Ten-part Series Research Articles

Offices and Officers of the Constitution, Part I: An Introduction

In this Article, we introduce our planned ten-part series that provides the first comprehensive examination of the offices and officers of the Constitution. This series will explain the original public meaning of twelve clauses of the Constitution that refer to six categories of offices and officers. First, the phrase “officers of the United States” refers to appointed positions in the Executive and Judicial Branches. Second, the phrase “office . . . under the United States” refers to appointed positions in the Executive and Judicial Branches, and also includes non-apex appointed positions in the Legislative Branch. Third, the phrase “Office under the Authority of the United States” includes all “office[s] . . . under the United States,” and extends further to include a broader category of irregular positions. Fourth, the phrase “Officer” of “the Government of the United States” refers to the presiding officers identified in the Constitution. Fifth, the word “Officer,” as used in the Succession Clause, refers to those who hold “office . . . under the United States” and those who are “Officer[s]” of “the Government of the United States.” Sixth, the phrase “Office or Public Trust under the United States” encompasses two categories of positions: “Office[s] . . . under the United States” and “Public Trusts under the United States.” The former category includes appointed positions in all three branches; the latter category includes federal officials who are not subject to direction or supervision by a higher federal authority in the normal course of their duties. Our categorization excludes elected officials from the categories “officer of the United States” and “office . . . under the United States.” Not everyone agrees with our Minimalist View. Professors Akhil Reed Amar and Vikram David Amar have put forward an Intermediate View: the elected President is an “officer of the United States,” but members of Congress are not. Professor Zephyr Teachout advances a Maximalist View: elected and appointed positions, in all three branches, are “offices” and “officers.” And some scholars may embrace a fourth approach. Under a Clause-Bound View, fine variations in the Constitution’s text should not be used to distinguish different kinds of offices and officers. Rather, this view purports to be guided by the specific purposes that animate individual clauses. As a general matter, it is impossible to reject any of these four approaches with 100% certainty. Instead, we make a limited claim: our approach, the Minimalist View, is better than its known rivals. The Framers chose different “office”- and “officer”-language in different clauses of the Constitution. These provisions were altered throughout the Convention to standardize and harmonize how the Constitution refers to offices and officers. And the conduct of President Washington, his cabinet, and the First Congress was consistent with the Minimalist View. This evidence undermines the Intermediate, Maximalist, and Clause-Bound Approaches. Part I, this Article, introduces our planned ten-part series. Part II will expound on the four approaches to understand the Constitution’s “office”- and “officer”-language. Part III will analyze the phrase “officers of the United States,” which appears in the Appointments Clause, the Commissions Clause, the Impeachment Clause, and the Oath or Affirmation Clause. Part IV will trace the history of the “Office . . . under the United States” drafting convention. Part V will consider the meaning of the phrase “office . . . under the United States,” which appears in the Incompatibility Clause, the Impeachment Disqualification Clause, the Foreign Emoluments Clause, and the Elector Incompatibility Clause. Part VI will turn to the phrase “Office under the Authority of the United States,” which appears in the Ineligibility Clause. Part VII will study the Religious Test Clause, which uses the phrase “Office or Public Trust under the United States.” Part VIII will focus on the phrase “Officer” of “the Government of the United States” in the Necessary and Proper Clause. Part IX will elaborate on the word “Officer,” standing alone and unmodified, in the Succession Clause. Part X will conclude the series.

Old Idolatry?

In December 2015 the BBC announced a “major new ten-part series” telling the story of human creativity “from the dawn of human history to the present day”. Remaking a praised but unfashionable pred...

Narratives of Inequality

In September 2010, a full year before protestors occupied Zuccotti Park in New York City, Timothy Noah wrote a monumental ten-part series for Slate on the rise of economic inequality in the United States. The series earned Noah the 2011 Hillman Prize for Magazine Journalism and has now been updated, expanded, and published in book form as The Great Divergence. The book has created buzz, including reviews in the New Yorker , the New York Review of Books , the New York Times (weekday and Sunday), the Nation , and the American Prospect .

Effective Blogging for Libraries

Effective Blogging for Libraries

Digital dental photography. Part 1: an overview

This paper is the first article in a new ten-part series on digital dental photography. Part 1 previews and outlines the contents of the subsequent papers and in addition, defines the aims and objectives of a digital dental image and the features that are required for an ideal intra-oral picture.

