Over the last decade, Supreme Court copyright jurisprudence has undergone dramatic changes, concurrent with governmental copyright reform initiatives. Both the Supreme Court and the government have used the popular but unhelpful language of “balance” to explain and justify their initiatives. Unfortunately, there is no consensus as to what constitutes an appropriate balance or how to facilitate this and the two initiatives have been moving in opposite directions. The changes in the Supreme Court have altered the purpose and application of copyright law in a way that favours user access to works. Conversely, had they passed, government amendments would have increased owner rights and incentives, moving in a protectionist direction and restricting access and use. This would have the potential to impede future innovation. This thesis suggests that balance is an inadequate metaphor, examines the differences between the Supreme Court and governmental conception of “balance” and proposes reasons for these differences.

This thesis argues that the First Nations and their material culture have been used as tropes in the construction of national symbols on Canadian money. The twenty dollar bill from the 2004 series of Canadian banknotes, Canadian Journeys, was the impetus for this inquiry. The art of Bill Reid is featured on this banknote. Reid is an artist who identifies, on his mother's side, with the Haida First Nations and his art takes its themes and style from the Haida crest imagery. The implications of utilizing a First Nations artist on a Canadian banknote becomes problematic when considering the antagonistic historical relationship Canada has had with the First Nations and the multiplicity of unresolved land claims. Therefore, I ask, how this Bill Reid banknote should be read. In answering this question I have divided this thesis into three parts. First, I analyze a historical precedent for this contemporary banknote. The 1870 two dollar bill is useful for it both gives an example of the use of First Nations as a trope in representing the nation and it helps expose the importance of money as a national symbol at the time when Canada was struggling to come together as a modern nation. In the next section I analyze the Bill Reid bill as both a part of a symbolic construction of nation and as a material practice which has regional or territorial implications. In the final section I argue that Bill Reid utilized the language commonly used for colonial justification to elevate his own practice. While carving out a market for his work Reid helped to reify nationally accepted histories concerning the First Nations—namely that they are culturally dead.

This project examines how Presidents Lyndon Johnson, Richard Nixon, Jimmy Carter, Ronald Reagan, and Bill Clinton discussed issues of poverty and welfare from Johnson’s declaration of War on Poverty in 1964 to Clinton’s signing of the Personal Responsibility and Work Opportunity Reconciliation Act in 1996. I argue that there are four critical tensions relevant to the debate concerning contemporary poverty in the United States—politics vs. policy, deserving vs. undeserving, help vs. hinder, and equality vs. freedom—and the key to improving the manner in which the nation confronts the problem of poverty requires understanding and negotiating these tensions. The analysis reveals that the five presidents had a mixed but overall rather poor record in confronting the four paradoxes. In general they tended either to avoid the tensions altogether, or fall to one or the other extreme. That being said, the analysis also reveals that there is considerable common ground concerning some critical issues between all the presidents, whether they were Democrats or Republicans, ideologically moderate or more partisan. Foremost among these are the beliefs that equal opportunity should be the overarching ideal, work should be rewarded well, and those that cannot help themselves should be supported as generously as possible by the government. I conclude that the 1996 law, while based in part on questionable assumptions concerning the condition of the poor, could lead to a significant re-framing of the debate away from the generally unpopular focus on welfare and welfare recipients and toward the working poor and the conditions and difficulties under which they labor, which could potentially lead to other positive transformations beneficial to the American poor.

DEA--Histoire de l'art--Paris 4, 2002. / Bibliogr. p. 90-91.

