Canon law

Canon law is the body of laws and regulations made by ecclesiastical authority (Church leadership), for the government of a Christian organization or church and its members. It is the internal ecclesiastical law governing the Catholic Church (both Latin Church and Eastern Catholic Churches), the Eastern and Oriental Orthodox churches, and the individual national churches within the Anglican Communion. The way that such church law is legislated, interpreted and at times adjudicated varies widely among these three bodies of churches. In all three traditions, a canon was originally a rule adopted by a church council; these canons formed the foundation of canon law.

Etymology

Greek kanon / Ancient Greek: κανών,Arabic Qanun / قانون, Hebrew kaneh / קנה, "straight"; a rule, code, standard, or measure; the root meaning in all these languages is "reed" (cf. the Romance-language ancestors of the English word "cane").

Canons of the Apostles

The Apostolic Canons or Ecclesiastical Canons of the Same Holy Apostles is a collection of ancient ecclesiastical decrees (eighty-five in the Eastern, fifty in the Western Church) concerning the government and discipline of the Early Christian Church, incorporated with the Apostolic Constitutions which are part of the Ante-Nicene Fathers In the fourth century the First Council of Nicaea (325) calls canons the disciplinary measures of the Church: the term canon, κανὠν, means in Greek, a rule. There is a very early distinction between the rules enacted by the Church and the legislative measures taken by the State called leges, Latin for laws.

Legal education

Legal education is the education of individuals who intend to become legal professionals or those who simply intend to use their law degree to some end, either related to law (such as politics or academic) or business. It includes:

Overview

In addition to the qualifications required to become a practicing lawyer, legal education also encompasses higher degrees, such as doctorates, for more advanced academic study.

In many countries other than the United States, law is an undergraduate degree. Graduates of such a program are eligible to become lawyers by passing the country's equivalent of a bar exam. In such countries, graduate programs in law enable students to embark on academic careers or become specialized in a particular area of law.

Massachusetts 1913 law

Massachusetts General Laws Chapter 207, Section 11, more commonly known as the 1913 law, is a Massachusetts law enacted in 1913 and repealed in 2008 that invalidated the marriage of non-residents if the marriage was invalid in the state where they lived. It originated during a period of heightened antipathy to interracial marriage and went largely unenforced until used between 2004 and 2008 to deny marriage licenses to out-of-state same-sex couples.

Enactment

State Senator Harry Ney Stearns introduced Senate Bill 234 on March 7, 1913. The bill was signed into law three weeks later by Governor Eugene N. Foss. The statute provided that in the Commonwealth of Massachusetts:

No record of the state Senate debate has been found. Historians and legal scholars have said that the original purpose of the legislation was an anti-miscegenation measure. The law did not ban interracial marriage, which had been legal in Massachusetts since 1843, but blocked interracial couples from states that banned interracial marriages from marrying in Massachusetts. The law was enacted at the height of a public scandal over black heavyweight boxer Jack Johnson's interracial marriages. A 1912 conference on uniform state laws recommended the language adopted by Massachusetts because, among other things, it would enforce state prohibitions against the marriage of "a white person and a colored person." At a conference of governors in 1912 during the height of the publicity surrounding Johnson's marriages, Governor Foss of Massachusetts was one of several northern governors who endorsed the enactment of an anti-miscegenation statute. Vermont passed a similar statute about the same time as Massachusetts.

Corona (band)

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Corona is an Italian eurodance act, fronted by Olga Maria De Souza. Originally produced by Francesco "Checco" Bontempi (a.k.a. Lee Marrow) (1st-2nd album), it found success in 1993 with the worldwide hits ”The Rhythm of the Night” and “Baby Baby”. Later producers include Francesco Conte and Paolo Dughero.

History

"The Rhythm of The Night"

Debut single was "The Rhythm of the Night", released in Italy in November 1993 on Roberto Zanetti’s DWA record label, and became an instant hit. It stayed at number 1 on the Italian music chart for eight consecutive weeks. However, the song was not released elsewhere until the following year. A remixed version of the song became a number 2 hit in the United Kingdom in September 1994.

Like several early 1990s Eurodance/Hi-NRG songs that eventually became American hits, such as "Get Ready For This", "Twilight Zone" and "Tribal Dance" by 2 Unlimited and "Strike It Up", "I Don't Know Anybody Else" and "Everybody Everybody" by Black Box, "The Rhythm of The Night" did not become popular in the United States until well after its success had peaked in Europe. However, by spring 1995, the song was all over American radio and clubs, eventually reaching #11 on the Billboard Hot 100.

Corona (disambiguation)

A corona is the outer atmosphere of a star.

Corona may also refer to:

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Corona (Takemitsu)

Corona is an experimental classical composition for pianist by Japanese composer Toru Takemitsu. It was finished in 1962.

Composition

Takemitsu, who was a largely self-taught composer, was a composer that focuses most of his career (and especially his early works) on an impressionistic style that he would further develop as he gained artistic maturity. After coming back from studying Toshi Ichiyanagi, who had been learning with American avant-garde composer John Cage, he entered a period of what scholars have entitled the Cage shock. In this period, Takemitsu became particularly fascinated with graphic scores, which are scores that reject any of the traits in traditional musical notation. In this way, traditional notation provided a way to discern and to identify compositions, as notes are merely a large set of rules by which a particular musical piece has to be performed. However, graphic scores allowed the performer more freedom, and each performer made each composition's performance unique and particular, as the performer alone must make important decision when attempting to understand and to realize the composition.