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Positivists who deny this dependence struggle to explain: (1) the traditional classification of moral norms as a form of a priori law; (2) judicial reliance on moral norms in legal discovery; (3) persistent theoretical disagreement about intra-systemic, law-determining facts; (4) why radically arbitrary or immoral schemes of social organization represent borderline cases of law; and (5) why law, like other artifacts, can be evaluated in a kind-relative sense ("as law"). Meanwhile, traditional versions of non-positivism overstate the dependence going further than the desiderata warrant. A moderate theory is formulated: law is an artifact whose existence depends on adequately performing an essentially normative function. The theory's justification lies in its explanatory power: a comparison with other "value-driven" artifacts, such as artworks, proves vital for understanding legal language, reasoning, and practice.  Free Download K. J. Donnelly, "Contemporary Musical Film Ed 90" English | ISBN: 1474431682 | 2019 | 208 pages | AZW3 | 2 MB Since the turn of the millennium, films such as Chicago (2002) and Phantom of the Opera (2004) have reinvigorated the popularity of the screen musical. This edited collection, bringing together a number of international scholars, looks closely at the range and scope of contemporary film musicals, from stage adaptations like Mamma Mia! (2008) and Les Miserables (2012), to less conventional works that elide the genre, like Team America: World Police (2004) and Quentin Tarantino's Kill Bill (2003/04). Looking at the varying aesthetic function of soundtrack and lyric in films like Disney's wildly popular Frozen (2013) and the Fast and the Furious franchise, or the self-reflexive commentary of the 'post-millennial rock musical', this wide-ranging collection breaks new ground in its study of this multifaceted genre.  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