The Courts of Genocide focuses on the judicial response to the genocide in Rwanda in order to address the search for justice following mass atrocities. The central concern of the book is how the politics of justice can get in the way of its administration. Considering both the ICTR (International Criminal tribunal for Rwanda), and all of the politics surrounding its work, and the Rwandan approach (the Gacaca courts and the national judiciary) and the politics that surround it, The Courts of Genocide addresses the relationship between these three 'courts' which, whilst oriented by similar concerns, stand in stark opposition to each other. In this respect, the book addresses a series of questions, including: What aspects of the Rwandan genocide itself played a role in directing the judicial response that has been adopted? On what basis did the government of Rwanda decide to address the genocide in a legalistic manner? Around what goals has each judicial response been organized? What are the specific procedures and processes of this response? And, finally, what challenges does its multifaceted character create for those involved in its operation, well as for Rwandan society? Addressing conceptual issues of restorative and retributive justice, liberal legalism and cosmopolitan law, The Courts of Genocide constitutes a substantially grounded reflection upon the problem of 'doing justice' after genocide.

Peter Maxwell Davies (1934-2016) was one of the leading international composers of the post-war period as well as one of the most productive. Peter Maxwell Davies (1934-2016) was one of the leading international composers of the post-war period as well as one of the most productive. This book provides a global view of his music, integrating a number of resonant themes in the composer's work while covering a representative cross-section of his vast output - his work list encompasses nearly 550 compositions in every established genre. Each chapter focuses on specific major works and offers generaldiscussion of other selected works connected to the main themes. These themes include compositional technique and process; genre; form and architecture; tonality and texture; allusion, quotation and musical critique; and place and landscape. Throughout, the book contends that Davies's works are not created in a vacuum but are intimately connected to, and are a reflection of, 'the past'. This deep engagement occurs on a number of levels, fluctuating and interacting with the composer's own predominantly modernist idiom and evoking a chain of historical resonances. Making sustained reference to Davies's own words, articles and programme notes as well as privileged access to primary source material from his estate, the book illuminates the composer's practices and approaches while shaping a discourse around his music.

The Courts of Genocide focuses on the judicial response to the genocide in Rwanda in order to address the search for justice following mass atrocities. The central concern of the book is how the politics of justice can get in the way of its administration. Considering both the ICTR (International Criminal tribunal for Rwanda), and all of the politics surrounding its work, and the Rwandan approach (the Gacaca courts and the national judiciary) and the politics that surround it, The Courts of Genocide addresses the relationship between these three 'courts' which, whilst oriented by similar concerns, stand in stark opposition to each other. In this respect, the book addresses a series of questions, including: What aspects of the Rwandan genocide itself played a role in directing the judicial response that has been adopted? On what basis did the government of Rwanda decide to address the genocide in a legalistic manner? Around what goals has each judicial response been organized? What are the specific procedures and processes of this response? And, finally, what challenges does its multifaceted character create for those involved in its operation, well as for Rwandan society? Addressing conceptual issues of restorative and retributive justice, liberal legalism and cosmopolitan law, The Courts of Genocide constitutes a substantially grounded reflection upon the problem of 'doing justice' after genocide.

Sir Michael Tippett is widely considered to be one of the most individual composers of the twentieth century, whose music continues to be performed to critical acclaim throughout the world. Written by a team of international scholars, this Companion provides a wide ranging and accessible study of Tippett and his works. It discusses the contexts and concepts of modernism, tradition, politics, sexuality and creativity that shaped Tippett's music and ideas, engaging with archive materials, relevant literature and models of interpretation. Chapters explore the genres in which Tippett composed, including opera, symphony, string quartet, concerto and piano sonata, to shed new light on his major works and draw attention to those that have not yet received the attention they deserve. Directing knowledge and expertise towards a wide readership, this book will enrich the listening experience and broaden understanding of the music of this endlessly fascinating and challenging composer.

Sir Michael Tippett is widely considered to be one of the most individual composers of the twentieth century, whose music continues to be performed to critical acclaim throughout the world. Written by a team of international scholars, this Companion provides a wide ranging and accessible study of Tippett and his works. It discusses the contexts and concepts of modernism, tradition, politics, sexuality and creativity that shaped Tippett's music and ideas, engaging with archive materials, relevant literature and models of interpretation. Chapters explore the genres in which Tippett composed, including opera, symphony, string quartet, concerto and piano sonata, to shed new light on his major works and draw attention to those that have not yet received the attention they deserve. Directing knowledge and expertise towards a wide readership, this book will enrich the listening experience and broaden understanding of the music of this endlessly fascinating and challenging composer.

