Suchergebnisse

The purpose of this paper is to analyse how the term "mother" is defined in the English legal system. This question has recently been raised in English courts due to the McConnel case; where a woman, who had undergone a gender transition and acquired full legal recognition as a male, gave birth to a child and asked to be registered as the father of his child. In the first part of the paper, I will study the legal frame and the main decisions of the English courts. In the second part, I will analyse the decisions of the European Court of Human Rights and the consequences of the McConnel case in English family law. And finally, I will explain the role that the principle of the best interests of the child plays in this context.

A printed version of the Ernest Gellner Nationalism Lecture of Nations and Nationalism, delivered at the London School of Economics and Political Science, 19 April 2005. References. Adapted from the source document.

The article attempts to address the issue of nudity and eroticism in stage and screen versions of Shakespeare's plays. Elizabethan theatrical conventions and moral and political censorship of the English Renaissance did not allow for an explicit presentation of naked bodies and sexual interactions on stage; rather, these were relegated to the verbal plane, hence the bawdy language Shakespeare employed on many occasions. Conventions play a significant role also in the present-day, post-1960s and post-sexual revolution era, whereby human sexuality in Western culture is not just alluded to, but discussed and presented in an open manner. Consequently, nudity on stage and screen in versions of Shakespeare's plays has become more marked and outspoken. Indeed, in both filmic and TV productions as well as stage performances directors and actors more and more willingly have exposed human body and sexuality to the viewer/spectator. My aim is to look at such instances from the perspective of realism and realistic conventions that the three media deploy and the effect nudity/sex can have on the recipient. The conclusion is that theatre is most conventional and stark realism and directness of the message need to be carefully dosed. Similarly to the theatre, television, more specifically television theatre, is, too, a most direct genre, as television is inherently a live medium, the broadcasts of which occur here and now, in the present tense (ideally). Film is markedly different from the two previous forms of art: it is narrated in the past tense, thus creating a distance between what is shown and the viewer, and allowing for more literalness. Naturally, particular cases discussed in the article go beyond these rather simple divisions.

Cover -- Title -- Copyright -- Dedication -- Contents -- List of Illustrations -- Acknowledgments -- Introduction -- PART 1 -- 1. From Red to Black -- 2. Cointelpro -- 3. Red Stains and Black Robes -- 4. Red Threats and Silver Coins -- 5. Red Rum and Moving Vans -- 6. Epilogue -- PART 2 -- Elegy for Stanley Gorski: A Play by Emanuel Fried -- Drop Hammer: A Play by Emanuel Fried -- The Dodo Bird: A Play by Emanuel Fried -- Notes -- Bibliography -- Index -- About the Author -- About the Series -- Other Titles in the Series -- Back Cover.