L ‘Horrible Histories’ (Lion TV/Citrus TV/CBBC) and best Productions - p. 3 Drama was CBBC’s ‘Tracy Beaker Returns’; while in the 2 Entertainment category CBBC’s ‘Relic: Guardians of the Museum’ was the winner. At the International front Nick- elodeon’s ‘The Penguins of Madagascar’ won the BAFTA. F (cont. page 2) FICTION Archer 5 Acorn Media acquires I Greenlit shows - p. 5 C Dexter close to renewal T Big CBS Prime wants to - p. 6 I Endemol signs distribu- O Indianise international shows tion deal for Leverage N Big CBS Networks, a joint venture between Reliance - p. 6 Broadcast Network Limited and CBS Studios Interna- 3 7 tional launches this week Big CBS Prime, an English general entertainment television channel for the Indian sub-continent.A key component of BIG CBS Networks’ programming strategy is to Indianise international shows KIDS for its Indian viewers. There is hardly any localization of Galaxy Pop is working K international formats in India, considerably limiting the on new comedy series I potential of consumer engagement.
    [Show full text]
  • A Complete Television Shows List Europe & Asia North America
    A Complete Television Shows List Europe & Asia Alpha 0.7 - Der Feind in dir Liebe und Wahn Dangerous Liaisons Lüthi und Blanc Der Bestatter Polizeiruf 110 Die Snobs Stunthero Dr. Klein Stuttgart Homicide Eine für alle - Frauen können's besser Supermodel Geld oder Leben Tanzalarm! Lasko - The Fist of God Tatort North America 24 Banshee Burn Notice 90210 Barnaby Jones Californication $#*! My Dad Says Baywatch Carpoolers 10 Things I Hate About You Baywatch Nights Castle 12 Miles of Bad Road Beauty and the Beast Chaos 24: Redemption Beverly Hills, 90210 Charlie's Angels A to Z Big Time Rush Charmed Agents of S.H.I.E.L.D. Black Scorpion Chicago Hope Airwolf Body of Proof Chiefs Alias Bones Chop Shop Amen Boomtown Chuck American Horror Story Bosch Cleopatra 2525 Angel Brooklyn Bridge Cold Case Awake Brother's Keeper CollegeHumor Originals B.J. and the Bear Brothers & Sisters Cover Up Bad Judge Buffy the Vampire Slayer Crime Story Bad Teacher Bunheads Criminal Minds Crossing Jordan Hardball Last Resort Crumbs Hardcastle and McCormick Lauren CSI: Crime Scene Investigation Harry O LAX CSI: Miami Hart of Dixie Legends CSI: NY Hart to Hart Leo & Liz in Beverly Hills Curb Your Enthusiasm Hawaii Level 9 Dark Skies Hawaii Five-0 Leverage Day Break Hawaiian Heat Life Days of Our Lives Heroes Limestreet Designing Women Highway to Heaven Logan's Run Desperate Housewives Hit the Floor Longmire Dexter Hollywood Beat Lost Downtown House MacGruder and Loud Dynasty Houston Knights Magic City E-Ring How to Get Away with Murder Major Crimes Eagleheart Hunter
    [Show full text]
  • Levin 1 Representations of Victims, Suspects and Offenders: a Content
    Levin 1 Representations of Victims, Suspects and Offenders: A Content Analysis of Four Television Crime Shows Jessica Levin University of Colorado at Boulder Sociology Department Spring 2013 Honors Committee Members: Dr. Joanne Belknap, Sociology (Chair) Dr. Liam Downey, Sociology Dr. Tracy Ferrell, Program for Writing and Rhetoric Levin 2 ABSTRACT This study draws on Social Learning Theory and uses a content analysis to critically examine the representations of victims, suspects and offenders on fictional crime television shows. Specifically, four such shows were studied: Law and Order: Special Victims Unit, Criminal Minds, Body of Proof and Rizzoli & Isles. Although some previous research assessed the representations of suspects and offenders on fictional crime television series, examination of the representations of victims is rare, and to date, no study has included such an extensive list of variables. There were two units of analysis used while coding. Coding of the entire show included the year of the episode, number of victims, number of suspects, number of offenders, type of crime and time of the crime. The second unit of analysis included individual victims, suspects and offenders. An extensive range of demographic data was recorded for each victim, suspect and offender. The results from this study indicate that a very narrow lens is used in television fictional crime show portrayals of victims, suspects and offenders. The findings include a relationship between the type of crime and the television show, the victims’ gender and survival rate, the victims’ race/ethnicity and socioeconomic status, the victims’ hair color and whether they were drugged, and the victims’ survival and whether they had children with the defendant.