This book brings together an extensive and varied collection of Sir Peter Maxwell Davies's written and spoken-word items for the first time. Spanning the composer's entire career, this compendium offers a balanced selection of Davies's articles and essays, speeches and lectures, interviews, radio broadcasts, programme notes, tributes and letters to newspapers. A number of items are published for the first time, including a new article from Davies himself (commissioned specially for this book), and several BBC radio broadcast interviews and talks from the 1960s. The structure of the book is chronological and divided into three parts, allowing readers to trace the development of Davies's thought and work over time, and to place each item in its biographical and historical context. The introduction and notes by Nicholas Jones place the writings in context, making this volume invaluable for those interested in the music and wider culture of post-war Britain.

This collection of essays celebrates the work of Sir Harrison Birtwistle, one of the key figures in European contemporary music. Representing current research on Birtwistle's music, this book reflects the diversity of his work in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives. Written by a team of international scholars, all of whom bring a deep research-based knowledge and insight to their chosen study, this collection extends the scholarly understanding of Birtwistle through new engagements with the man and the music. The contributors provide detailed studies of Birtwistle's engagement with electronic music in the 1960s and 1970s, and develop theoretical explanations of his fascination with pulse, rhythm and time. They also explore in detail Birtwistle's interest in poetry, instrumental drama, gesture, procession and landscape, and consider the compositional processes that underpin these issues.

This collection of essays celebrates the work of Sir Harrison Birtwistle, one of the key figures in European contemporary music. Representing current research on Birtwistle's music, this book reflects the diversity of his work in terms of periods, genres, forms, techniques and related issues through a wide range of critical, theoretical and analytical interpretations and perspectives. Written by a team of international scholars, all of whom bring a deep research-based knowledge and insight to their chosen study, this collection extends the scholarly understanding of Birtwistle through new engagements with the man and the music. The contributors provide detailed studies of Birtwistle's engagement with electronic music in the 1960s and 1970s, and develop theoretical explanations of his fascination with pulse, rhythm and time. They also explore in detail Birtwistle's interest in poetry, instrumental drama, gesture, procession and landscape, and consider the compositional processes that underpin these issues.

2009 marks the 75th birthday of Sir Peter Maxwell Davies, an occasion that presents an opportunity for reflection upon, and appreciation of, a period of compositional achievement that extends from the 1950s to the present. This book forms part of that reflection through a statement of the current condition of research on Maxwell Davies's music. Detailed analytical discussions of individual works, such as the opera Taverner and the First Symphony, coexist with broader issues and perspectives, including Davies's own writings about music, his engagement with sonata form, the compositional source, problems of text, and the situating of this music within and in relation to 'modern times'. The book describes selected works from all periods of Davies's rich and diverse career, resulting in a portrait of the music that, while it may be incomplete, reveals the essence of this remarkable composer and his music.

2009 marks the 75th birthday of Sir Peter Maxwell Davies, an occasion that presents an opportunity for reflection upon, and appreciation of, a period of compositional achievement that extends from the 1950s to the present. This book forms part of that reflection through a statement of the current condition of research on Maxwell Davies's music. Detailed analytical discussions of individual works, such as the opera Taverner and the First Symphony, coexist with broader issues and perspectives, including Davies's own writings about music, his engagement with sonata form, the compositional source, problems of text, and the situating of this music within and in relation to 'modern times'. The book describes selected works from all periods of Davies's rich and diverse career, resulting in a portrait of the music that, while it may be incomplete, reveals the essence of this remarkable composer and his music.

An ideal textbook for trainee and practising rhinologists and otolaryngologists, Practical Rhinology provides expert direction on all aspects of rhinology. Completely up-to-date, the text addresses the most pertinent aspects of contemporary rhinology and provides a distillation of the current advances in this superspecialty from several of the world's leaders in this field. This is a book to help the clinician during their day-to-day practice. There is an emphasis on clinical management and whilst it is written by a team of experienced international experts, it gives guidance on the management of common disorders and symptoms. General chapters on anatomy, pre- and post-operative management and overseeing complications are accompanied by skilled guidance on how to deal with specific surgical problems, such as anterior skull base surgery, the frontal sinus and nasal tumours. Further chapters provide invaluable information on topics including technical advances, paediatric conditions, CSF leaks, and orbital and lacrimal surgery. Chapters on how to interpret symptoms and the patient's perspective are also included to complement the key knowledge.