title: Beauty and Truth: Re-defining Legal Artistry's Normative Aspirations

authors: McDonald, Deidre Ann

subjects: beauty

abstract: Abstract 


Judges are responsible for creating case law, and each case is important, because each develops (in theory) the body of law as a whole. Each judgment should be able to meet the definition of 'art' that I will set out and apply in this thesis. Where a judgment meets that test of art, it will be successful in relaying the 'truth' of the law in a rich, lasting and forceful manner. It is important for case law to relay the truth of the law in such a way because case law's function is to communicate and reinforce social values by recognising and applying universal principles of justice and fairness to situations that arise from social life. 

In summary, this thesis examines whether the each of the main cases that have developed the duty of care test in negligence meets the criteria in the definition of art set out in this work, so that they may be called works of art. Each of the relevant cases will be evaluated to see: whether each embodies a 'system of rules and principles' (rules and principles being separate concepts) as these relate to the duty of care test; and whether each may be called beautiful. For, a work of art is one that incorporates all of these aspects: rules, principles and beauty. 

I will define what art is, and I will describe art's function in the world. I will explore and define the concept of truth, as it relates to this thesis, and I will attempt to make clear the analogy between truth as Idea (in the Greek sense) and the law as Idea. Further, I will look at the context in which the judicial opinion is created, and I will consider the responsibilities judges have to reason by analogy under the doctrine of precedent. 

Then, I will consider the concept of beauty itself, and how it affects us as those who experience the work. Finally, I will show that the concept of 'duty of care' in negligence, leading up to and culminating in Lord Atkin's dictum in Donoghue v Stevenson (1932) AC 562 (HL), has been developed by judges so that only 50% of the cases considered meet the test of: a system of rules and principles governing that particular aspect of the law; and beauty. Thus, only the cases that meet the test will be considered to be successful in conveying the truth of the law (and allowing us to access that truth) in a rich, lasting and forceful manner, because this is art's function in the world.

text: Beauty and Truth: Re-defining Legal Artistry's Normative Aspirations Abstract 


Judges are responsible for creating case law, and each case is important, because each develops (in theory) the body of law as a whole. Each judgment should be able to meet the definition of 'art' that I will set out and apply in this thesis. Where a judgment meets that test of art, it will be successful in relaying the 'truth' of the law in a rich, lasting and forceful manner. It is important for case law to relay the truth of the law in such a way because case law's function is to communicate and reinforce social values by recognising and applying universal principles of justice and fairness to situations that arise from social life. 

In summary, this thesis examines whether the each of the main cases that have developed the duty of care test in negligence meets the criteria in the definition of art set out in this work, so that they may be called works of art. Each of the relevant cases will be evaluated to see: whether each embodies a 'system of rules and principles' (rules and principles being separate concepts) as these relate to the duty of care test; and whether each may be called beautiful. For, a work of art is one that incorporates all of these aspects: rules, principles and beauty. 

I will define what art is, and I will describe art's function in the world. I will explore and define the concept of truth, as it relates to this thesis, and I will attempt to make clear the analogy between truth as Idea (in the Greek sense) and the law as Idea. Further, I will look at the context in which the judicial opinion is created, and I will consider the responsibilities judges have to reason by analogy under the doctrine of precedent. 

Then, I will consider the concept of beauty itself, and how it affects us as those who experience the work. Finally, I will show that the concept of 'duty of care' in negligence, leading up to and culminating in Lord Atkin's dictum in Donoghue v Stevenson (1932) AC 562 (HL), has been developed by judges so that only 50% of the cases considered meet the test of: a system of rules and principles governing that particular aspect of the law; and beauty. Thus, only the cases that meet the test will be considered to be successful in conveying the truth of the law (and allowing us to access that truth) in a rich, lasting and forceful manner, because this is art's function in the world.

year: 2007

title: First demonstration of antigen induced cytokine expression by CD4-1⁺ lymphocytes in a poikilotherm: Studies in Zebrafish (Danio rerio)

authors: Yoon, Sohye

abstract: Adaptive immunity in homeotherms depends greatly on CD4+ Th cells which release cytokines in response to specific antigen stimulation. Whilst bony fish and poikilothermic tetrapods possess cells that express TcR and CD4-related genes (that exist in two forms in teleost fish; termed CD4-1 and CD4-2), to date there is no unequivocal demonstration that cells equivalent to Th exist. Thus, in this study we determined whether CD4-1⁺ lymphocytes can express cytokines typical of Th cells following antigen specific stimulation, using the zebrafish (Danio rerio). Initially, we analyzed the CD4 locus in zebrafish and found three CD4 homologues, a CD4-1 molecule and two CD4-2 molecules. The zfCD4-1 and zfCD4-2 transcripts were detected in immune organs and were most highly expressed in lymphocytes. A polyclonal antibody to zfCD4-1 was developed and used with an antibody to ZAP70 and revealed double positive cells by immunohistochemistry, and in the Mycobacterium marinum disease model CD4-1⁺ cells were apparent surrounding the granulomas typical of the infection. Next a prime-boost experiment, using human gamma globulin as antigen, was performed and revealed for the first time in fish that zfCD4-1⁺ lymphocytes increase the expression of cytokines and master transcription factors relevant to Th1/Th2- type responses as a consequence of boosting with specific antigen.

