With the spotlight on Magna Carta, which is 800 years old in 2015, and the French Declaration of the Rights of Man and Citizen of 1789, which together are of undeniable importance for fundamental rights-thinking, the existence of similar fundamental rights documents in other European countries is often overlooked. Such fundamental rights documents did, however, exist in the precursors to the current European Union Member States. Some of the documents are ancient, even older than Magna Carta, and some are more recent, but all of them are texts that deserve to be brought out and analysed alongside Magna Carta and the French Declaration in order to better understand the evolution of fundamental rights thinking in Europe.This volume paints a multi-faceted picture of historical fundamental rights documents in the European space by collating the experience of 24 European Union Member States at times in history when most of these states did not even exist. It is the first comprehensive and systematic evaluation of early fundamental rights thinking across Europe and it reveals surprising diversity. Spanning documents from the fifth century BC right through to the 19th century and early 20th century AD, this review opens up themes not normally found in historiographical analyses of fundamental rights.

The important and groundbreaking volume, The Professional Identity of the Human Rights Field Officer, completes the study of human rights field work begun in the earlier The Human Rights Field Operation: Law Theory and Practice (2007: Ashgate). Building on the critique of the field's historical development and current situation featured in the earlier volume, O'Flaherty, Ulrich and their fellow contributors focus on the specific responsibilities of the individual human rights officer, and concentrate on vital issues of professionalism beyond the confines of any specific organization. Their expansion of the analysis in the case studies section of the first volume has resulted in an up to date global edition of significant academic interest to anyone within the field of human rights law.

Book by Jack Kyrieleison. Story by Jack Kyrieleison & Ron Holgate. Traditional music adapted by Michael O'Flaherty / Characters: 4m, 2f, extras / Historical, Drama / A moving musical narrative of the Civil War, told in the words of the very diverse men and women who sided with the Union. Presented as a musical entertainment years after the events by the rag-tag company of actor Harry Hawk, the man who stood alone on stage when Lincoln was shot by Booth. Reunion is an attempt to tell the story of the Civil War through the eyes of those who took up the Union cause--an intersection of theatre and history, weaving together songs, visual images and dialogue. It is designed as a Victorian entertainment--the great American epic as it might have been told by a 19th-Century Homer and a wandering company of actors. "Reunion should be seen across the country." -The New York Times. "CRITIC'S PICK! Charming...heartwarming...brought to vivid life. Reunion underlines the common futility of all wars and the mess we're still dealing with from this particular one. You'll learn something without feeling lectured to." -Backstage. "A haunting glimpse into history. Reunionresonates at Ford's." -Washington Post. The songs date from the Civil War or before, and the dialogue is drawn from or inspired by participants' accounts of actual events. The original production got a lot of sound out of 6 actor-singers and a 5-piece orchestra--piano/synthesizer, trumpet, percussion, guitar/banjo, and violin. About the Music The 26 songs in Reunion-all from the Civil War or earlier-tell the human stories of the struggle within the North for the soul of the war. All of the songs are used to advance the narrative. As none was chosen solely because of popularity, there are some familiar Northern songs that won't be found in Reunion, including "When Johnny Comes Marching Home" and "Just Before the Battle, Mother." The familiar songs that are in the show are given unique treatments. And a couple of songs written in the South are included, because they were as popular in the North as they were in the South. All have new arrangements by musical supervisor Michael O'Flaherty.

The important and groundbreaking volume, The Professional Identity of the Human Rights Field Officer, completes the study of human rights field work begun in the earlier The Human Rights Field Operation: Law Theory and Practice (2007: Ashgate). Building on the critique of the field's historical development and current situation featured in the earlier volume, O'Flaherty, Ulrich and their fellow contributors focus on the specific responsibilities of the individual human rights officer, and concentrate on vital issues of professionalism beyond the confines of any specific organization. Their expansion of the analysis in the case studies section of the first volume has resulted in an up to date global edition of significant academic interest to anyone within the field of human rights law.