Bøker i Criminal Practice Series-serien

This volume presents an accessible overview of the current state of the legislation on the freedom of assembly in eleven selected member states of the Venice Commission: the UK, France, the US, Belgium, Germany, Turkey, the Russian Federation, the Ukraine, Poland, Hungary and Tunisia. The volume may serve as a work of reference for the researcher or practitioner who seeks specific information on the legal bases, restrictions, or implementation of the freedom of assembly in a specific country or on more recent themes such as the legal implications of flashmobs. It is also a helpful starting point for anyone interested in comparing the state of assembly legislation in Europe and beyond. Next to information on details of the domestic regulation of assemblies, each study contains information on recent events, changes and debates on the laws on assemblies. Examples are the handling of the Arab spring in Tunisia, freedom of assembly-implications and management of the Gezi Park protests in Turkey, or the constitutional upheavals in the Ukraine.

This volume presents international perspectives on interreligious dialogue, with a particular focus on how this can be found or understood within biblical texts. The volume is in four parts covering both the Old and New Testaments (and related Greco Roman texts) as well as the history of reception and issues of hermeneutics. Issues of the relationships between religious cultures are assessed both in antiquity and modernityIn Part 1 (Old Testament) contributions range from the discussion of the bible and plurality of theologies in church life (Erhard Gerstenberger) to the challenge of multi-culturalism (Cornelis Van Dam). Part 2 (New Testament and Greco-Roman Texts) considers such things as Pagan, Jewish and Christian historiography (Armin Baum) and the different beliefs it is possible to discern in the Ephesian community (Tor Vegge). Part 3 provides issues from the history of reception - including the role of Jesus in Islam (Craig A. Evans). The volume is completed by a hermeneutical reflection by Jože Krašovec, which draws the threads of dialogue together and questions how we can best examine the bible in a modern, international, multicultural society.

This is the second of two volumes that investigate the phenomenon of composite citations. The first collection of essays evaluated the use of composite citations in Early Jewish, Graeco-Roman, and Early Christian authors. This volume builds on the findings of the first and provides a fresh investigation of all the composite citations by New Testament authors. The following topics are covered: (1) the question of whether the quoting author created the composite text or found it already constructed as such; (2) the question of the rhetorical and/or literary impact of the quotation in its present textual location, as opposed to simply unpacking how the author appears to be interpreting the source text; and (3) the question of whether the intended audiences would have recognized and ''reverse engineered'' the composite citation in question and as a result engaged with the original context of each of the component parts.

Opening with an account of print portraiture facilitating Franz Liszt's celebrity status and concluding with Riot Grrrl's noisy politics of feminism and performance, this interdisciplinary anthology charts the relationship between music and the visual arts from late Romanticism and the birth of modernism to 'postmodernism', while crossing from Western art to the Middle East. Focused on music as a central experience of art and life, these essays scrutinize 'the musicalisation of art' focusing on the visual and performing arts and detailing significant instances of intra-art relations between c. 1840 and the present day. Essays reflect on the aesthetic relationships of music to painting, performance and installation, sound-and- silence, time-and-space. The insistent influence of Wagner is considered as well as the work and ideas of Manet, Satie and Cage, Thomas Wilfred, La Monte Young and Eliasson. What distinguishes these studies are the convictions that music is never alone and that a full understanding of the "isms" of the last two hundred years is best achieved when music's influential presence in the visual arts is acknowledged and interrogated.

Notions of women as found in the Bible have had an incalculable impact on western cultures, influencing perspectives on marriage, kinship, legal practice, political status, and general attitudes. Women and Exilic Identity in the Hebrew Bible is drawn from three separate strands to address and analyse this phenomenon. The first examines how women were conceptualized and represented during the exilic period. The second focuses on methodological possibilities and drawbacks connected to investigating women and exile. The third reviews current prominent literature on the topic, with responses from authors. With chapters from a range of contributors, topics move from an analysis of Ruth as a woman returning to her homeland, and issues concerning the foreign presence who brings foreign family members into the midst of a community, and how this is dealt with, through the intermarriage crisis portrayed in Ezra 9-10, to an analysis of Judean constructions of gender in the exilic and early post-exilic periods. The contributions show an exciting range of the best scholarship on women and foreign identities, with important consequences for how the foreign/known is perceived, and what that has meant for women through the centuries.

