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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.
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.
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.
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.
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