    [Show full text]
  • Report of the United States National Museum
    ARTIFICIAL DEFORMATION OF CHILDREN. 213 NOTES ON THE ARTIFICIAL DEFORMATION OF CHILDREN AMONG SAVAGE AND CIVILIZED PEOPLES. [with a bibliography.] By Dr. J. H. Pouter. The accompanying notes are collected from various sources as a sup- plement to Professor Mason's paper on " The Cradles of the American Aborigines."* The time allotted did not permit the compiler to exhaust the subject, but enough is here given to show the practices conceruiug children in their first year throughout the world, and the varied beliefs obtaining as to the effects of such treatment. In the future the subject will receive more careful and systematic study. The autho.r embraces this opportunity to express his obligation to the librarians of the State, War, and Navy Departments at Washing- ton for many courtesies. Intentional modifications of the form of the head, although less gen- eral than other fashions by which conformity to an ideal of beauty has been attemped, have, nevertheless, been widely prevalent among races of men, but can not be said to include all the variations from an average cranial type actually existing in nature. The ethnical classification of M. Topinard (Elements d'Anthropologic Generale) displays deforma- tion with reference to race in a manner which fulfills all practical requirements. Deformity is, however, as real when slight as when excessive, and apart from those distortions he has described, from the many which are due to pathological causes, and the yet more numerous deviations from symmetry which unintentionally exerted pressure pro- duces in the incompletely ossified skull, there still remain those varia- tions in the processes of nutrition and growth through which assymetry becomes the rule not in the head and not in man only, but in the homol- ogous parts of all axially developed animals.
    [Show full text]
  • Amazon Originals Hand of God and Red Oaks Receive Greenlight for Full Seasons
    Amazon Originals Hand of God and Red Oaks Receive Greenlight for Full Seasons October 3, 2014 New shows come from critically-acclaimed and award-winning creators Marc Forster (World War Z) David Gordon Green (Pineapple Express) and Steven Soderbergh (Traffic); casts include Ron Perlman (Sons of Anarchy), Dana Delany (Body of Proof), Paul Reiser (Mad About You), Jennifer Grey (It’s Like, You Know) and Richard Kind (Luck) LONDON 3rd October 2014 - Amazon today announced two more original pilots will return exclusively to Prime Instant Video next year as full series. Dramatic thriller, Hand of God written by Ben Watkins (Burn Notice) and created by Marc Forster (World War Z) along with Steven Soderbergh’s (The Knick, Traffic) coming-of-age comedy, Red Oaks, will become the next Amazon Original Series following rave customer reviews of the pilot episodes. What customers are saying: Hand of God “From the opening credits to the final scene, I was completely hooked and entertained. This may be Ron Perlman's best role yet.” “Perhaps the most thought provoking series since Breaking Bad.” “Brilliant pilot! It had me hooked from the first scene. I love the complexity of each of the main characters and the intensity of the storyline. Dana Delany and Ron Perlman both turn in wonderful performances. I hope we get to see more of this.” Red Oaks “This show is like a piece of 80's gold that found its way into the 21st century.” “I am really picky when it comes to good comedy, and this show had me in stitches by the 4th minute.” “Excellent.
    [Show full text]