In human rights adjudication, courts sometimes face issues that they lack the expertise or constitutional legitimacy to resolve. One way of dealing with such issues is to 'defer', or accord a margin of appreciation, to the judgments of public authorities. This raises two important questions: what devices courts should use to exercise deference, and how deference can be made more workable for judges and predictable for litigants. Combining in-depth conceptual analysis with practice in a broad range of jurisdictions, Deference in Human Rights Adjudication answers these questions. It introduces six devices for deference (namely, the burden of proof, standard of proof, standard of review, giving of weight, choice of interpretation, and choice of remedy), analyzes how courts should choose amongst them, and proposes techniques for rendering deference practicable. The book has two distinctive features. First, it engages with the jurisprudence of six common law jurisdictions that apply a structured proportionality test in rights adjudication, namely, Canada, Hong Kong, Ireland, Israel, New Zealand, and the United Kingdom. Second, it offers guidelines for judges who wish to apply its theoretical arguments. As such, Deference in Human Rights Adjudication will enable human rights adjudication to be more principled and in line with the rule of law and separation of powers. Insightful and pioneering, this book will be an important reference for researchers, teachers, and students of constitutional theory, comparative constitutional law, and human rights law around the world. It will also assist practitioners, judges, and policymakers who have to grapple with issues of deference in adjudication.
In human rights adjudication, courts sometimes face issues that they lack the expertise or constitutional legitimacy to resolve. One way of dealing with such issues is to 'defer', or accord a margin of appreciation, to the judgments of public authorities. This raises two important questions: what devices courts should use to exercise deference, and how deference can be made more workable for judges and predictable for litigants. Combining in-depth conceptual analysis with practice in a broad range of jurisdictions, Deference in Human Rights Adjudication answers these questions. It introduces six devices for deference (namely, the burden of proof, standard of proof, standard of review, giving of weight, choice of interpretation, and choice of remedy), analyzes how courts should choose amongst them, and proposes techniques for rendering deference practicable. The book has two distinctive features. First, it engages with the jurisprudence of six common law jurisdictions that apply a structured proportionality test in rights adjudication, namely, Canada, Hong Kong, Ireland, Israel, New Zealand, and the United Kingdom. Second, it offers guidelines for judges who wish to apply its theoretical arguments. As such, Deference in Human Rights Adjudication will enable human rights adjudication to be more principled and in line with the rule of law and separation of powers. Insightful and pioneering, this book will be an important reference for researchers, teachers, and students of constitutional theory, comparative constitutional law, and human rights law around the world. It will also assist practitioners, judges, and policymakers who have to grapple with issues of deference in adjudication.
When intern Kitty Chan is found dead in the basement of the Victoria and Albert Museum, dressed in a Victorian ball gown, the cause of death is quickly established. Kitty died of arsenic poisoning. But who gave her the deadly dose and why? Detective Inspector Helen Shepherd investigates and quickly realises that there is more to this case than meets the eye. This is a mystery novelette of 8500 words or approx. 27 print pages in the Helen Shepherd Mysteries series, but may be read as a standalone. Warning : There are some rude words in this story.
In recent years, the city many hoped would help democratize China has instead become a research setting in which to study China’s increasing intolerance of dissent. Since Hong Kong’s return to Chinese sovereignty in 1997, China’s treatment of Hong Kong could be divided into three stages: non-intervention, intervention, and securitization. If the July 1 march in 2003 is a watershed that marked Beijing’s change from non-intervention to intervention, this book suggests that the Umbrella Movement in 2014 is another watershed that marked Beijing’s change from intervention to securitization. This book is a theoretically driven case study of the Umbrella Movement, a massive sit-in that paralyzed key business and retail districts for 79 days in Hong Kong in 2014. Many Hongkongers believe that they have the right to a fair election of the chief executive, and Beijing’s insistence on vetting candidates prompted the outbreak of the Umbrella Movement. Drawing insights from the securitization theory and fear appeal literature, the book proposes the framework of “security appeal.” It argues that the outbreak of the Umbrella Movement resulted from a premature use of hard repression, that is, before the government convinced the general public that the Umbrella Movement was a threat. The eventual successful securitization entails a general acceptance of the threatening nature of the Umbrella Movement and agreement with its crackdown. This book concludes that one of the consequences of the securitization of the Umbrella Movement is Beijing’s eventual switch to the policy of “patriotocracy” – a system that allocates power and resources based on one’s professed patriotism – in lieu of One Country, Two Systems. The policy implications and theoretical and methodological contributions of this book will be of interest to scholars and students of security studies; Chinese politics; and various social science disciplines, including political science, psychology, criminology, and sociology.
