This book provides an unprecedented analysis on the place of performance. The central theme is that the place of performance is of considerable significance as a connecting factor in international commercial contracts. This book challenges and questions the approach of the European legislator for not explicitly giving special significance to the place of performance in determining the applicable law in the absence of choice for commercial contracts. It also contains, inter alia, an analogy to matters of foreign country mandatory rules, and the coherence between jurisdiction and choice of law. It concludes by proposing a revised Article 4 of Rome I Regulation, which could be used as an international solution by legislators, judges, arbitrators and other stakeholders who wish to reform their choice of law rules.

The essays in this book, written in honour of Lennart Palsson, emeritus Professor of Public and Private International Law at the University of Lund, give a valuable insight into Nordic perspectives on a number of issues of great current interest and importance. The Editor has succeeded in putting together a fascinating collection, which covers, "inter alia," competition law in the European Union, the judicial system of the EU in the light of the Intergovernmental Conference, the application of foreign law in Swedish courts, Human Rights and university policy, aspects of the new Nordic Law on carriage of goods by sea and Comparative Law as a yardstick for academic legal education. The book will be a valuable addition to the literature of European Law containing, as it does, some new and unconventional ideas.

This is a very special volume of the Yearbook of Private International Law as it represents the celebration of the tenth anniversary of its first publication. It continues to provide interesting information on the future evolution in private international law. Contents includes: The New Lugano Convention on Jurisdiction and the Recognition and Enforcement of Judgments of 30 October 2007 . Commercial Agents under European Jurisdiction Rules . Grunkin-Paul and Beyond - A Seminal Case in the Field of International Family Law . The New Rome I / Rome II / Brussels I-Synergy . Rome I and Contracts on Intellectual Property . Rome I and Distribution Contracts . Rome I and Franchise Contracts . Rome I and Financial Market Contracts . Special Section on Maintenance Obligations.

This collection of essays and interviews investigates current practices that expand our understanding and experience of performance through the use of state-of-the-art technologies. It brings together leading practitioners, writers and curators who explore the intersections between theatre, performance and digital technologies, challenging expectations and furthering discourse across the disciplines. As technologies become increasingly integrated into theatre and performance, Interfaces of Performance revisits key elements of performance practice in order to investigate emergent paradigms. To do this five concepts integral to the core of all performance are foregrounded, namely environments, bodies, audiences, politics of practice and affect. The thematic structure of the volume has been designed to extend current discourse in the field that is often led by formalist analysis focusing on technology per se. The proposed approach intends to unpack conceptual elements of performance practice, investigating the strategic use of a diverse spectrum of technologies as a means to artistic ends. The focus is on the ideas, objectives and concerns of the artists who integrate technologies into their work. In so doing, these inquisitive practitioners research new dramaturgies and methodologies in order to create innovative experiences for, and encounters with, their audiences.

A primary focus of ‘Sites of Performance: Of Time and Memory’ is the impact of time and memory as they intersect and constitute the varied spaces of theatre. These spaces include more traditional sites of theatre, such as those involving stages and curtains, actors and audiences, as well as those other theatres or spaces of performance that range from performance and installation art, to the performance of a string quartet, and from the writing of performance, to the performance of writing.

Typographies of Performance in Early Modern England is the first book-length study of early modern English playbook typography. It tells a new history of drama from the period by considering the page designs of plays by Shakespeare and others printed between the end of the fifteenth century and the beginning of the eighteenth century. It argues that typography, broadly conceived, was used creatively by printers, publishers, playwrights, and other agents of the book trade to make the effects of theatricality—from the most basic (textually articulating a change in speaker) to the more complex (registering the kinesis of bodies on stage)—intelligible on the page. The coalescence of these experiments into a uniquely dramatic typography that was constantly responsive to performance effects made it possible for 'plays' to be marketed, collected, and read in the sixteenth and seventeenth centuries as a print genre distinct from all other genres of imaginative writing. It has been said, 'If a play is a book, it is not a play.' Typographies of Performance in Early Modern England shows that 'play' and 'book' were, in fact, mutually constitutive: it was the very bookishness of plays printed in early modern England that allowed them to be recognized by their earliest readers as plays in the first place.

