Legislative Calendar


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Congressional Record


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CIS Annual


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Drafting Federal Law


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Legislative Drafter's Deskbook


Book Description

The Legislative Drafter's Deskbook offers practical advice and insight for those engaged in legislative drafting, those more interested in policy than drafting itself, or those interested in reading and interpreting the law. The Legislative Drafter's Deskbook helps anyone understand why laws are drafted the way they are. This book explains why laws are drafted the way they are. Legislative drafting is - to the extent it is writing at all - the form of writing used for legislative measures, a category that covers original bills and resolutions as well as amendments. Ultimately, legislative drafting is the form of writing used for enacted law. The focus of this book is on legislative drafting for the Congress of the United States, but many, if not most, of the principles described here apply just as well to drafting for other legislatures. As forms of writing go, drafting is not freewheeling like poetry, nor showy like rhetoric, nor personal like a novel. Drafting is disciplined, rigorous, and analytical. Done well, drafting can also be creative, elegant, and clever. (Unfortunately, drafting is not always done well.) The purpose of this book is to provide practical advice on drafting to anyone who does, or may, engage in drafting, and indirectly to provide insight into the drafting process to other interested people. For example, this book is for people who are more interested in policy than in drafting, but want to understand why drafters operate the way they do. It is also for people who are more interested in reading and interpreting the law than in drafting, but want to understand why laws are drafted the way they are. It is hoped that this book will be accessible to beginners while remaining valuable to veterans. The traditional method of training drafters is to train them on the job; the consensus is that drafting is best learned holistically, on a case-by-case basis. For that reason this book is best used as a resource, not a course. It is a supplement to, not a substitute for, the learning that comes from experience. The author designed this book to answer the variety of questions about drafting that arise daily in the work of individuals with a professional interest in how bills, resolutions, and laws are drafted. The approach used here is pragmatic: You will find no linguistic theories or esoteric conundrums discussed here. What you will find is solid advice for everyday drafting projects. "A masterful work. It is comprehensive and exceptionally well written. It is an essential tool for anyone who drafts legislation or interprets the law." -- William K. Suter, Clerk of the United States Supreme Court "An essential and indispensable book, both as a reference work and as a thorough introduction to Federal legislative drafting." -- Frank Burk, Legislative Counsel of the United States Senate 1991-1998 "The succinct and thorough assessment of good legislative drafting techniques provides a set of 'best practices' for drafters at all levels of government." -- Elizabeth Garrett, Sydney M. Irmas Professor of Public Interest Law, University of Southern California "State legislative drafters will also greatly appreciate this work." -- Bruce Feustel, Senior Fellow, NCSL Summary of Contents 1. Being a Drafter 2. Understanding How Laws Are Made 3. Considering the Courts: Statutory Interpretation 4. Thinking Through the Policy 5. Choosing the Right Measure 6. Writing Effectively 7. Organizing and Arranging 8. Using the Right Style 9. Affecting and Amending Other Laws 10. Working in, and Working with, the Executive Branch Appendices Back of the Book Table of Cases Table of Constitutional Provisions Table of Statutes at Large Table of Public Laws Table of U.S. Code Sections Index Complete Table of Contents online at www.LegislativeDraftersDeskbook.com




The Michiganensian


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Hollywood Highbrow


Book Description

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.