Yiddish Radio Project (Original Radio Broadcast) (review)

Reviewed by: Yiddish Radio Project (Original Radio Broadcast) Ted Merwin Yiddish Radio Project (Original Radio Broadcast), 2002. Produced by Henry SapoznikDave IsayYair Reiner. High Bridge Audio, CDs (2), HBP 89172/89173. When King Tut’s tomb was cracked open by archaeologist Howard Carter in 1921, the world was stunned by the opulence of ancient Egypt, which had vanished for thousands of years. In 1985, musicologist and social historian Henry Sapoznik stumbled upon a cache of decaying acetate disks of Yiddish radio shows from the 1930s and 1940s in a New York storeroom. He realized that, like Carter, he had found a window onto a forgotten culture. In 2002, a selection from Sapoznik’s Yiddish recording discovery aired as a ten-part series on All Things Considered, a program on the U.S. radio network National Public Radio (NPR). Produced by Sapoznik with Dave Isay and Yael Reiner, the Peabody Award-winning series is now available on a two-CD set that should be in the collection of anyone who cares about American immigrant culture. NPR host Scott Simon introduces each segment, followed by Sapoznik, who provides much-needed background. Along with Sapoznik’s helpful commentary, listeners will hear Yiddish dialogue with running English translations spoken by Hal Linden, Eli Wallach, Carl Reiner, Jerry Stiller, and other well-known actors. On the first track of the first CD, Sapoznik begins his introduction by interviewing his immigrant mother, who is a Holocaust survivor, about the dizzying experience of arriving in New York, where her husband’s first purchase was a radio: “I heard them speak Yiddish. That was my life,” she exclaims. “I knew that everything was meant to be.” He then recalls his own introduction to Yiddish culture, beginning with his study of Appalachian mountain music with old-time fiddler, Tommy Jarrell. Jarrell had found himself teaching a lot of young Jewish musicians. “Don’t your people got none of your own music?” he pointedly asked Sapoznik. The question led Sapoznik to investigate the rich klezmer tradition; it was he, along with Yale Strom and others, who helped to jumpstart a klezmer revival in the 1970s. In his wide-ranging introduction to the history of American Yiddish radio, Sapoznik gives the sense that almost half a century before the development of the Internet, it was radio that created the first technologically based virtual community. And the 107 New York-based Yiddish radio stations foreshadowed today’s endless proliferation of media channels. Some, like WBBC, WARD, and WVFW, had such low wattage, Sapoznik points out, that even on a good [End Page 210] day they could be heard no more than a few blocks from the studio. Sapoznik culled his material for rebroadcast from 1,200 disks, representing thousands of hours of programming. The task was staggering, and he had to piece together supporting material from radio listings in Yiddish newspapers, FBI records relating to station WEVD (which was founded by socialists), and the personal papers of colorful radio hosts like Victor Packer and Zvee Scooler. Many of the programs are undeniably compelling. For those familiar with A Bintel Brief (Isaac Metzger, ed., Schocken, 1990)—the collection of letters sent to the Jewish Daily Forward in which Jewish immigrants on New York’s Lower East Side poured out their tsurris (sufferings)—the selection from the program of C. Israel Lutsky, The Jewish Philosopher, will seem to spring right from the pages of the newspaper. Rabbi Rubin’s Court of the Air, in which the rabbi arbitrated family, business, and other disputes, was a forerunner of The People’s Court and similar shows that are so popular on television today. Most powerful of all is a segment in which a Holocaust survivor, Siegbert Freiberg, is reunited on air with his father; the two had not seen each other since before the war. Also fascinating is the saga of a Jewish daredevil named Charles A. Levine, who duplicated Charles Lindbergh’s historic flight across the Atlantic Ocean and thereby became one of the first Jewish celebrities in modern American culture. Sapoznik points out that, unlike most Jewish entertainers of the day, Levine kept his original name and made no attempt to hide his Jewish...

Heart of nursing series.

In our ten-part series, leading nurse authors address.