It's 1992. In a small town in Fife, a girl is busting to get out into the world and see what's on offer. And an ad in the local paper declares: Band Seeks Singer. Grunge has just gone global, scruffy indie kids are inheriting the earth, and a schoolgirl from Glenrothes is catapulted to a rock star lifestyle as the singer in a hot new indie band. Touring with Radiohead, partying with Blur, she was living the dream. Until she wasn't. What Girls Are Made Of is the true story of Bissett's teenage years, based on her meticulously detailed, pull-no-punches diaries, which she found after the death of her father. It's a rollercoaster journey from the girl she was to the woman she wanted to be: rocketed into teenage stardom, suddenly dropped by their manager, and then the following of years of becoming an actor, writer and director. Described by Miro Magazine as "a glorious mixture of harrowing and life-affirming messages", the script also includes a play list of female-led soundtracks, that were played in the production.
Normally, Detective Inspector Helen Shepherd doesn’t deal with petty crime and pickpockets. But when the Christmas market in Kingston upon Thames is hit by a wave of thefts, Helen and her team are called in to help out. Harry, a homeless man who always hangs around the market, seems to be the most obvious suspect. But there is also the mysterious man in the black leather jacket some witnesses claim to have seen. Or maybe, the thief can be found much closer to home… Can Helen and her team crack the case in time for Christmas? This is a holiday novelette of 7800 words or approx. 26 print pages in the Helen Shepherd Mysteries series, but may be read as a standalone.
Homeless teen Chris certainly isn't the most reliable of witnesses. And so no one takes her seriously when she walks into a police station and claims that her boyfriend Max, nicknamed Zorro, has been kidnapped. Detective Inspector Helen Shepherd is initially inclined to dismiss Chris as well. But then Chris mentions a ransom demand, a mysterious phone call demanding an envelope in exchange for the safe return of Max. Chris claims she has no idea what the kidnappers are talking about. But when Helen and her team investigate the abandoned warehouse that Max and Chris have made their home, she notices unusual activities in the area. But what precisely do the kidnappers want? And whatever happened to Max? This is a mystery novelette of 8700 words or approximately 28 print pages in the Helen Shepherd Mysteries series, but may be read as a standalone.
Easy-to-read and extensive, this Tagalog dictionary is an essential language learning and translation tool. The Tuttle Concise Tagalog Dictionary gives you the most complete and up-to-date translations from English to Tagalog/Filipino and is the most current dictionary available today. Designed primarily for English speakers, it can also be used by Tagalog speakers who are learning English. The dictionary is bidirectional with over 20,000 entries covering the everyday vocabulary used in all educational, work-related and tourist situations. For each entry, in addition to giving all useful definitions, information is given on the part of speech, common collocations and the pronunciation of the word. The introduction at the front provides a guide to pronunciation as well as other grammar pointers and explanations. For ease of use, this dictionary is divided into two parts: Tagalog-English and English-Tagalog. Key highlights of this Tagalog dictionary are: Over 20,000 entries cover everyday words that are used in educational, work-related and tourist situations. Extensive information on parts of speech, common collocations, and the pronunciation of each word. A helpful introduction provides a guide to pronunciation and many other Tagalog grammar pointers and explanations.
