In addition to three full-length articles, the second issue of our tenth-anniversary volume of Law and Humanities includes one of our occasional instalments on the subject of legal education. In this section are two short plays (Coke Habit and Little Venice), written by undergraduate students at the University of Warwick as part of their assessment in ‘Shakespeare and the Law’. Coke Habit and Little Venice differ greatly from each other in style, but both of these plays reflect deep understanding of the works of Shakespeare that were studied during the course (Richard II, The Merchant of Venice and Measure for Measure), as well as demonstrating extraordinary levels of authorial skill, invention and imagination. Coke Habit is preceded by two reflective commentaries: one by a teacher of ‘Shakespeare and the Law’ (Paul Raffield), the other by a recent graduate (Euan Kitson). In his commentary, Kitson (one of the writers and performers of Coke Habit) gives his personal perspective on this interdisciplinary venture. Following these plays is a script for a television drama (The Final Act), written by a law student (Ben Wadey) for the Dramatised Dissertation module, taught by the School of Law at the University of Warwick. The Final Act addresses a highly topical and ethically complex theme: the legalisation of physician-assisted suicide. The drama is set in a future where the Assisted Dying Bill, debated in the House of Lords in December 2014, has been passed into law, as The Assisted Dying Act 2016. The script is introduced with a brief foreword and concludes with a commentary, both written by Wadey. The first of our full-length articles is ‘Making a Genre: The Case of the Contemporary True Case Documentary’ by Stella Bruzzi. In it the author examines the burgeoning genre of television and film documentaries, the subject of which is true crimes and their ensuing trials. Through analysis of seminal works such as the foundational The Staircase (2004), The Kick (2005), The 10th District Court (2006), Serial (2014), The Jinx (2015) and the recent, hugely popular Making a Murderer (2015), Bruzzi provides a thoughtful and compelling insight into the criminal justice system and the cinematic and televisual representation of truth, evidence and miscarriages of justice. ‘The Articles of Law: Renaissance Theories of Evidence and the Poetic Life of Facts’ by Piyel Haldar is also concerned with the establishment and status of truth in a juridical context. The approach of the author is historical, examining the idiosyncratic fusion of law and poetry in the early modern period. Haldar’s article recalls the injunction of Sir Philip Sidney that for the poet, mere versifying was not enough: ‘[I]t is that faining notable images of vertues, vices, or what els, with that delightfull teaching, which must be the right describing note to know a

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除了三篇完整的文章外，《法律与人文》十周年专刊的第二期还包括有关法律教育主题的不定期分册之一。本节中有两部短剧（可乐习惯和小威尼斯），由华威大学的本科生撰写，作为他们对“莎士比亚与法律”的评估的一部分。可乐习惯和小威尼斯在风格上有很大的不同，但是这两个戏剧都反映了对莎士比亚作品的深刻理解，这些作品是在课程学习期间研究过的（理查德二世，威尼斯商人和《量度计》），并展示了杰出的创作技巧，发明和想象力。可乐习惯之前有两项反思性评论：一项是“莎士比亚与法律”老师（Paul Raffield）的评论，另一位是应届毕业生（Euan Kitson）。凯特森（可乐习惯的作家和表演者之一）在他的评论中对这种跨学科的冒险提出了自己的个人观点。这些戏剧之后是由华威大学法学院教授的法学学生（本·韦迪）为戏剧论文的单元编写的电视剧（《最后法案》）的剧本。《最终法案》解决了一个高度话题性和伦理复杂性的主题：医生协助自杀的合法化。这部戏的背景是未来的，2014年12月在上议院辩论的《辅助染化法案》已通过成为法律，即《 2016年辅助染化法案》。剧本以简短的前言开头，并以评论结尾，都是由Wadey写的。我们的全长文章的第一篇是“制作体裁：斯特拉·布鲁齐（Stella Bruzzi）的《当代真实案例纪录片案例》。在其中，作者研究了电视和电影纪录片的新兴类型，其主题是真实的犯罪及其随后的审判。通过对诸如《楼梯》（2004），《踢》（2005），第十区法院（2006），《连载》（2014），《金克斯》（2015）和最近广受欢迎的《谋杀案》（2015）等开创性作品的分析），布鲁奇（Bruzzi）对刑事司法系统以及真相，证据和司法流产的电影和电视影像表达提供了周到且引人入胜的见解。皮耶尔·霍尔达尔（Piyel Haldar）撰写的“法律条款：文艺复兴时期的证据理论和事实诗性生活”还涉及在司法背景下真理的确立和地位。作者的做法是历史性的，考察现代早期法律与诗歌的特质融合。哈尔达尔的文章回顾了菲利普·西德尼爵士的禁令，对诗人来说，单凭单调是不够的：“是的，在那令人愉悦的教fa中，模糊的，生动的影像，罪恶或其他事物的形象化，这一定是正确的描述。注意知道一个