For most people the mention of graffiti conjures up notions of subversion, defacement, and underground culture. Yet, the term was coined by classical archaeologists excavating Pompeii in the 19th century and has been embraced by modern street culture: graffiti have been left on natural sites and public monuments for tens of thousands of years. They mark a position in time, a relation to space, and a territorial claim. They are also material displays of individual identity and social interaction. As an effective, socially accepted medium of self-definition, ancient graffiti may be compared to the modern use of social networks. This book shows that graffiti, a very ancient practice long hidden behind modern disapproval and street culture, have been integral to literacy and self-expression throughout history. Graffiti bear witness to social events and religious practices that are difficult to track in normative and official discourses. This book addresses graffiti practices, in cultures ranging from ancient China and Egypt through early modern Europe to modern Turkey, in illustrated short essays by specialists. It proposes a holistic approach to graffiti as a cultural practice that plays a key role in crucial aspects of human experience and how they can be understood.

The interpretation of the phrase ''the testimony of Jesus'' in the Book of Revelation has been the centre of much debate, with no clear consensus regarding its meaning. One of the most important but often neglected issues is whether or not the phrase can be read consistently across each instance of its occurrence. The opening lines of the Apocalypse clearly specify that ''the testimony of Jesus'' is a moniker for the book of Revelation itself, indicating that the phrase is an internal self-reference to the book''s own message. Nevertheless, most interpreters are reluctant to apply this interpretation to the phrase in other parts of the book, leading to varied and inconsistent interpretations of the phrase.Following the intratextual pattern of the apocalyptic books of Daniel and 1 Enoch we can see that it is entirely possible that ''the testimony of Jesus'' is a reference to Revelation''s own message, an interpretation which is then supported by Dixon''s in-depth study of each of the passages in which the phrase occurs. The exploration of the rhetorical impact of interpreting the phrase in this way shows that ''the testimony of Jesus'' is not just another title for John''s writing, but is something that is given to and even characterizes those who hear the message of the Apocalypse.

Analyses the methods used to approach Revelation's relationship with Old Testament texts and shows that, although there is literature on Revelation's imitative and multi-vocal nature, these aspects of the text have not yet been explored in sufficient depth.

Based on the words and experiences of the people involved, this book tells the story of the community arts movement in the UK, and, through a series of essays, assesses its influence on present day participatory arts practices. Part I offers the first comprehensive account of the movement, its history, rationale and modes of working in England, Northern Ireland, Scotland and Wales; Part II brings the work up to the present, through a scholarly assessment of its influence on contemporary practice that considers the role of technologies and networks, training, funding, commissioning and curating socially engaged art today.The community arts movement was a well-known but little understood and largely undocumented creative revolution that began as part of the counter-cultural scene in the late 1960s. A wide range of art forms were developed, including large processions with floats and giant puppets, shadow puppet shows, murals and public art, events on adventure playgrounds and play schemes, outdoor events and fireshows. By the middle of the 1980s community arts had changed and diversified to the point where its fragmentation meant that it could no longer be seen as a coherent movement. Interviews with the early pioneers provide a unique insight into the arts practices of the time. Culture, Democracy and the Right to Make Art is not simply a history because the legacy and influence of the community arts movement can be seen in a huge range of diverse locations today. Anyone who has ever encountered a community festival or educational project in a gallery or museum or visited a local arts centre could be said to be part of the on-going story of the community arts.

"A 20th-century saga of interracial Anglo-Indian tea dynasties prised apart and scattered as far away as New Zealand"--Provided by publisher.