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A criminal prosecutor discusses the illegal drug trade and the failure of the so-called “War on Drugs” to stop it. In 1971, President Richard Nixon coined the term “War on Drugs.” His campaign to eradicate illegal drug use was picked up by the media and championed by succeeding presidents, including Reagan. Canada was a willing ally in this “war,” and is currently cracking down on drug offences at a time when even the U.S. is beginning to climb down from its reliance on incarceration. Elsewhere in the world, there has been a sea change. The Global Commission on Drug Policy, including international luminaries like Kofi Annan, declared that the War on Drugs “has not, and cannot, be won.” Former heads of state and drug warriors have come out in favour of this perspective. Former presidents Jimmy Carter and Bill Clinton agree with legions of public health officials, scientists, politicians, and police officers that a new approach is essential. Paula Mallea, in The War on Drugs, approaches this issue from a variety of points of view, offering insight into the history of drug use and abuse in the twentieth century; the pharmacology of illegal drugs; the economy of the illegal drug trade; and the complete lack of success that the war on drugs has had on drug cartels and the drug supply. She also looks ahead and discusses what can and is being done in Canada, the U.S., and the rest of the world to move on from the “war” and find better ways to address the issue of illegal drugs and their distribution, use, and abuse.
This book explores how international drug control law should be interpreted within the context of international human rights law.
Canadas Charter of Rights and Freedoms has transformed Canadian life since it was adopted as part of the Canadian constitution in 1982. The Charter requires judges to make decisions on a wide range of issues that affect all Canadians. In doing so, the courts play a major role in citizens lives. Because of the Charter: - The law against prostitution was struck down. - The Harper government"s treatment of child soldier Omar Khadr was found to violate his rights. - Vancouvers Insite safe injection site was kept open, overriding a federal government decision requiring it to shut down. Ian Greene is a political scientist, and his focus in this book is to highlight the many significant ways the Charter shapes Canadian life. After providing background on the creation and implementation of the Charter, he describes its impact on a wide range of issues aboriginal affairs, voting rights, freedom of religion, the right to strike, and language rights, among others. Greene describes key decisions in these areas and comments on the often-conflicting views of the judges deciding them. Even though the Charter is a legal document, debated by lawyers and decided by judges, Greene approaches his subject with an eye on the political impact the Charter has on governments and ordinary citizens. Public discussion of the Charter is often framed around the question of who should make these important decisions elected politicians or unelected judges. This book provides a clear understanding of how the Charter works and how ordinary citizens have succeeded or failed to win change from the courts. It offers information that people on every side of public discussion can use regarding the role of the Charter in Canadian life.
The field of kidney disease has evolved over the years to encompass a broad and sophisticated knowledge base. This book provides a comprehensive perspective of the emerging science in nutrition in kidney disease. It is written by a collaborative group of distinguished dietitians and physicians who have devoted their careers to the care of patients with kidney disease. At the end of key chapters, case studies assess knowledge of the subject within the context of didactic curriculums. Appendices comprise an extensive and carefully selected list of resources.
Examining how undocumented migrants are using film, video, and other documentary media to challenge surveillance, detention, and deportation As debates over immigration increasingly become flashpoints of political contention in the United States, a variety of advocacy groups, social service organizations, filmmakers, and artists have provided undocumented migrants with the tools and training to document their experiences. In The Undocumented Everyday, Rebecca M. Schreiber examines the significance of self-representation by undocumented Mexican and Central American migrants, arguing that by centering their own subjectivity and presence through their use of documentary media, these migrants are effectively challenging intensified regimes of state surveillance and liberal strategies that emphasize visibility as a form of empowerment and inclusion. Schreiber explores documentation as both an aesthetic practice based on the visual conventions of social realism and a state-administered means of identification and control. As Schreiber shows, by visualizing new ways of belonging not necessarily defined by citizenship, these migrants are remaking documentary media, combining formal visual strategies with those of amateur photography and performative elements to create a mixed-genre aesthetic. In doing so, they make political claims and create new forms of protection for migrant communities experiencing increased surveillance, detention, and deportation.
REMEX presents the first comprehensive examination of artistic responses and contributions to an era defined by the North American Free Trade Agreement (1994–2008). Marshaling over a decade’s worth of archival research, interviews, and participant observation in Mexico City and the Mexico–US borderlands, Amy Sara Carroll considers individual and collective art practices, recasting NAFTA as the most fantastical inter-American allegory of the turn of the millennium. Carroll organizes her interpretations of performance, installation, documentary film, built environment, and body, conceptual, and Internet art around three key coordinates—City, Woman, and Border. She links the rise of 1990s Mexico City art in the global market to the period’s consolidation of Mexico–US border art as a genre. She then interrupts this transnational art history with a sustained analysis of chilanga and Chicana artists’ remapping of the figure of Mexico as Woman. A tour de force that depicts a feedback loop of art and public policy—what Carroll terms the “allegorical performative”—REMEX adds context to the long-term effects of the post-1968 intersection of D.F. performance and conceptualism, centralizes women artists’ embodied critiques of national and global master narratives, and tracks post-1984 border art’s “undocumentation” of racialized and sexualized reconfigurations of North American labor pools. The book’s featured artwork becomes the lens through which Carroll rereads a range of events and phenomenon from California’s Proposition 187 to Zapatismo, US immigration policy, 9/11 (1973/2001), femicide in Ciudad Juárez, and Mexico’s war on drugs.
The postborder metropolis of Bajalta California stretches from Los Angeles in the north to Tijuana and Mexicali in the south. Immigrants from all over the globe flock to Southern California, while corporations are drawn to the low wage industry of the Mexican border towns, echoing developments in other rapid growth areas such as Phoenix, El Paso, and San Antonio. This incredibly diverse, transnational megacity is giving birth to new cultural and artistic forms as it rapidly evolves into something unique in the world. Postborder City is a genuinely interdisciplinary investigation of the hybrid culture on both sides of the increasingly fluid U. S.-Mexico border, spanning the disciplines of art and art history, urban planning, geography, Latina/o studies, and American studies.