Visar resultat för..."Canson"

Canson® Graduate Akvarellblock i A5 format innehåller 20 ark 250 g/m2 vitt, slitstarkt papper i fin gräng. Den är perfekt för akvarellmålning. Syrafritt och FSC-certifierat papper tillverkat i Frankrike.

Canson® Graduate Sketch-block i A4 format innehåller lite tjockare vitt papper. Blocket består av 40 ark med lätt strukturerat papper som är perfekt för att sudda ut detaljer och för snabba blyertsskisser. Syrafritt och FSC-certifierat papper tillverkat i Frankrike.

Canson® Graduate Akvarellblock i A4 formatinnehåller 20 ark 250 g/m2 vitt, slitstarkt papper i fin gräng. Den är perfekt för akvarellmålning. Syrafritt och FSC-certifierat papper tillverkat i Frankrike.

Canson Graduate Mixed Media block A4 200G 20 ark. Canson Graduate Block innehåller 20 ark 200 gram naturvitt papper som är hållbart, dubbelsidigt (texturerat och slätt) och idealiskt för mixade tekniker. En serie produkter som är framtagna framför allt för dig som vill ha ett prisvärt alternativ för att börja med dina konstnärliga drömmar. Syrafritt FSC-certifierat papper tillverkat i Frankrike. Canson grundades i Frankrike av familjen Montgolfier och har tillverkat papper sedan 1557. De anses vara en av världens främsta tillverkare och levererar till alla nivåer från skolor till professionella konstnärer.

Canson® Graduate Oil & Acrylic-pads i A5 format har tjockt vitt papper med en högpresterande, hållbar och absorberande beläggning. Blocket innehåller 20 ark papper på 290 gsm, perfekt för olja- och akryltekniker. Syrafritt och FSC-certifierat papper tillverkat i Frankrike.

This book utilises the growing phenomenon of British soldier narratives from Iraq and Afghanistan to explore how British soldiers make sense of their role on these complex, multi-dimensional operations. It aims to intervene in the debates within critical feminist scholarship over whether soldiers can ever be agents of peace.

It takes just under 10 seconds to run, but to the winner of Athletics' men's 100 metres goes the accolade of 'The Fastest Man on Earth'. "The Fastest Men on Earth", first published in 1988 as a tie-in to the "Thames Television" series of the same name, is reissued in a new, exciting format, fully revised and updated to include the incredible men's 100 metres final at the Beijing 2008 Games. Each chapter discusses not only the race itself, but also the preliminary rounds, dramas and controversies and includes interviews with all the key players, not just the champion. Immaculately researched and written in an entertaining style "The Fastest Men on Earth" brings to life some of the greatest athletes who ever set foot on a running track.

"Harry Edward was a hugely talented athlete and an extraordinary man who fought all his life for justice and fairness in the face of repeated prejudice. His story is as powerful today as it was when he lived it and I urge everyone to read this book.”—Linford Christie, 1992 Olympic 100m ChampionThe lost memoir of Britain’s first Black Olympic medal winner—and the America he discoveredAfter winning Olympic medals for Britain in 1920, Harry Edward (1898–1973) decided to try his luck in America. The country he found was full of thrilling opportunity and pervasive racism.Immensely capable and energetic, Harry rubbed shoulders with kings and presidents, was influential in the revival of Black theatre during the Harlem Renaissance, and became a passionate humanitarian and advocate for child welfare. He was present at some of the twentieth century’s most significant moments, worked alongside W. E. B. Du Bois and Orson Welles, and witnessed two world wars and the civil rights movement. Yet he was frustrated at almost every turn.Toward the end of his life he set down his story, crafting this memoir of athletics and activism, race and racism on both sides of the Atlantic. His manuscript went unpublished until now. This is the deeply engaging tale of Edward’s life—and a moving testament to his drive to form a better world.