text: First demonstration of antigen induced cytokine expression by CD4-1⁺ lymphocytes in a poikilotherm: Studies in Zebrafish (Danio rerio) Adaptive immunity in homeotherms depends greatly on CD4+ Th cells which release cytokines in response to specific antigen stimulation. Whilst bony fish and poikilothermic tetrapods possess cells that express TcR and CD4-related genes (that exist in two forms in teleost fish; termed CD4-1 and CD4-2), to date there is no unequivocal demonstration that cells equivalent to Th exist. Thus, in this study we determined whether CD4-1⁺ lymphocytes can express cytokines typical of Th cells following antigen specific stimulation, using the zebrafish (Danio rerio). Initially, we analyzed the CD4 locus in zebrafish and found three CD4 homologues, a CD4-1 molecule and two CD4-2 molecules. The zfCD4-1 and zfCD4-2 transcripts were detected in immune organs and were most highly expressed in lymphocytes. A polyclonal antibody to zfCD4-1 was developed and used with an antibody to ZAP70 and revealed double positive cells by immunohistochemistry, and in the Mycobacterium marinum disease model CD4-1⁺ cells were apparent surrounding the granulomas typical of the infection. Next a prime-boost experiment, using human gamma globulin as antigen, was performed and revealed for the first time in fish that zfCD4-1⁺ lymphocytes increase the expression of cytokines and master transcription factors relevant to Th1/Th2- type responses as a consequence of boosting with specific antigen.

year: 2015-06-17

title: He hekenga toto, he hekenga tōtā, he hekenga roimata.

authors: Mikaere, Te Maharanui Jacob

abstract: Ariā
Ko tā te tuhinga nei he whakakite i ngā āwangawanga o te kaituhi mō te maha o te hunga taiohi kua tipu mai i raro i te ātaarangi o te Kōhanga Reo, o te Kura Kaupapa Māori, o te wharekura hoki, kua noho ko te reo Māori hei reo tuatahi, engari mō te aronui ki te reo me tōna katoa kore kore rawa atu. Kei te kōrerohia ōna hītori me tōna whakapapa. I ahu mai tō tāua reo i hea? I pēhea tō tāua reo i ngā wā o mua? I pēhea tō tāua reo i te taetanga mai o tauiwi i te takiwā o te 1800? I ahatia tō tāua reo e tauiwi i tērā rautau i kīa ake he reo koretake noa te reo Māori? Nā wai tō tāua reo i ruke ki rāhaki i ngā tau 1900? Ka mutu, nā wai tō tāua reo i whakahoki mai ki te kōpū o tēnei whakatipuranga? Nā ēnei tūmomo urupounamu au i karanga ki te ihi o tōku whare kōrero. 
Ko te ngako o ngā kōrero o roto i te tuhinga nei he whakatewhatewha, he matapaki i te kūare o te hunga taiohi ki te whakapapa, ki te hītori o te reo Māori. Koia ko ōna piki me ōna heke, ngā whakapātaritari i ngana ki te whakapoko i te ahi o te reo Māori i te tata whāngaromanga ōna. Ko te nuinga o ngā kōrero he mea rangahau mai i ngā pukapuka me te whakatakoto i ngā kitenga hei pānuitanga mā te hunga e tāpara ana ki ngā kai o roto. Me whakanui ka tika ngā pēhitanga o te hunga i takatakahi i te ara papatoiake hei whaitanga mā tātau ka tahi, ka rua me kōkuhu ēnei tūmomo mātauranga ki ngā marau whakaako tamariki me kore noa e tahuri mai te hunga taiohi ki tōna reo me tōna katoa. E ora ai te whakapapa o te reo me ōna hītori me whakakōpā e tātau  tōna whakapapa, me ōna kōrero ki ngā tamariki kōhanga mai, kura kaupapa mai, wharekura mai, ā huri atu ki ngā pia whare wānanga hoki. Mā te whakaako i te hītori ki a ngāi taiohi ākene pea ka tipu te kauanuanu ki tōna reo. Kia kekeno atu au ki tōku reanga kei te kitea he momo whakahīhī kua puea ake ai ki roto tonu i a tātau. Ko te momo o tēnei whakahīhī he mea tūkino i te hunga kore reo, he mea whakaiti i ngā tāngata kua noho rehurehu ki ngā kawenga a tāua te Māori. E whakapono ana au mā te kauanuanu o tōku reanga ki tōna reo ka tipu hoki te kauanuanu ki te hunga kāore pea i rongo i ngā hua o te reo, rātau te hunga kua noho pōhara, kua noho manene nā ngā rā pōkākā o te whakapākehātanga. Atu i te whakahīhī o te ngākau kua puea hoki tētahi momo e patu nei i te kōrerotanga o tō tātau reo, arā ake ko te ngākau māngere. I te korenga o te aronui o tōku reanga ki te reo kua tipu ake ētahi, ahakoa i pakeke mai i roto i te Kōhanga Reo mō te kōrero Māori atu kia pakeke ana rātau he aha te aha. Mā te ako i ngā hītori o tō tātau reo e titi ai ki te whatu manawa te hiranga o tō tātau reo, mā tērā e kore rawa te tangata e noho hāneanea me te pōhēhē ka pai noa te reo Māori, ka mutu kāore he tino take kia kaha kōrerotia. 
Ko te tino whāinga o tēnei tuhinga he ngana ki te whakarārangi mai ko hea te huarahi e tuwhera ai ngā kuaha o te ao Māori ki te katoa e tū rangatira ai tātau. Ahakoa pakeke mai taiohi mai rānei, ahakoa matatau ki te reo tauhou ki te reo rānei ko te mea nui kia tū whakahīhī, kia tū māia te iwi Māori ki raurangi.

