Guide To The African Human Rights System Celebrating 40 Years Since The Adoption Of The African Charter On Human And Peoples Rights 1981 2021edited By Centre For Human Rights Faculty Of Law University Of Pretoria 2021

About the publication A Guide to the African human rights system has been conceived as an accessible and informative introduction to the human rights system established under the auspices of the African Union (AU). This Guide provides an overview of developments related to the African Charter on Human and Peoples’ Rights, its supervisory body, the African Commission on Human and Peoples’ Rights, the African Court on Human and Peoples’ Rights, as well as the African Charter on the Rights and Welfare of the Child and its supervisory body, the African Committee of Experts on the Rights and Welfare of the Child. It is launched on 2 November 2017, commemorating the date, 30 years earlier, on which the African Commission was inaugurated. The Guide aims to both chart the most salient historical developments and provide an accessible introduction to the African human rights system, and is continuously revised. The Centre for Human Rights is both an academic department and a non-governmental organisation (NGO) accorded observer status with the African Commission. The Centre teaches academic programmes and engages in research, advocacy and training on human rights, with a specific focus on Africa. Its flagship programmes are the Master’s in Human Rights and Democratisation in Africa and the African Human Rights Moot Court Competition. For more information on the Centre for Human Rights, visit www.chr.up.ac.za

The author of many books on typography, Dan X. Solo was also the proprietor of his own typography shop in Oakland, California — an establishment dedicated to unusual typography and special effects. This comprehensive catalog offers graphic designers a dazzling selection of over 4,000 typefaces and optical effects available from Solotype Typographers. Here, in Solo's words, is "a great cast of characters" — the alphabet — abetted by a cornucopia of typographical ideas and an endless resource of letters, words, phrases, slogans, logos, humorous comments, headlines, and graphic symbols. Individual sections of the book display a rich variety of typefaces in categories such as Condensed, Victorian, Art Nouveau, Art Deco, Rustic, Thick-and-tin, Calligraphic, Uncials, Latins, and Blackletter. Samples are imaginatively presented. "Stagecoach," for example, is printed in Fargo typeface, evoking dusty trails, rawhide, and ten-gallon hats, while "Sizzling summer savings" appears appropriately in the flamboyant Firebug typeface. All typefaces are indexed for quick and easy reference. As entertaining as it is practical and useful, this impressive treasury of versatile typefaces and optical effects will be indispensable to busy commercial artists as an inexhaustible source of typographic ideas and a "swipe file" of words, phrases, and letters for use in graphic art projects.

A new publication presenting an overview of the work of Samoan-born New Zealand-based alphabet and advertising designer Joseph Churchward [1932]. The publication compiles archive material, correspondence, realised and un-realised designwork, alphabet designs and in-dispersed with essays surrounding aspects of Churchward's practice by New Zealand and overseas writers and designers. It attempts to tell a story in process of New Zealand's most prolific designer of letters to date.

Nigerian law for so long developed only one aspect of its property law, namely, real property law, and the law on personal property was left in shambles and unreformed. As a result, most secured lenders refused to accept personal (movable) assets as collateral for loans. One of the reasons was a lack of a collateral registry where security interests on personal property collateral ought to have been registered to inform the public about existing encumbrances. Thus, due to this exploitable gap it was possible for debtors in a non-possessory lending context to create the ostensible impression before potential lenders that they owned the property free from any encumbrance, thereby obtaining several credits with a collateral that was insufficient to cover the debts. Similarly, third party buyers were tricked into purchasing collateral that was encumbered because, prior to purchase, such buyers had no collateral registry to verify ownership and encumbrances."

Catalogue of an exhibition that brings together work that is enriched and informed by an exchange of knowledge to create new forms, with an emphasis on animated, digital, and kinetic work linked to processes found in the natural world.

With an output of more than 250,000 minutes annually, and with roughly 5,000 producers and production units, the Chinese are leading the field of animated films. Although it is almost impossible to completely cover 90 years of filmmaking, this book provides a comprehensible introduction to the industry’s infancy, its Golden Age (Shanghai Animation Film Studio) and today’s Chinese animation (in feature films, television series and student films). There are classics such as Princess Iron Fan (made at the time of the Japanese occupation) and the color Havoc in Heaven, both starring the Monkey King Sun Wukong, as well as countless TV stars (Blue Cat, Pleasant Goat and Big Big Wolf) and many almost unknown works by young filmmakers who are not focusing on an audience of children (like most of the industry output).

This scholarly handbook covers all aspects of people with disabilities entering the workplace, including the legal aspects, transitions, types, and levels of employments, the impact of different disabilities, and the consideration of the intersection of disability with other identities such as gender and ethnicity. Comprehensive in scope, chapters look beyond organizational strategies that accommodate an employee’s disability and use case studies to highlight important issues and the individual’s perspective. The handbook concludes with a reflection on the work included in the book, what was not included and why, and makes recommendations for future disability research. Marking a major contribution to the study of workplace diversity and bringing together academics from various disciplines and global regions, this handbook covers a truly broad and diverse mix of approaches, theories, and models.

Among their many idiosyncrasies, Adolf Hitler and Joseph Goebbels, the Nazi minister of propaganda, remained serious cartoon aficionados throughout their lives. They adored animation and their influence on German animation after World War II continues to this day. This study explores Hitler and Goebbels' efforts to establish a German cartoon industry to rival Walt Disney's and their love-hate relationship with American producers, whose films they studied behind locked doors. Despite their ambitious dream, all that remains of their efforts are a few cartoon shorts--advertising and puppet films starring dogs, cats, birds, hedgehogs, insects, Teutonic dwarves, and other fairy-tale ensemble. While these pieces do not hold much propaganda value, they perfectly illustrate Hannah Arendt's controversial description of those who perpetrated the Holocaust: the banality of evil.