1,721,047 research outputs found
F. Francioni et F. Lenzerini (éd.), The 1972 World Heritage Convention : A Commentary, 2008
No full textJolivet Simon. F. Francioni et F. Lenzerini (éd.), The 1972 World Heritage Convention : A Commentary, 2008. In: Revue Juridique de l'Environnement, n°1, 2011. p. 183
Organizzazione Mondiale del Commercio e Diritto della Comunità Europea nella prospettiva della risoluzione delle controversie
No full textVolume a cura di F. FRANCIONI, F. LENZERINI e M. MONTIN
Military criminal justice and jurisdiction over ‘civilians’: an overview of the case-law of the European Court of Human Rights
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Cultural Heritage and State Immunity
No full textThe intersection of cultural heritage and state immunity raises intriguing questions of international law and policy. Indeed, as applied to cultural heritage property, state immunity may yield contradictory outcomes. On the one hand, it may bar access to justice by the rightful owners of cultural property suing foreign states for restitution and cognate relief, thereby potentially interfering with the global fight against the illicit trafficking of such property. On the other hand, it may advance the international community’s interest in transnational cultural cooperation and mobility of art collections, whenever it shields art objects from reparation claims by victims of state breaches of contractual obligations or violations of human rights which are unrelated to property ownership and restitution issues.
Since my earlier contribution on the law and practice concerning cultural heritage and state immunity (‘Sovereign Immunity and the Enforcement of International Cultural Property Law’, in F Francioni & J Gordley (eds), Enforcing International Cultural Heritage Law (OUP 2013) 79), a variety of developments have occurred. Law-making processes have been undertaken under the auspices of the Council of Europe and the International Law Association, as well as by a number of states. Several high-profile judicial disputes challenging state immunity for cultural property are still pending and others have arisen, particularly in the context of the United States Nazi-looted art litigation. This chapter reviews such developments and seeks to identify trends and prospects. Against that backdrop, it discusses the boundaries of customary law in this area, especially as concerns the existence and scope of a customary rule of immunity from seizure for artworks on loan
Terapia chir. delle stenosi esofagee:programma computerizzato per il monitoraggio del tratt.nutr.
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Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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