Suchergebnisse

439Extradition — Political offence — Application — Whether application of political offence exception a matter for the Executive or the courts — Definition of political offence — Bomb attack on civilians — Whether capable of amounting to a political offence — Whether reasonably incidental to political upheaval — Accused a member of Al Fatah organization — Whether membership of organization indicative that offence political — Significance of motives of accusedExtradition — Procedure — Evidence — Whether disclosing probable cause — Evidence of accomplice — Whether accused entitled to challenge evidence adduced by requesting State — Confession — Whether accused entitled to submit evidence of retractionExtradition — Speciality — Allegation that requesting State seeking accused's extradition in order to punish him for membership of organization — Challenge to good faith of requesting State — Whether a matter for the Executive or the courts — The law of the United States

La crítica a la ausencia de la mujer en el ámbito social y artístico de la época dominado por el discurso patriarcal, la descolonización y el reclamo del poder sobre el cuerpo femenino, el posicionamiento de la mujer como sujeto hablante del discurso y la reivindicación del género, fueron algunos de los puntos cardinales de la lucha política en el seno de la primera generación de artistas feministas de los años 70. En este contexto, la artista norteamericana Hannah Wilke (1940-1993), consciente de esta dinámica esencial impuesta por la falocracia de la época, se sirvió del erotismo y la ironía para articular su discurso artístico y reafirmarse en la autorrepresentación. Haciéndonos eco de ello, nuestra investigación va a fluctuar entre dos ideas complementarias: una erótica del desbordamiento y un desbordamiento de lo erótico. Ambas cuestiones, el exceso como forma erótica, y la erótica desbordada como forma convencional del género femenino culturalmente configurado, constituirán el eje de nuestro texto que se detendrá en la trayectoria artística de Hannah Wilke ; The critic of the absence of women in the social and artistic context in the age of the patriarchal discourse domination, decolonization and inscription of power on the female body, the positioning of woman as speaking discursive subject and claim gender of woman, were some of the cardinal points of the political struggle within the first generation of feminist artists in the 70s. In that context, the American artist Hannah Wilke (1940-1993), aware of this essential dynamics imposed by phallocracy of the age, used eroticism and irony to articulate her artistic discourse and reaffirm the self. Echoing this, our research will fluctuate between two ideas: an erotic overflow and an overflow of the eroticism. Both issues, the excess as an erotic form, and the overwhelmed eroticism as a conventional female culturally configured form, will be the focus of our essay which will put attention on the oeuvre of Hannah Wilke.

Based on the absence of a substantial political philosophy and a scandalous reputation, modern assessments of John Wilkes have tended to marginalise his role in the development of radical political ideas in England in the 1760s and 1770s. This evaluation is reassessed in the context of an analysis of Wilkes's collaboration with Charles Churchill on the North Briton and his political writings of the period, in particular his Introduction to the History of England (1768). Furthermore, Wilkes enjoyed extensive and prolonged contact with the leading continental philosophers of the period, and in particular d'Holbach, Diderot, Suard, Helvétius, and Chastellux, which is reflected in their correspondence and political writings. Wilkes was a cosmopolitan figure whose political thought, while rooted in Lockean ideas, was convergent with that of contemporary philosophers and justify considering him as a principled defender, in his public life, of liberterian rather than libertine values.