text: He hekenga toto, he hekenga tōtā, he hekenga roimata. Ariā
Ko tā te tuhinga nei he whakakite i ngā āwangawanga o te kaituhi mō te maha o te hunga taiohi kua tipu mai i raro i te ātaarangi o te Kōhanga Reo, o te Kura Kaupapa Māori, o te wharekura hoki, kua noho ko te reo Māori hei reo tuatahi, engari mō te aronui ki te reo me tōna katoa kore kore rawa atu. Kei te kōrerohia ōna hītori me tōna whakapapa. I ahu mai tō tāua reo i hea? I pēhea tō tāua reo i ngā wā o mua? I pēhea tō tāua reo i te taetanga mai o tauiwi i te takiwā o te 1800? I ahatia tō tāua reo e tauiwi i tērā rautau i kīa ake he reo koretake noa te reo Māori? Nā wai tō tāua reo i ruke ki rāhaki i ngā tau 1900? Ka mutu, nā wai tō tāua reo i whakahoki mai ki te kōpū o tēnei whakatipuranga? Nā ēnei tūmomo urupounamu au i karanga ki te ihi o tōku whare kōrero. 
Ko te ngako o ngā kōrero o roto i te tuhinga nei he whakatewhatewha, he matapaki i te kūare o te hunga taiohi ki te whakapapa, ki te hītori o te reo Māori. Koia ko ōna piki me ōna heke, ngā whakapātaritari i ngana ki te whakapoko i te ahi o te reo Māori i te tata whāngaromanga ōna. Ko te nuinga o ngā kōrero he mea rangahau mai i ngā pukapuka me te whakatakoto i ngā kitenga hei pānuitanga mā te hunga e tāpara ana ki ngā kai o roto. Me whakanui ka tika ngā pēhitanga o te hunga i takatakahi i te ara papatoiake hei whaitanga mā tātau ka tahi, ka rua me kōkuhu ēnei tūmomo mātauranga ki ngā marau whakaako tamariki me kore noa e tahuri mai te hunga taiohi ki tōna reo me tōna katoa. E ora ai te whakapapa o te reo me ōna hītori me whakakōpā e tātau  tōna whakapapa, me ōna kōrero ki ngā tamariki kōhanga mai, kura kaupapa mai, wharekura mai, ā huri atu ki ngā pia whare wānanga hoki. Mā te whakaako i te hītori ki a ngāi taiohi ākene pea ka tipu te kauanuanu ki tōna reo. Kia kekeno atu au ki tōku reanga kei te kitea he momo whakahīhī kua puea ake ai ki roto tonu i a tātau. Ko te momo o tēnei whakahīhī he mea tūkino i te hunga kore reo, he mea whakaiti i ngā tāngata kua noho rehurehu ki ngā kawenga a tāua te Māori. E whakapono ana au mā te kauanuanu o tōku reanga ki tōna reo ka tipu hoki te kauanuanu ki te hunga kāore pea i rongo i ngā hua o te reo, rātau te hunga kua noho pōhara, kua noho manene nā ngā rā pōkākā o te whakapākehātanga. Atu i te whakahīhī o te ngākau kua puea hoki tētahi momo e patu nei i te kōrerotanga o tō tātau reo, arā ake ko te ngākau māngere. I te korenga o te aronui o tōku reanga ki te reo kua tipu ake ētahi, ahakoa i pakeke mai i roto i te Kōhanga Reo mō te kōrero Māori atu kia pakeke ana rātau he aha te aha. Mā te ako i ngā hītori o tō tātau reo e titi ai ki te whatu manawa te hiranga o tō tātau reo, mā tērā e kore rawa te tangata e noho hāneanea me te pōhēhē ka pai noa te reo Māori, ka mutu kāore he tino take kia kaha kōrerotia. 
Ko te tino whāinga o tēnei tuhinga he ngana ki te whakarārangi mai ko hea te huarahi e tuwhera ai ngā kuaha o te ao Māori ki te katoa e tū rangatira ai tātau. Ahakoa pakeke mai taiohi mai rānei, ahakoa matatau ki te reo tauhou ki te reo rānei ko te mea nui kia tū whakahīhī, kia tū māia te iwi Māori ki raurangi.

year: 2016