Enhanced descriptions from Syndetics:

This book offers educational experiences, including reflections and the resulting essays, from the Roberta Kevelson Seminar on Law and Semiotics held during 2008 - 2011 at Penn State University's Dickinson School of Law.  The texts address educational aspects of law that require attention and that also are issues in traditional jurisprudence and legal theory.  The book introduces education in legal semiotics as it evolves in a legal curriculum. Specific semiotic concepts, such as "sign", "symbol" or "legal language," demonstrate how a lawyer's professionally important tasks of name-giving and meaning-giving are seldom completely understood by lawyers or laypeople.  These concepts require analyses of considerable depth to understand the expressiveness of these legal names and meanings, and to understand how lawyers can "say the law," or urge such a saying correctly and effectively in the context of a natural language that is understandable to all of us.  The book brings together the structure of the Seminar, its foundational philosophical problems, the specifics of legal history, and the semiotics of the legal system with specific themes such as gender, family law, and business law.

Reviews provided by Syndetics

CHOICE Review

The first monograph on Finlay, this book thoroughly documents the work of the poet/gardener/moralist who gained fame in the 1960s as Britain's foremost concrete poet. Abrioux brings together a variety of Finlay's literary products in true primer form. Bann provides brief explanations for the uninitiated. Work is organized by concept rather than date. Short stories, poetry, folding cards, and booklets published by Finlay's Wild Hawthorn Press are extensively reproduced but lose some of their effect when reprinted several to a page. Since 1967 much of Finlay's work has focused on his garden at Stonypath, renamed Little Sparta after his battles with the Scottish Arts Council over property taxes. This project is given the most comprehensive coverage and justifies purchase. The garden includes references to war and violence in a neoclassical setting rivaling Stowe and Stourhead in beauty and conception. The color photographs provide a good sense of the gardens; nearly everything else is reproduced in black and white. Also included are a biographical sketch and a brief bibliography. Recommended for upper-division undergraduate students and for any library supporting a landscape architecture program.-S.M. Klos, University of Oregon