The article attempts refute recent arguments that the historical context in which an artwork is produced is relevant to its aesthetic value. These arguments claim that forgeries are intrinsically less aesthetically valuable than originals because forgeries lack the appropriate relation to the past. These arguments fail because demanding an "appropriate" historical context of a work for it to be aesthetically respectable confuses aesthetic merit with artistic merit, A work's significance within its culture and the history of art.

This chapter first discusses four categories of international criminal law, namely international aspects of national criminal law, international criminal law stricto sensu, suppression conventions/transnational criminal law, and international standards for criminal justice. It then explains some crosscutting issues that are in the forefront of both historical and contemporary discussions in the area, organizing the material under the rubric of jurisdiction, paying particular attention to how this plays out in a number of suppression conventions. The appropriateness of domestic court jurisdiction is (...) a fundamental issue in relation to most of the subject matter of the first three of the categories of international criminal law and to significant instruments developed in the fourth. The chapter also introduces a recent international criminal treaty, namely 2010 Beijing Convention on the Suppression of Unlawful Acts Relating to International Civil Aviation, that is regarded as the state of the art. (shrink)

The authors mark the twentieth anniversary of the classic study by Weitzman et al., which found considerable gender stereotyping in picture books for preschool children, by replicating and extending their study with an updated sample that includes books by Black illustrators. The authors find evidence that female characters and female relationships receive considerably more attention in recent books by both conventional illustrators and Black illustrators than they did in the late 1960s. They also find, consistent with the liberal feminist aims (...) of Weitzman et al., evidence that male and female characters are shown in a more egalitarian fashion than they were in the late 1960s in books by mainstream authors. Finally, they discover that, consistent with the aims of recent Black feminist theorists, Black illustrators are more apt than others to highlight women's involvement in an ethic of caring and an ethic of personal accountability. (shrink)