Although the 13 United States courts of appeals are the final word on 99 percent of all federal cases, there is no detailed account of how these courts operate. How do judges decide which decisions are binding precedents and which are not? Who decides whether appeals are argued orally? What administrative structures do these courts have? The answers to these and hundreds of other questions are largely unknown, not only to lawyers and legal academics but also to many within the judiciary itself. Written and Unwritten is the first book to provide an inside look at how these courts operate. An unprecedented contribution to the field of judicial administration, the book collects the differing local rules and internal procedures of each court of appeals. In-depth interviews of the chief judges of all 13 circuits and surveys of all clerks of court reveal previously undisclosed practices and customs.

Although the 13 United States courts of appeals are the final word on 99 percent of all federal cases, there is no detailed account of how these courts operate. How do judges decide which decisions are binding precedents and which are not? Who decides whether appeals are argued orally? What administrative structures do these courts have? The answers to these and hundreds of other questions are largely unknown, not only to lawyers and legal academics but also to many within the judiciary itself. Written and Unwritten is the first book to provide an inside look at how these courts operate. An unprecedented contribution to the field of judicial administration, the book collects the differing local rules and internal procedures of each court of appeals. In-depth interviews of the chief judges of all 13 circuits and surveys of all clerks of court reveal previously undisclosed practices and customs.

This chapter argues for an integration of American theater produced across generic and institutional lines during the postwar decades into our understanding of theatrical modernism. It models thinking about theater across traditional divisions of textual drama from non-textual performance, Broadway from Off- and Off-Off-Broadway, and the avant-garde work of the 1960s from what preceded it. Theater in the midcentury was drawn toward both medial specificity and the strategic incorporation of other media, particularly film, and accordingly deployed two key formal strategies: improvisation and citation. Although important to theater in diverse ways before modernism, these became widespread, self-conscious tactics of postwar theater across generic lines, and expanded and developed over the 1950s and 1960s. The chapter closes with a reading of The Living Theatre’s 1959 production of The Connection as an exemplary case study.

In this chapter, we look at the basics of referencing and citation: the conventional ways of identifying our sources and for showing where we have applied them in our work. Referencing conventions are catalogued in a relatively small number of documentation styles that are common across different academic disciplines – for example, APA 7, Chicago 17 and MLA 9 styles, which are outlined in this chapter. The chapter is organised in seven different parts. First, we explore the reasons for referencing in academic writing and we look at the different documentation styles used to format references and citations. Next, we survey the essential features that make up a reference and offer some ways of dealing with sources that may not conform to standard referencing templates. We provide detailed instructions on presenting references and citations in the APA 7, Chicago 17 and MLA 9 styles, including using in-text citations and discursive footnotes. The final part of the chapter looks at composing and formatting reference lists.

In this chapter, we look at the key written form through which undergraduate students in the Humanities practise participating in this scholarly dialogue: the academic essay. Even where different disciplines have unique requirements for how information is delivered in an essay, Humanities essays share broad features such as their overall structure, thesis-driven argument and evidence-based argumentation. If you can master these foundational aspects, you can readily adapt your writing to meet different disciplinary contexts. Moreover, these same skills can be used in other types of academic writing that are not essays but which foreground argument just like the essay. This chapter is organised into three parts. It begins by looking at the essay as a distinct genre with recognisable conventions that support participation in scholarly dialogue. Next, it reviews the important steps that precede essay writing: breaking down the question, planning your argument and structure, and project managing your essay. The chapter covers the essentials of essay writing: the introduction, body paragraphs and conclusions.

The main question scholars have asked about the coutumiers is the extent of ‘penetration‘ or ‘influence‘ of Roman law on customary law. That there was influence is an undeniable fact. While the history of the coutumiers is undoubtedly connected to and overlaps with Roman law, this chapter challenges current historiography, which places Roman law at the centre of the development of written custom. Instead of asking how well an author knew his Roman law or how much of it was used in each text, this chapter looks more widely at citation practices, to establish what authorities were used and with what reverence they were treated. The citation practices in the coutumiers betray their authors’ confidence vis-à-vis the more august Roman law. These authors used learned law in service of their own projects but did not feel bound by its authority – unlike university thinking that famously placed Roman law in the middle of the page and medieval commentary in the marginalia. Roman law was certainly an important source for some coutumiers, but rather than treat it reverentially as an authority their authors used Roman law to build something new, lay, customary, and vernacular.

The second part of the book, entitled “Time”, concerns matters that relate to specific temporal issues, linked either with the subsequent legacy of the Tour or with events that occurred close in time to its composition. Chapter 5 attempts to show how students of history have enlisted the book for a variety of purposes, especially within the last hundred years. They include eminent writers in almost every branch of the discipline, markedly different.in outlook and interests. Social, political, economic, cultural, urban and transport historians are among those who have made the most frequent raids. The work has proved invaluable to generations of writers, its text adduced by historians of the family, old age, women, religion, shopping, weather, landscape, cartography, leisure, travel and tourism, infectious disease, antiquarianism, archeology, gambling, the Navy, Civil War battlefields, dialect, folk customs, industrial archeology – the list could be greatly prolonged. The evidence collected here confirms the Tour as a truly central work for our understanding of Britain at a crucial stage of its transition into modernity.

Allusions to and citations of Richard Wagner abound in popular culture, but allusions to the Ring cycle are uniquely fraught. They assume some familiarity with a monumental work that resists easy pop cultural grinding up. This chapter traces different strategies employed by writers, performers, directors, and film composers to engage, whether humorously or seriously, with a work that is as difficult to cite as it is tempting to make grist for the pop-cultural mill.

An exploration of a formal feature in the Arthaśāstra called "citation" (apadeśa), in which various authorities on statecraft are cited. These citations are usually presented in the form of dialogic exchanges, and the triumphant position as attributed to Kauṭilya, the individual to whom the text is ascribed in two (late) verses. This chapter shows that, like the chapters and verses, the citations are also a later addition dating to the same redaction of the text. Finally, this chapter argues that "Kauṭilya" must be the name not of the original composer of the text, but of the redactor who brought it to its present form.