First Nations Australian literature has often been the object of incomprehension and derogation by settler critics – something a deeper perspective of “presencing” can overcome. This chapter takes a decolonial perspective and highlights the self-assertion of First Nations writers against invidious characterization, such as that received by the poetic work of Oodgeroo Noonuccal in the 1960s. It demonstrates how nonIndigenous readers can approach texts by First Nations authors not as “tourists” but as “invited guests.”

Karlheinz Stockhausen was one of the most important representatives of so-called multiple serial music after 1950. In 1951, he was one of the first European composers to write a musical work, Kreuzspiel, in which all sound parameters are comprehensively shaped with the help of serial procedures. For Stockhausen, serial thinking was rooted in the twelve-tone music of Anton Webern. However, he understood serial thinking not only as a compositional principle, but as a complex mental attitude. On the basis of central stations of Stockhausen's musical oeuvre, the fundamentals, characteristics, and transformations of his serial way of creating are shown. Chronologically, an arc is spanned from the strictly serial works of the early 1950s (his point music) through the statistical, aleatoric, variable, moment, and intuitive music of the late 1950s and 1960s to the formula and multi-formula composition that was at the centre from the 1970s on. The arc closes with a look at the last two major work cycles, Licht(1977–2003) and Klang (2004–7).

Luigi Nono was one the first and foremost Italian composers to develop multiple serialism. Stimulated by the teachings and friendship of Bruno Maderna, in the years 1950–1 he started composing with an extended twelve-tone technique that involved complex rhythmic permutations. While developing a special interest in translating verbal formations (especially poetry) into musical structures, around 1954 Nono started a fruitful exchange with Karlheinz Stockhausen on the problems of integral serialism, which culminated in 1958–9 in controversy over the serial workings of Nono’s Il canto sospeso, also related to the function of the textual underlay. In 1957, Nono had taken up a public discussion of serial technique from the perspective of its historical foundation. Increasingly concerned with an organic approach to vocal-instrumental sound and with the significance of text in relation to it, Nono defined a personal multi-parametric technique which enabled him to find a consistent way of composing both complex sound fields and monodic processes, which ultimately led him to vocal-electroacoustic composition in the 1960s.

This chapter begins by addressing classic extradition, its historical roots and the key moments in its evolution, notably its permeation by fundamental rights after World War II, which has caused it to shift from a bilateral political arrangement to a ‘triangular’ (Eser) legal procedure where the individual concerned plays an active role. It assesses the main grounds for refusal – such as nationality, political offences and dual criminality –, and the variation into which they have developed within the European Union. The chapter then delves into the European Arrest Warrant, where proceedings have been fully judicialised and grounds for refusal considerably narrowed. The authors examine the question of whether (and to which extent) the European Arrest Warrant and the underlying principle of mutual recognition have brought about a radical change of paradigm, especially in the light of the (welcomed) ruling of the Court of Justice of the European Union in Aranyosi and Căldăraru. The conclusion anticipates the challenges that lie ahead and underscores the key role of the Court of Justice for the preservation of the whole European arrest warrant system.

European Criminal Law has developed into a complex, jagged subject matter, which at the same time has become increasingly important for everyday criminal law practice. On the one hand, this work aims to do comprehensive justice to the complexity of the matter without sacrificing readability. In order to achieve this, the book’s structure enables legal scholars and experienced practitioners to access the information relevant to them in a targeted manner and, at the same time, enables less-oriented readers to gain access to European Criminal Law. Thus, the volume both answers basic questions and offers discussion in more specialised areas. Written by experts in the field, the book offers discussions that are both of the highest academic standards and accessibly readable.

This chapter explores the role of the European court system in establishing the foundations of European criminal law and influencing its subsequent development. It opens with an historical overview of the emergence of the various elements within the judicial system focusing on the Court of Justice of the EU (CJEU) and the European Court of Human Rights. Particular emphasis is placed in the discussion on the contribution of the CJEU to the field of EU criminal law as it evolved during the Union’s formative years. Through its case law, the Court acted at various times as ‘the motor of European integration’ and the arbitrator of disputes over EU competence and the primacy of EU law. The chapter then moves to the contemporary setting of judicial engagement with the principle of mutual recognition by exploring the implications of certain judgments on the European Arrest Warrant. Consideration is given in this discussion to the increasing and progressive emphasis within the jurisprudence on the essential role of the European court system in ensuring due process and safeguarding fundamental rights.

European Criminal Law has developed into a complex, jagged subject matter, which at the same time has become increasingly important for everyday criminal law practice. On the one hand, this work aims to do comprehensive justice to the complexity of the matter without sacrificing readability. In order to achieve this, the book’s structure enables legal scholars and experienced practitioners to access the information relevant to them in a targeted manner and, at the same time, enables less-oriented readers to gain access to European Criminal Law. Thus, the volume both answers basic questions and offers discussion in more specialised areas. Written by experts in the field, the book offers discussions that are both of the highest academic standards and accessibly readable.

Writing about serialism by its earliest practitioners tended to underline its evolutionary qualities, something made easier by the baroque and classical connections of early examples from the 1920s like Schoenberg’s Suite for Piano op. 25 and Wind Quintet op. 26. Such an emphasis did not prevent more conservative critics from condemning twelve-tone music as ‘mathematical’. But by the early 1950s, there was more cogent criticism from younger composers, claiming that Schoenberg and Berg had failed to understand the innovative implications of twelve-tone methods. Boulez and Stockhausen in Europe and Babbitt in the United States were among those who explored a more systematic, stylistically radical serialism. But in the later Stravinsky, and in Boulez’s music after 1970, this avant-garde spirit gave way to techniques that were able to make productive compromises with more traditional ideas about musical materials and structures; at the same time, writing about serialism turned increasingly pedagogical, offering academic models for analysis and composition.

This chapter considers the history of serialism in the United States and Canada. After exploring US-based ultramodern composers that used series in their writing and early engagement with Schoenberg’s methods, this chapter contemplates the contexts for the significantly increased interest in serialism that occurred in these countries after the Second World War. Many factors were at play in this development, including the role of serialist giants who arrived as émigrés from Europe as teachers and role models, the influence of US-originating modernist movements, the changing university scene, and the cultural politics of the Cold War. While European serialist exiles like Schoenberg and Krenek were highly influential, this influence was not always direct. Moreover, while US composers using highly systematic approaches have drawn most attention, the majority of Americans and Canadians using serial methods combined them with other musical techniques to produce highly original, individualistic musical languages.

In 1999, the Tampere European Council agreed that a Unit called Eurojust should be set up to reinforce the fight against serious organised crime. Following that statement, and after a brief period working as a provisional judicial cooperation unit, Eurojust was definitively established through a Council Decision in 2002 as a Union body with legal personality. The Lisbon Treaty called for a strengthened role of Eurojust, which has led to the adoption of Regulation (EU) 2018/1727 on the European Union Agency for Criminal Justice Cooperation. This new legal framework for Eurojust and its national members, applicable from 12 December 2019, has adapted the agency structure to the post-Lisbon scenario, introducing new features and enhancements that must be regarded as positive from the European dimension perspective. It also considers the judicial nature of their operational functions and the need to improve mutual trust between judicial authorities, strengthening the primacy of the rule of law within the Area of Freedom, Security, and Justice. More than twenty years after the first mentioning of Eurojust at the Tampere summit, and when the new Eurojust Regulation is already in force, this chapter combines both academic and operational approaches to offer the reader an updated, comprehensive view of the mission, added value, and extensive possibilities offered by this unique European Union agency.