This thesis argues that the First Nations and their material culture have been used as tropes in the construction of national symbols on Canadian money. The twenty dollar bill from the 2004 series of Canadian banknotes, Canadian Journeys, was the impetus for this inquiry. The art of Bill Reid is featured on this banknote. Reid is an artist who identifies, on his mother's side, with the Haida First Nations and his art takes its themes and style from the Haida crest imagery. The implications of utilizing a First Nations artist on a Canadian banknote becomes problematic when considering the antagonistic historical relationship Canada has had with the First Nations and the multiplicity of unresolved land claims. Therefore, I ask, how this Bill Reid banknote should be read. In answering this question I have divided this thesis into three parts. First, I analyze a historical precedent for this contemporary banknote. The 1870 two dollar bill is useful for it both gives an example of the use of First Nations as a trope in representing the nation and it helps expose the importance of money as a national symbol at the time when Canada was struggling to come together as a modern nation. In the next section I analyze the Bill Reid bill as both a part of a symbolic construction of nation and as a material practice which has regional or territorial implications. In the final section I argue that Bill Reid utilized the language commonly used for colonial justification to elevate his own practice. While carving out a market for his work Reid helped to reify nationally accepted histories concerning the First Nations—namely that they are culturally dead.

The Constitution of the Republic of South Africa, Act 200 of 1993 which operated as the interim constitution of the Republic introduced a new legal order predicated on constitutionalism and constitutional supremacy. Within it was entrenched a justiciable Bill of Rights that guaranteed the enforcement and protection of the fundamental rights of the individuals of the state. Notionally and traditionally bills of rights have been conceived as a mechanism for the protection and enforcement of fundamental human rights against the state, the abuse of state authority and sate power. Such an application has been typified as the vertical application of the bill of rights . During the drafting process of the Interim Constitution, the Technical Committees commissioned by the Multi-Party Negotiating Process for that purpose were preoccupied with the question as to whether the South African Bill of Rights should apply in the private sphere between private persons acting inter se; such an application being typified as the horizontal application. The result was an ambiguous text. The question of whether the Bill of Rights was indeed capable of a horizontal application was intensely debated before the Constitutional Court of South Africa in Du Plessis And Others v De Klerk And Another 1996 (3) SA 850. And in an equally intense judgment the majority of the Court concluded that the Bill of Rights was not in general capable of a direct horizontal application. Although influenced by a strenuous textual analysis, there were other considerations too that influenced the Court's decision. One of the most important of these was that the operation of a bill of rights in the private sphere would be contrary to the notion of a constitutional state and that it would make the law vague and uncertain. However, the very same Constitutional Court a few months later in In Re: Certification of the Constitution of the Republic of South Africa, 1996, 1996 (10) BCLR 1253 (CC) certified that Section 8 (2) of Chapter 3 unequivocally provided for the horizontal application of the Bill of Rights. This dissertation examines the paradigms within which the Bill of Rights operates horizontally and analyzes the apprehensions expressed in Du Plessis v De Klerk within the context of these paradigms. / Thesis (LL.M.)-University of Natal, Durban, 1998.

I uppsatsen studeras de femton filmer som som vunnit en Guldbagge för bästa dokumentärfilm 2000-2014. Filmernas uttrycksform har analyserats med stöd av Bill Nichols teoretiska modell om olika modus inom dokumentärfilmen. En jämförande studie av trender inom den internationella dokumentärfilmen visar hur de svenska filmerna förhåller sig till dokumentärfilm i omvärlden och till det senaste decenniets nya uttrycksformer, som olika former av interaktiva dokumentärfilmer. Då filmerna är utvalda som bästa dokumentärfilm under respektive år bör en analys av filmerna ge en bild av vilka kvaliteter som premierats av nomineringsgruppen och juryn för Guldbaggen under 2000-talet. Uppsatsens resultat är att filmskaparnas val av uttrycksform varierar under tidsperioden, men att ett modus dominerar, samt att det utifrån de uttrycksmedel som filmskaparna använder går att se ett genomgående mönster i de filmer som belönats med en Guldbagge.

Zugl.: Bonn, Universiẗat, Magisterarbeit, 2007.

Thesis (D. Min.)--Gordon-Conwell Theological Seminary, South Hamilton, MA, 2004. / Abstract and vita. Includes bibliographical references (leaves 111-114).

Thesis (D. Mus. Arts)--University of Washington, 1996. / Vita. Includes two pieces by Sumiko Sato, Scenes from Genji and Misthaven. Includes bibliographical references (leaves [71]-76).