Lucid Dreams: The Films of Krzysztof Kieślowski by Paul s> Coates (review)

REVIEWS 957 The book provides a welcome glimpse into the making of the film, showing how it was preciselythe shared vision of the directorand his cameraman, both of whom 'instinctively sought cinematic means of expression, rather than dramaturgic, narrative or even thespian', which gave the film its 'visual drama'(p. 4). Apart from the introduction and conclusion, this book is divided into sections dealing with context, analysis, reception and aftermath.As is to be expected, the context section is very useful,and remindsone that Kalatozov's first major film, Sol' Svanetii(Saltfor Svanetia) was made in I930, and that Urusevskii'sfilm work debut took place in 1928, so their shared appetite for experimental approaches dates back from a time of general daring and innovation in Soviet cinema. The aftermath section, taking the reader forwardsthis time, equally usefullyrevealsthat for filmmakerssuch as Andrei Tarkovskii, the film 'epitomized individual artistic vision; it became a liberating paradigm' (p. 99). When it comes to analysing the film, Woll confidently makes statementssuch as 'Veronikahas no identity except as the incarnationof love' (p. 38), and then arguesthiscase, and others,persuasively. When writingabout the film'sreception, shediscusseshow Cranes wasreceived both inside and outside the USSR, and these accounts make fascinating reading and give furtherinsightinto the political atmosphereof the time. Finally, I concur with Woll that '[t]he passion and compassion that permeate Cranes,its affecting relationships and dazzling camerawork, outweigh its melodramaticmoments, overwroughtmusical score, and cardboard minor characters'(p. 2). For those readerswho have seen the film, the book will provide new insights when revisitingthe film;for those who have not, it will inspirethem to watch it. School ofSlavonic andEastEuropean Studies MILENA MICHALSKI University College London Coates, Paul (ed.). LucidDreams. The Films of Krzysztof Kieslowski. Cinema Voices. Flicks Books, Trowbridge, I999. Vi + 234 pp. Notes. Filmography . Bibliography. Index. Notes on Contributors. ?14.95 (paperback). LUCID DREAMS is the firstmajor study of Krzysztof Kie'lowski's work to be publishedoutsidePolandsince his untimelydeath froma heart-attackin I996. Along with Andrzej Wajda, Krzysztof Zanussi, and Agnieszka Holland, Kieslowskihad become one of the fewfilm-makersof hisgenerationto achieve recognition outside his native Poland. After graduating from the Lodz Film School in the late sixties, he moved initially into documentary shorts and features. Having become disillusioned with the limitations of the genre, however, he later moved into feature-film making, and became strongly associated with the 'cinema of moral anxiety' movement, which began to emerge in the mid-I970s. Startingfrom a more or less strictlyv6rit6position, Kieslowski gradually moved towards a more complex engagement with 958 SEER, 82, 4, 2004 reality. His cinematic voyage led him away from specifically social and political concerns towards explicitly spiritual and metaphysical dilemmas. This was partly the result of his collaboration from the early i980s onwards with Krzysztof Piesiewicz, a liberal-leaning Catholic lawyer whom he met while filming documentary material in the military courts which had been establishedduring the early months of martiallaw. This partnershipinitially produced Bezkonca (No End, I984), a controversialwork which satisfiedfew across the critical spectrum in the complex moral maze which had emerged afterJaruzelski's'coup d'etat' in I982; and subsequentlyDekalog (Decalogue, I988), his much-acclaimed exploration of the Biblicalcommandments, which brought him widespread international attention (two expanded parts of this ten-part series, Kr&tkifilm o zabijaniu (A Short Film About Killing, I988) and Krotki film o milosci(A Short Film About Love, I988) were given cinematic releases in the West, and the series as a whole was broadcast on several European television networks).As a result of this attention, Kieslowski was subsequently invited to work on a number of French co-productions: these included LaDoubleviede Veronique (The Double Life of Veronique, i 99 i) and the Troiscouleurs trilogy (Three Colours, 1993-94), both of which were cowritten with Piesiewicz. Despite his public renunciation of directing in the mid-iggos, Kieslowskineverthelessstartedworkingwith Piesiewicz again on a new project, a trilogy entitled Raj-Czysciec-PiekUo (Heaven-Purgatory-Hell), the firstpartof which, on account of his death, wasgiven to theyoung German directorTom Tykwer. If this multi-authorvolume is a major contributionto Kieslowskistudies,it is very largely thanks to the editor, Paul Coates. His contribution to the collection includes a lengthy introduction,two essays,an interviewconducted by himself...