This collection interrogates relationships between court architecture and social justice, from consultation and design to the impact of material (and immaterial) forms on court users, through the lenses of architecture, law, socio-legal studies, criminology, anthropology, and a former senior federal judge.International multidisciplinary collaborations and single-author contributions traverse a range of methodological approaches to present new insights into the relationship between architecture, design, and justice. These include praxis, photography, reflections on process and decolonising practice, postcolonial, feminist, and poststructural analysis, and theory from critical legal scholarship, political science, criminology, literature, sociology, and architecture. While the opening contributions reflect on establishing design principles and architectural methodologies for ethical consultation and collaboration with communities historically marginalised and exploited by law, the central chapters explore the textures and affects of built forms and the spaces between; examining the disjuncture between design intention and use; and investigating the impact of architecture and the design of space. The collection finishes with contemplations of the very real significance of material presence or absence in courtroom spaces and what this might mean for justice. Courthouse Architecture, Design and Social Justice provides tools for those engaged in creating, and reflecting on, ethical design and building use, and deepens the dialogue across disciplinary boundaries towards further collaborative work in the field. It also exists as a new resource for research and teaching, facilitating undergraduate critical thought about the ways in which design enhances and restricts access to justice.

This book addresses the importance of the body in legal theory, through an analysis of the film Fifty Shades of Grey.As physical beings, we experience law in sensations of outrage when it is applied unethically, righteousness when it finds justice, and joy when it establishes partnerships in marriage. Our bodies feel and know law. In Embodiment and Legal Theory, it is argued that our bodies also theorise law. It is proposed that our bodies are involved in comprehending, negotiating, and reimagining the legal concepts that shape our lives. As a medium designed to engage us by stimulating our bodily reactions of tears, laughter, shock, and titillation, cinema provides an ideal site for exploring how bodies participate in legal arguments and the construction of legal meaning. For this reason, through a deep analysis of the film Fifty Shades of Grey (2015), this book presents a theory of embodied jurisprudence.At the intersection of legal theory and film studies, this book will appeal to students and scholars in both these areas, as well as in criminology and cultural studies.

Historiography, Empire and the Rule of Law considers the intersection of these terms in the historical development of what has come to be known as the ‘rule of law’. The separation of governmental powers, checks and balances, and judicial independence signified something entirely new in the way in which politics was imagined and practiced. This ‘rule of law’ cannot, as it often is, be traced to the justification and practice of government as originating in a social contract among the governed; but rather, by analogy with a popular conveyancing innovation of the era, to the trust – a device by which the power of ownership of land could be restrained. But how could the restraint of power remain consistent with the avoidance of anarchic disagreement among those granted the task of supervision and restraint? In response, it is argued here, the central legal and political task became one of managing disagreement and change peacefully and constructively – by drawing on a colonial tradition that emphasised civility, negotiation and compromise. And the study of all of these qualities as they evolved, Ian Duncanson contends, is vital to understanding the emergence of the ‘rule of law’. Historiography, Empire and the Rule of Law will be invaluable for all those engaged in research and the postgraduate study of socio-legal and constitutional studies, and early modern and modern history.

Historiography, Empire and the Rule of Law considers the intersection of these terms in the historical development of what has come to be known as the ‘rule of law’. The separation of governmental powers, checks and balances, and judicial independence signified something entirely new in the way in which politics was imagined and practiced. This ‘rule of law’ cannot, as it often is, be traced to the justification and practice of government as originating in a social contract among the governed; but rather, by analogy with a popular conveyancing innovation of the era, to the trust – a device by which the power of ownership of land could be restrained. But how could the restraint of power remain consistent with the avoidance of anarchic disagreement among those granted the task of supervision and restraint? In response, it is argued here, the central legal and political task became one of managing disagreement and change peacefully and constructively – by drawing on a colonial tradition that emphasised civility, negotiation and compromise. And the study of all of these qualities as they evolved, Ian Duncanson contends, is vital to understanding the emergence of the ‘rule of law’. Historiography, Empire and the Rule of Law will be invaluable for all those engaged in research and the postgraduate study of socio-legal and constitutional studies, and early modern and modern history.