The Routledge Dictionary of Contemporary Theatre and Performance provides the first authoritative alphabetical guide to the theatre and performance of the last 30 years. Conceived and written by one of the foremost scholars and critics of theatre in the world, it literally takes us from Activism to Zapping, analysing everything along the way from Body Art and the Flashmob to Multimedia and the Postdramatic. What we think of as 'performance' and 'drama' has undergone a transformation in recent decades. Similarly how these terms are defined, used and critiqued has also changed, thanks to interventions from a panoply of theorists from Derrida to Ranciere. Patrice Pavis's Dictionary provides an indispensible roadmap for this complex and fascinating terrain; a volume no theatre bookshelf can afford to be without.

Clear, informal, and even humorous, Examples & Explanations: Conflicts of Law, Fourth Edition, explores all topics covered in Conflicts courses, including personal jurisdiction and the Erie doctrine. It covers traditional and modern approaches to choice of law, proof of law, and enforcement of foreign country and sister state judgments. It provides up-to-date coverage of constitutional limits on personal jurisdiction, choice of law, and actions against sister states. Big-picture overviews and accurate statements of rules are reinforced with concrete examples and test-taking tips. The powerful Examples & Explanations pedagogy works especially well for Conflict of Laws where students gain understanding of rules and policies by applying them to new fact patterns. Summaries of leading cases found in most casebooks and a modular organization allows easy adaptation to any course. New to the Fourth Edition: Substantially revised personal jurisdiction chapters to add latest Supreme Court cases New material on full faith and credit and immunity of state governments to suit in sister states in response to recent Supreme Court decisions New material on proof of foreign country law in response to recent Supreme Court decision Additional material on state law proof of law that refers to new developments in state law New examples and explanations that apply most recent changes in law Continued coverage of same-sex marriage rights after Obergefell Professors and students will benefit from: Big picture introductions that provide a helpful road map Accurate summaries of specific rules of law Clear identification of problem areas and legal uncertainties Strategies for answering difficult questions Examples that illustrate practical consequences of rules Explanations that discuss the application of recent Supreme Court decisions

Analyzing Elizabethan and Jacobean playtexts for their spatial implications, this innovative study discloses the extent to which the resources and constraints of public playhouse buildings affected the construction of the fictional worlds of early modern plays. The study argues that playwrights were writing with foresight, inscribing the constraints and resources of the stages into their texts. It goes further, to posit that Shakespeare and his playwright-contemporaries adhered to a set of generic conventions, rather than specific local company practices, about how space and place were to be related in performance: the playwrights constituted thus an overarching virtual 'company' producing playtexts that shared features across the acting companies and playhouses. By clarifying a sixteenth- to seventeenth-century conception of theatrical place, Tim Fitzpatrick adds a new layer of meaning to our understanding of the plays. His approach adds a new dimension to these particular documents which–though many of them are considered of great literary worth–were not originally generated for any other reason than to be performed within a specific performance context. The fact that the playwrights were aware of the features of this performance tradition makes their texts a potential mine of performance information, and casts light back on the texts themselves: if some of their meanings are 'spatial', these will have been missed by purely literary tools of analysis.

Analyzing Elizabethan and Jacobean playtexts for their spatial implications, this innovative study discloses the extent to which the resources and constraints of public playhouse buildings affected the construction of the fictional worlds of early modern plays. The study argues that playwrights were writing with foresight, inscribing the constraints and resources of the stages into their texts. It goes further, to posit that Shakespeare and his playwright-contemporaries adhered to a set of generic conventions, rather than specific local company practices, about how space and place were to be related in performance: the playwrights constituted thus an overarching virtual 'company' producing playtexts that shared features across the acting companies and playhouses. By clarifying a sixteenth- to seventeenth-century conception of theatrical place, Tim Fitzpatrick adds a new layer of meaning to our understanding of the plays. His approach adds a new dimension to these particular documents which-though many of them are considered of great literary worth-were not originally generated for any other reason than to be performed within a specific performance context. The fact that the playwrights were aware of the features of this performance tradition makes their texts a potential mine of performance information, and casts light back on the texts themselves: if some of their meanings are 'spatial', these will have been missed by purely literary tools of analysis.