3,385 research outputs found

    Does fault matter?

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    Duress is no excuse

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    Bergelson, Vera

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    Consent To Harm

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    This article continues conversation about consent to physical harm started in Vera Bergelson, The Right to Be Hurt: Testing the Boundaries of Consent, 75 Geo. Wash. L. Rev. 165 (2007). Intentionally injuring or killing another person is presumptively wrong. To overcome this presumption, the perpetrator must establish a defense of justification. Consent of the victim may serve as one of the grounds for such a defense. This article puts forward criteria for the defense of consent. One element of the proposed defense is essential to both its complete and partial forms ¨C that consent of the victim be rational and voluntary. In addition, for complete justification, the perpetrator¡¯s reasons for a consensual injurious act should be subjectively benevolent and the act must produce an overall positive balance of harms and evils, including harm to the victim¡¯s welfare interests and dignity. If these requirements are not met, the defense should be only partial

    Consent to Harm

    No full text
    This article continues conversation about consent to physical harm started in Vera Bergelson, The Right to Be Hurt: Testing the Boundaries of Consent, 75 Geo. Wash. L. Rev. 165 (2007). Intentionally injuring or killing another person is presumptively wrong. To overcome this presumption, the perpetrator must establish a defense of justification. Consent of the victim may serve as one of the grounds for such a defense. This article puts forward criteria for the defense of consent. One element of the proposed defense is essential to both its complete and partial forms ¨C that consent of the victim be rational and voluntary. In addition, for complete justification, the perpetrator¡¯s reasons for a consensual injurious act should be subjectively benevolent and the act must produce an overall positive balance of harms and evils, including harm to the victim¡¯s welfare interests and dignity. If these requirements are not met, the defense should be only partial

    Consent Is Not a Defense to Battery: A Reply to Professor Bergelson

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    Professor Vera Bergelson expressed puzzlement over the fact that those who feel trapped in the wrong body can consent to a sex change operation, which often involves the removal of healthy sexual organs, whereas those who would feel happier being amputees cannot consent to amputation of an arm or a leg.” Bergelson is equally puzzled by the fact that a spouse may physically injure her partner pursuant to practices of religious flagellation, but she may not cause similar injuries pursuant to sadomasochistic sexual practices. The purpose of this brief essay is to explain why I believe that the aforementioned cases are not really puzzling at all. I will do so by arguing that, properly understood, consent is never a defense to battery. More specifically, I contend that consent defeats criminal liability only in two circumstances, neither of which operates as a true defense” to liability

    Vera Kelsey Papers, 1944-1958

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    An accomplished journalist and author, Vera Kelsey's papers document her writing career through the manuscripts and research notes for her last four books, British Columbia Rides a Star, Red River Runs North!, Tomorrow is for You, and Young Men So Daring. For British Columbia Rides a Star it includes her travel notes from four trips around British Columbia

    Open doors presents Judith Van Gieson and Vera John-Steiner

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    The Open Doors series presents Judith Van Gieson author of ""Confidence Woman"" reads from her new novel and discusses doing research for her books at the Center for Southwest Research and Vera John-Steiner, author of ""Creative Collaboration,"" discusses the her study of the collabortive process

    Vera Hall

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    This chapter describes the recordings of Vera Hall (1902–1964). On October 31, 1940, at the Livingston, Alabama, home of author, painter, and folksong collector Ruby Pickens Tartt, Vera sang “Another Man Done Gone” twice into Lomax's machine. During the first take, the partially filled recording blank ran out of space, abruptly ending the song. The second time, however, Lomax used a fresh side, allowing Vera to include all her verses. Just as she finished, but before he lifted the cutting arm and turned off the microphone, he remarked, “That's perfect.” Lomax's summation saluted more than an unmarred recording. “Another Man Done Gone” became Vera Hall's most celebrated performance. Carl Sandburg recalled listening to it more than a dozen consecutive times during a January 1944 visit to Lomax's Dallas home, later including it in his second folksong anthology and learning it himself. The poet termed it “one of the strikingly original creations of Negro singing art.”</p
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