The American President

Just as the historical profession has essentially weaned itself from the presidential synthesis, pbs has been actively promoting presidential historians and presenting presidential documentaries, from episodes of American Experience to The American President. The latter tenpart series, first aired in April 2000, featured narration by Hugh Sidey and commentary by Richard Neustadt, along with such celebrity narrators as Tim Russert as Millard Fillmore, Andrew Young as Thomas Jefferson, Bob Dole as Herbert Hoover, Dan Rostenkowski as Chester Arthur, and, yes, Don Imus as Andrew Johnson. The American President is the TV series' eponymous Web site. Designed for educational outreach, in coordination with the National Council for the Social Studies, the site promises to provide teachers and students “with exciting tools and resources” that will “make learning about the presidency interactive and fun.” To a considerable degree, it accomplishes those objectives with information that is abundant, accurate, and well illustrated. The Web site provides descriptions of each episode in the series, interviews with the producers, and presidential “galleries” chockablock full of “fast facts,” biographical sketches, summaries of foreign and domestic issues, samplings of quotations and images, recommended readings, lesson plans, issues to ponder, and a glossary of nicknames, campaign slogans, and related references. Beyond its own offerings, The American President provides links to additional Web sites (rated by teachers) for each president. These sites in turn offer their own links to other resources, creating a seemingly infinite cybernetwork of presidential data.

Infection control. Helping the patient with personal hygiene.

The eighth article of this ten-part series explores issues related to helping the patient with personal hygiene

Infection control in low-risk environments.

The third article of this ten-part series concentrates on the risk factors for infection which can be found on low- risk hospital wards. Next week, Next author will look at the problems encountered in high-risk areas such as bums units and theatres

After the ceremony.

Following a short period of disbelief, I was very pleased to be chosen as one of the winners of the Clinical Practice and Management Awards. I had found the ten-part series on management issues both interesting and easily applicable to my practice, but as for winning the award, I did not feel I stood a very good chance.

The Pacific Century: An Introduction to Modern Asia. Produced by the Pacific Basin Institute, in cooperation with KCTS-9/Seattle and NHK/Japan. Ten one-hour video programs, textbook, telecourse faculty manual, and student study guide. 1/2″ videocassettes: $29–95 for each hour-long program; $275.00 for ten-part series. 3/4″ videocassettes: $45.00 for each hour-long program; $385.00 for ten-part series. For more information: Annenberg/CPB Project, 1-800-LEARNER.

The Pacific Century: An Introduction to Modern Asia. Produced by the Pacific Basin Institute, in cooperation with KCTS-9/Seattle and NHK/Japan. Ten one-hour video programs, textbook, telecourse faculty manual, and student study guide. 1/2″ videocassettes: 385.00 for ten-part series. For more information: Annenberg/CPB Project, 1-800-LEARNER. - Volume 52 Issue 2

The Pacific Century: An Introduction to Modern Asia. Produced by the Pacific Basin Institute, in cooperation with KCTS-9/Seattle and NHK/Japan. Ten one-hour video programs, textbook, telecourse faculty manual, and student study guide. 1/2″ videocassettes: $29–95 for each hour-long program; $275.00 for ten-part series. 3/4″ videocassettes: $45.00 for each hour-long program; $385.00 for ten-part series. For more information: Annenberg/CPB Project, 1-800-LEARNER.

The Pacific Century: An Introduction to Modern Asia. Produced by the Pacific Basin Institute, in cooperation with KCTS-9/Seattle and NHK/Japan. Ten one-hour video programs, textbook, telecourse faculty manual, and student study guide. 1/2″ videocassettes: $29–95 for each hour-long program; $275.00 for ten-part series. 3/4″ videocassettes: $45.00 for each hour-long program; $385.00 for ten-part series. For more information: Annenberg/CPB Project, 1-800-LEARNER.

Deep Dish TV: Community Video from Geostationary Orbit

Popular electronic tools, in combination with satellite delivery systems, offer an opportunity for wide distribution of grassroots media. During the Persian Gulf War, peace activists and independent video producers pooled energy and resources to create a ten-part series on issues not covered by mainstream networks. These included such topics as the history of the Middle East, the resistance to the war and the effect of military expenditures on the U.S. economy.

A Review of Death Investigation and Examination Medicolegal Guidelines and Checklists

Abstract The notebook, edited by the Executive Director and the Chairman of the Forensic Sciences Foundation, consists of a ten-part series of guidelines and checklists concerning a variety of medicolegal procedures. The contributors are forensic science experts in their respective fields. These fields include scene investigation, postmortem examination, toxicology, odontology, physical anthropology, and jurisdictional problems. There is also a selected bibliography covering some of the major forensic science areas.