Human Rights and Human Trafficking: Introduction

Much like the first iteration of this Topical Digest on human trafficking and modern slavery, with an “Introduction” by Dr. Kevin Bales, this second iteration covers a wide range of subjects, moving from country specific and regional to broad subjects and issues of international jurisprudence. This survey of literature on human trafficking is of critical importance, especially in a young, emerging, and controversial field

Culture and Procedural Justice in Transitioning Societies

In any transitional justice mechanism there are tradeoffs between the search for retributive justice and the practical limitations on what can be accomplished. To date, this tension has been discussed in reference to internationally established norms of justice, which the authors argue are limited in the extent to which they can explain why certain mechanisms—such as the South African Truth and Reconciliation Commission or Rwanda’s gacaca courts—have been considered successful. We argue that mechanisms that have a high overlap between local culture and elements of procedural justice are perceived as more fair and just, even to those who may not benefit—or indeed may be burdened—by their operation

Evans Committee Statement on Pioneer

Letter from University of Denver faculty and alumni on the university\u27s use of the \u27Pioneer\u27 moniker

Comparing Notes: Recording and Criticism

This chapter charts the ways in which recording has changed the nature of music criticism. It both provides an overview of the history of recording and music criticism, from the advent of Edison’s Phonograph to the present day, and examines the issues arising from this new technology and the consequent transformation of critical thought and practice

Wider Still and Wider: British Music Criticism since the Second World War

This chapter provides the first historical examination of music criticism in Britain since the Second World War. In the process, it also challenges the simplistic prevailing view of this being a period of decline from a golden age in music criticism

The Gender Paradox: Criticism of Women and Women as Critics

In May 2014 a storm erupted in the British classical music world when five established male critics fat-shamed Irish mezzo-soprano Tara Erraught, who was performing Octavian in Der Rosenkavalier at Covent Garden. Instead of focusing upon Erraught’s technique or interpretation, the critics ridiculed her physique. Writing in the Financial Times Andrew Clark referred to Erraught as ‘a chubby bundle of puppy-fat’; Michael Church in The Independent and Rupert Christiansen in The Telegraph both described her as ‘dumpy’; Andrew Clements in The Guardian called her ‘stocky’; and Richard Morrison in The Times characterised her as ‘unbelievable, unsightly and unappealing’. Although these sexist comments drew widespread condemnation, they are symptomatic of a centuries-old tendency for empowered male critics to fail to produce objective assessments of female musicians

Critiquing the Canon: The Role of Criticism in Canon Formation

Music critics wield great power. Their writing influences public opinion and contributes to how audiences receive works. They focus attention upon specific works and musicians, thus justifying these as most worthy of public recognition and debate. They help works to achieve repeat performances, and thereby to establish their places within the performing canon. In the age of recorded sound, they influence sales and affect charts. Although some claim that with the recent rise of ubiquitous digital critical commentary (much of it amateur) professional critics have lost their traditional authority, online criticism continues to exercise considerable sway. In a very real way, critics have been – and continue to be – the gatekeepers of the canon. As Roy Shuker has observed, ‘popular music critics … function as significant gatekeepers and as arbiters of taste’