Third-Party Bankruptcy Releases: An Analysis of Consent Through the Lenses of Due Process and Contract Law

Bankruptcy courts disagree on the use of third-party releases in Chapter 11 bankruptcy plans, the different factors that circuit courts consider when deciding whether to approve a third-party release, and the impact of the various consent definitions on whether a release is or should be binding on the creditor. Affirmative consent, “deemed consent,” and silence are important elements in this discussion. Both contract law and due process provide lenses to evaluate consent definitions to determine whether nondebtor third-party releases should bind certain creditor groups. This Note proposes a solution that follows an affirmative consent approach to protect against due process violations and promote consistency across bankruptcy courts

Religion and spirituality in social work in Uganda : lessons for social work education

There is a conspicuous silence about the role of religion and spirituality in social work in Uganda, yet they are critical components in the lives of social workers and their clients. The authors’ collective experience of social work education in Uganda, South Africa, Sweden, the UK, and Australia affirmed to an absence of content on religion and spirituality in social work education. Most universities in Uganda incorporate little content on spirituality resulting in graduates ill-equipped to handle spiritually-related issues with their clients and communities. Authors conducted a content analysis of the narratives in their PhD theses to explore the inextricable connection between spirituality and social work practice in Uganda. From the common findings, the authors conceptualise an African Spiritually Sensitive Practice-Theory and a reflective tool for social workers in education and practice. The paper draws on lessons from research arguing for the incorporation of indigenous knowledge and African spirituality to inform the social work curriculum in Uganda

Le silence en maux dans l’œuvre théâtrale de Samuel Beckett

The silence in Beckett’s plays can be interpreted in many different ways. It often shows the anxiety of the characters faced with the vacuity in their lives. Left to themselves, they hardly manage to let go during these recurring silences (marked in an obsessional way in Beckett’s texts with the word "pause" as an absolute punctuation in the theatrical language). So they really feel the silence as the "arising of nothingness ", a sort of gateway to finitude. This silence is also the one appearing among Beckettian couples to reveal the aporia in language: inability to communicate, "doing" instead of (impossible) "saying". This Beckettian "doing" is shown in a conspicuous gestuality which conveys a certain materiality to this silence as well as it tries desperately to fill it. Thus Beckett’s characters act and give silence some substance, incarnating therefore a full-fledged character. Finally, silence can also embody the religious, at least the expectation (of the divine? in Godot particularly?). This silence grows solemn and reveals a suspension in the speech and characters in search of a follow-up. Silence then becomes the opening of an area where everything is possible since nothing has been said yet, implicitly expressing fantasies of joy and salvation

Tereus, Procne, and Philomela: speech, silence, and the voice of gender

This dissertation investigates speech, silence, and power in the Tereus, Procne, and Philomela myth in four sources: Sophocles’ Tereus, Aristophanes’ Birds, Ovid’s Metamorphoses, and the Pervigilium Veneris. I pose three questions about each work: 1. Whom does the author allow to speak, and whom does he silence? 2. How do speech and silence influence characterization, authority, and power? 3. How does the author’s socio-cultural environment influence the construction of those power hierarchies? Each author constructs a hierarchy of agency determined by communicative and silent roles. Sophocles’ Procne, Aristophanes’ Tereus, Ovid’s Philomela and Procne, and the Pervigilium’s Venus and swallow possess a heightened level of narrative agency that cannot be taken away, even if the ability to speak disappears; on the other hand, conspicuous silencing by the author reduces the narrative agency of characters like Aristophanes’ Procne, Ovid’s Tereus, or the Pervigilium’s narrator. These authorial decisions regarding speech and silence evince shifting engagements with each author’s socio-cultural environment and opportunities for artistic output. Moreover, these four authors also engage in an escalating series of mythic reversals and re-appropriations as they mold the details of the Tereus, Procne, and Philomela story into their narratives. First, Aristophanes reverses Sophocles’ empowerment of Procne and Philomela by effacing the violence of Sophocles’ tragedy; he mutes and objectifies Procne, erases Philomela entirely, and elevates Tereus into the bird-man-ruler paradigm that Peisetaerus hopes to emulate, thereby presenting a normative relationship of vocal man with silent woman in service of the movement of his plot. Then, in Augustan Rome, Ovid comments on the princeps’ increasing control over artistic output by acting as an arbiter of speech and silence, as he affords Philomela and Procne eloquent voices while conspicuously silencing Tereus; he “corrects” the Aristophanic “correction” of Sophocles. Finally, in Late Antiquity, the narrator of the Pervigilium laments his silence caused by constraints within panegyric, a genre that lacks a personal voice, such as that possessed by the swallow. He “corrects” Ovid’s presentation of the swallow’s song as the result of Philomela’s brutalization by casting it as a positive exemplum for his own poetry

In plain view : the body as site of detection and inscription in serial killer narratives ; ein Essay

At the beginning of every story of murder there is always a body. If the murderer is a serial killer, there is, of course, more than one. More importantly, the bodies left by the serial killer are not likely to be intact and whole. What he leaves behind and what we, the audience, will get to see is the body in pieces, dismembered, scattered. A series of snapshots, partial views, and close-ups, inflicting cold sharp shocks, is all we may glimpse: the head of Benjamin Raspail floating in a jar of formaldehyde in The Silence of the Lambs, a finger removed by the serial killer from his landlord’s hand in Kalifornia, a ziploc bag of fingers recovered from a flooded drainpipe in When The Bough Breaks, a surgically severed hand used to leave misleading fingerprints on a wall at a crime scene in Seven

Has the Silence Been Broken? Catholic Theological Ethics and Racial Justice

This survey discusses the emerging contours of a distinctive Catholic ethical approach to race, racism, and racial justice. Among its features are the adoption of a more structural and cultural understanding of human sinfulness, engaged intellectual reflection, concern about malformed white identity, an intentional dialogue with African American scholarship and culture, and the cultivation of spiritual practices and disciplines. The “Note” concludes with a discussion of the global challenges of racialization and the future challenges for Catholic ethical reflection on racism

The Ambiguous Mother-Figure in Harold Pinter’s The Room 87

Zadanie pt. „Digitalizacja i udostępnienie w Cyfrowym Repozytorium Uniwersytetu Łódzkiego kolekcji czasopism naukowych wydawanych przez Uniwersytet Łódzki” nr 885/P-DUN/2014 dofinansowane zostało ze środków MNiSW w ramach działalności upowszechniającej nauk