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21	Oceňování věcných břemen - komparace různých metod ocenění / Valuation of Easements - Comparison of Valuation Methods Prokop, Jan January 2019 (has links) In this diploma thesis I deal with methods of valuation of easements according to current legislation and methodology. The easements, as a tool for limiting or extending the rights to real estate, are dealt with in a general way, I will state the methods for their valuation and subsequently apply these methods to specific easements.
22	La coaction en droit pénal / Co-perpetration in criminal law Baron, Elisa 07 December 2012 (has links) Le coauteur est traditionnellement défini en droit pénal comme l’individu qui, agissant avec un autre, réunit sur sa tête l’ensemble des éléments constitutifs de l’infraction. Pourtant, il est permis de douter de la pertinence de cette affirmation tant la jurisprudence comme la doctrine en dévoient le sens.En réalité, loin d’être cantonnée à une simple juxtaposition d’actions, la coaction doit être appréhendée comme un mode à part entière de participation à l’infraction. En effet, elle apparaît comme un titre d’imputation à mi-chemin entre l’action et la complicité, auxquelles elle emprunte certains caractères. Autrement dit, elle se révèle être un mode de participation à sa propre infraction. Surtout, son particularisme est assuré par l’interdépendance unissant les coauteurs : parce que chacun s’associe à son alter ego, tous sont placés sur un pied d’égalité. Ces différents éléments, qui se retrouvent dans sa notion et dans son régime, permettent ainsi d’affirmer la spécificité de la coaction tout en renforçant la cohérence entre les différents modes de participation criminelle. / In criminal law, the co-perpetrator is classically presented as an individual who, acting jointly with another, gathers all the constitutive elements of the offence. However, one may harbor doubts concerning the relevance of this assertion since both case law and legal scholars denature its meaning.Actually, far from being limited to a mere juxtaposition of perpetrations, co-perpetration must be understood as a full mode of participation in the offence. Indeed, it appears as a form of imputation halfway between perpetration and complicity, from which it borrows some characteristics. In other words, it proves to be a mode of participation in one’s own offence. Above all, its particularism is provided by the interdependence between the co-perpetrators : because each of them joins forces with his alter ego, all are placed on an equal footing. These elements, which are found both in it’s concept and in it’s regime, demonstrate thereby the specificity of co-perpetration while strengthening the coherence of the different modes of criminal participation. Action Aide Autorité Causalité Circonstances agravantes Chef d’entreprise Chose jugée Commencement d’exécution Communication pénale Compétence Complicité Connexité Emprunt de criminalité Entente Faits justificatifs Fautes concurrentes Fautes conjuguées Filiale Groupe de sociétés Imprudence Imprudence commune Indivisibilité Infraction collective Instigation Intention Interdépendance Participation Peine justifiée Personne morale Préposé, Résultat Solidarité Subordination Tentative Violences collectives Perpetration Aiding and abetting Authority Causal link Aggravating circumstances Civilian superiors Res judicata Initiation of execution Criminal communication Jurisdiction Complicity Connexity Borrowing of criminality Common plan Justifications Subsidiary Group of companies Recklessness Collective recklessness Imputability Imputation Indivisibility Collective offence Instigation Intent Interdependence Participation Justified sentence Legal persons Agent Solidarity, subordination Attempt Collective violence 340
23	Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition Syme, Neil January 2014 (has links) This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches. 823

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