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Through its excellence in scholarship, clarity, and ease of use, this casebook engages readers in a critical thinking about tort law. It sets forth crisply edited classic tort cases as well as cases reflecting the newest tort law trends. Its authors are a strong combination of respected scholars and those who practice in the subject. The casebook goes beyond judicial decisions and includes key tort-centered legislation and comparative perspectives where relevant. The casebook encourages the reader to understand the law's foundations and debate modern trends within various policy prescriptions. Unbiased in its approach and organized in manageable sections of information, the casebook is a superb tool for productive and stimulating classroom debate. Tort law doctrine and its rationale will come alive for students. The casebook, proven over 13 editions, assures that our students will be effectively guided to embrace the law of torts as a building block for the remainder of law school and a life in the law beyond. This new edition insures that it will maintain its place as the most widely adopted Torts casebook.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work for Indiana trial attorneys and judges provides unbiased and understandable jury instructions for civil law cases.
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Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically chan...
"In 1654 the Bristol City Council passed an ordinance requiring that a register of servants destined for the colonies be kept, the purpose being to prevent the practice of dumping innocent youths into servitude. The registers, covering the period 1654 to 1686, are the largest body of indenture records known, and they also are a unique record of English emigration to the American colonies" -- publisher website (December 2007).
The unit was chiefly organized andcommanded by Lt. Col. Vincent A. Witcher. Early in the war, Witcher and the 1st Battalion Virginia Mounted Rifles (precursor to the 34th) developed a dual reputation. One Confederate officer commented that Witcher could not pass up a farm that had a fine horse in the field. Most disparaging remarks, however were initiated by the bitter John b. Floyd, a political general and past governor of Virginia. Merited or not, Floyd's use of polemics helped to establish a tainted reputation for the unit, that was perpetuated by Yankee officers. Witcher and the 34th Battalion were greatly appreciated by other Confederate officers though. The immortal J.E.B. Stuart and Robert E. Lee, each highly praised the unit, and Stuart wrote an enviable commendation for Witcher. The unit, more often than not, was placed in the forefront of action. Brigade commanders were cibfudebt if the 34th ability to fight and emerge from even the most dangerous situations.
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