Absolutely no one is sorry when the infamous Ruislip Wood Ripper, a serial killer who has already murdered three women, ends up dead in the forest, shot by a hunter while on the cusp of attacking his fourth victim. But there are just a few coincidences too many in this case for the taste of Detective Inspector Helen Shepherd. Was it really just pure luck that hunter Reginald Hargreaves just happened to be in the right place at the right time? And why did no one warn French tourist Anne Marie Sauvage that there was a killer on the loose in Ruislip Woods? This is a crime short of 6200 words or approx. 20 print pages altogether in the Helen Shepherd Mysteries series, but may be read as a standalone.
When the landlord of "The Cork and the Bottle" ends up dead in a puddle of blood on the floor of his own pub, the case seems clear. The teen burglars who broke into the pub to steal the contents of the till are the culprits. But there are things about the case that just don't add up. And eventually, Detective Inspector Helen Shepherd begins to suspect that the killers are to be found much closer to home… This is a crime short of 4400 words or approx. 14 print pages altogether in the Helen Shepherd Mysteries series, but may be read as a standalone.
Four twisted romances. One very good time. “Spread ‘Em” by Cora Day. A Spreadsheet Shifter Romance. To solve the formula for love, she’ll need to find X. When Rebecca starts working with AI, she finds herself horny for spreadsheets. X may be artificial, but his feelings for Rebecca are real. “Big Dragon Energy” by Dallas Ryan. A Dragon Shifter Romance. He’s fire and spice. She’s everything nice. When librarian Tessa’s birthday wish brings her a mysterious stranger with smoke and scales, her world ignites with magic and passion. “Hard Up” by Jayelle Dee. A Vibro-Shifter Romance. When love is trapped, you must set it free. When Vicki’s gifted a used golden dildo with one speed, it starts working on its own and she discovers a beautiful man who needs her help. “Ring My Bell” by Amelia Elliot. A Cat Shifter Reverse Harem Romance. Her kitties give her more than kisses. When Niecy’s cats become men, she must unravel a curse that triggers whenever a bell rings. Twisted Shifters is a funny, steamy, and sweet anthology about love coming from surprising places.
At first glance, the robbery in a small bank branch doesn't seem overly mysterious. After all, the CCTV footage clearly shows a masked robber threatening bank clerk Jim Carling with a gun before disabling the cameras. However, the robber knew a bit too much about the inner workings of the bank, so Detective Inspector Helen Shepherd quickly suspects that the robber had inside help. But who of the five bank employees is the insider? And what happened to Jim Carling after the robber took him hostage? This is a crime novelette of 9300 words or approx. 30 print pages altogether in the Helen Shepherd Mysteries series, but may be read as a standalone.
When two men dressed up as Father Christmas rob a London jewellery store and one of them ends up dead on the floor, shot by his own accomplice, it’s certainly one of the more unusual cases for Detective Inspector Helen Shepherd and her team. But as Helen begins to investigate, it turns out that the case is even more bizarre than she suspected. This is a holiday mystery novelette of 9300 words or approx. 30 print pages in the Helen Shepherd Mysteries series, but may be read as a standalone.
Music as a narrative drama is an intriguing idea, which has captured explicit music theoretical attention since the nineteenth century. Investigations into narrative characters or personae has evolved into a sub-field—musical agency. In this book, Palfy contends that music has the potential to engage us in social processes and that those processes can be experienced as a social interaction with a musical agent. She explores the overlap between the psychological processes in which we participate in order to understand and engage with people, and those we engage in when we listen to music. Thinking of musical agency as a form of social process is quite different from existing theoretical frameworks for agency. It implies that we come to musical analysis by way of intuition—that our ideas are already partially formed based on our experience of the piece (and what it makes us feel or how it makes us sense it as any other) when we choose to analyze and interpret it. Palfy’s focus on social processes is a very effective way to pinpoint when and why it is that our attention is captured and engaged by musical agents.
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