Proportionality In Constitutional Law: Why Everywhere But Here?

Legal scholar and author Bernhard Schlink presents the Herbert L. Bernstein Memorial Lecture in Comparative Law. Professor Schlink is both a respected legal scholar and the acclaimed author of a number of popular works of fiction, including the novel The Reader. His lecture focuses on proportionality in German and American constitutional law

Debt here, there and everywhere

Let me sincerely thank all of the contributors to this forum and also the editors for facilitating the opportunity to have this conversation during a period when it was extremely difficult to meet in person. It is a real privilege to have one's work read so carefully and generously. Each contributor not only picks out key insights from my book, but also offers a provocation that take the ideas and themes developed in Spacing Debt elsewhere. This is scholarship at its most constructive, and as an author it is extremely rewarding to see my work used in this way. Spacing Debt aims to convince readers about the need to theorise debt spatially, while offering them a better understanding about the changes that have taken place in Ramallah, Palestine since 2008. It will appeal to readers interested in debt and finance, and those interested in the contemporary Levant. The book also seeks to be a resource for those thinking ‘elsewhere’, by which I mean scholars doing research with other concepts and/or in other geographical (and historical) contexts and/or in other disciplinary spaces (and across disciplines). The four responses demonstrate the novel and insightful outcomes that can result when such cross-cutting conversations succeed. Given the ubiquity of credit/debt spacings, but also their differences, interdisciplinary and cross-cultural ways of working are urgently needed in our contemporary worlds. In the remainder of my response, I want to continue the conversation with my four interlocutors by elaborating on some of themes in their responses

Majorization: Here, There and Everywhere

The appearance of Marshall and Olkin's 1979 book on inequalities with special emphasis on majorization generated a surge of interest in potential applications of majorization and Schur convexity in a broad spectrum of fields. After 25 years this continues to be the case. The present article presents a sampling of the diverse areas in which majorization has been found to be useful in the past 25 years.Comment: Published in at http://dx.doi.org/10.1214/0883423060000000097 the Statistical Science (http://www.imstat.org/sts/) by the Institute of Mathematical Statistics (http://www.imstat.org

Here, There, and Everywhere: Upcoming Events

If you have a bit of free time, check out one of these China-related talks around the world this week and next

Here and Everywhere - Sociology of Scientific Knowledge

The sociology of scientific knowledge (SSK) is one of the profession's most marginal specialties, yet its objects of inquiry, its modes of inquiry, and certain of its findings have very substantial bearing upon the nature and scope of the sociological enterprise in general. While traditional sociology of knowledge asked how, and to what extent, ''social factors'' might influence the products of the mind, SSK sought to show that knowledge was constitutively social, and in so doing, it raised fundamental questions about taken-for-granted divisions between ''social versus cognitive, or natural, factors.'' This piece traces the historical development of the sociology of scientific knowledge and its relations with sociology and cultural inquiry as a whole. It identifies dominant ''localist'' sensibilities in SSK and the consequent problem it now confronts of how scientific knowledge travels. Finally, it describes several strands of criticism of SSK that have emerged from among its own practitioners, noting the ways in which some criticisms can be seen as a revival of old aspirations toward privileged meta-languages.History of Scienc

Poll Here, Poll There, Poll Everywhere!

Bring your phone and be ready to participate in this interactive introduction to Poll EverywhereTM! Use of audience response in lectures can significantly improve student attention and retention of information through immediate feedback. Poll EverywhereTM is a simple audience response system. People participate by using mobile devices (phones, laptops, etc.), thereby eliminating the need for the university to purchase expensive, bulky clickers which the instructor or students must haul around from class to class. Poll Everywhere offers a free subscription plan for higher education. At the conclusion of this session, participants will be able to: explain how using an audience response system can enhance a lecture; describe four poll types; and use Poll Everywhere to enrich an upcoming course, meeting, or other speaking engagement

Practices of Dramaturgy Here, There, and Everywhere

As stated in the introduction to the book Dramaturgy : A Revolution in Theatre, Mary Luckhurst reflects eloquently on the problem: The meaning of the words dramaturg and dramaturgy are unstable, sometimes bitterly so - few terms in contemporary theater practice have consistently occasioned more perplexity. My initial thought about this was that I could surely come up with a clear and to the point explanation of my own after a bit of research and some practice in the field. throughout my reading and my own experience of dramaturgical work, I have discovered that I can be grouped among the mass amount of scholars whose writing on dramaturgy exceed what can be defined as concise. In order to contribute to the writing on dramaturgy and share my experience that has lead me to some conclusions about the work of a dramaturg, I first feel it necessary to introduce some of the things I have learned about the subject and its relationship to the professional world of theatre. In other words, I will try my best to define dramaturgy and the job of a dramaturg

Women in Theatre: Here, There, Everywhere, and Nowhere

This article examines the status of women in theatre in the early twenty-first century and determines that while there has been some improvement in Canada in the last twenty-five years, women still lag behind men in terms of employment in key creative positions Studies show that only 30-35% of the nation’s artistic directors are female and that this limits the production of work by female playwrights and the hiring of female directors. Problems are further exacerbated where there is limited provincial and corporate funding, as in Atlantic Canada. Little money, combined with a greater likelihood that work by female playwrights will be defined as risky and less attractive for sponsors and mainstream theatres, further restricts opportunities for women in theatre. Women also identify traditional hierarchical practices in the theatre industry and social policies, which fail to provide parental leave for self-employed workers or adequate publicly-funded daycare, as barriers to their participation.While increased government funding would help all theatre professionals, including women, and women can support one another through networking and mentorship, the theatre community must actively identify and change the practices that lead to gender inequity. Résumé Le présent article porte sur le statut des femmes en théâtre au début du XXIe siècle. Burton et Green constatent que s’il y a eu une certaine amélioration au Canada au cours des vingt-cinq dernières années, les femmes qui œuvrent dans ce secteur accusent encore un retard par rapport aux hommes en termes d'emplois dans des positions-clés en création. En effet, des études démontrent que la direction artistique des compagnies canadiennes n’est confiée à une femme que dans 30 à 35 % des cas, ce qui limite la production d’œuvres signées par des dramaturges de sexe féminin et l’embauche de metteures en scène. L’inégalité est d’autant plus exacerbée là où les subventions accordées par l’administration provinciale et issues du secteur privé sont limitées, comme c’est le cas au Canada atlantique par exemple. Le peu de financement, de paire avec l’impression qu’une œuvre signée par une dramaturge constitue un plus grand risque et donc un moins grand attrait pour les subventionnaires et les théâtres populaires, sont des obstacles supplémentaires que doit surmonter la femme en théâtre. On cite également à titre d’obstacles les pratiques traditionnelles hiérarchisantes à l’œuvre au sein du secteur et les politiques sociales qui ne prévoient pas de congé parental pour les travailleurs autonomes ou un service de garderie subventionné adéquatement par l’État. Tous les professionnels du théâtre, tant masculins que féminins, bénéficieraient d’un plus grand financement public; quant aux femmes en théâtre, elles peuvent s’appuyer entre elles par l’entremise du réseautage et du mentorat. Ceci dit, la communauté théâtrale doit cerner et modifier activement les pratiques qui mènent à l’inégalité des sexes