Educators

I am not sure if this applies to other jurisdictions, but does apply to Canada.

Generally, legislative rights are the states right to pass legislation.

Legislative Rights: Not always clearly defined, but generally accepted as the rights that the Canadian Parliament and provincial legislatures can exercise over all aspects of Canadian Law. Generally accepted as part of "Legislative Rights" include the following: Pre Charter Legislative Rights s. 18 of the Constitution Act, 1867. This section reads as follows: "Privileges, etc., of Houses 18. The privileges, immunities, and powers to be held, enjoyed, and exercised by the Senate and by the House of Commons, and by the members thereof respectively, shall be such as are from time to time defined by Act of the Parliament of Canada, but so that any Act of the Parliament of Canada defining such privileges, immunities, and powers shall not confer any privileges, immunities, or powers exceeding those at the passing of such Act held, enjoyed, and exercised by the Commons House of Parliament of the United Kingdom of Great Britain and Ireland, and by the members thereof." In simplified language, this basically is a provision that binds Parliament and the provincial legislatures to any laws that are enacted by either. In doing so, the provinces are bound by federal law that falls under s. 91 (and must sometimes prove an area of law falls within s. 92). Conversely, the Government of Canada is bound to any law that falls under s. 92 (as a matter of "local or provincial" concern). Both Parliament and the provincial legislatures and their members are bound by their own laws, and are not above any laws. Sections 53 through 57 deal with "Money Votes, Royal Assent". Money votes must gain royal assent before any disbursement of funds can occur. (In the context of citizen's rights, this is typically not a concern; I have listed it for thoroughness of legislative rights.) Section 91 and 92 of the Constitution Act, 1867. The division of powers between the Federal and provincial levels of government. Post Charter Legislative Rights: Section 1 of the CCRF. While not intended to be a "legislative right", it can be argued that the courts have been given this power to balance the rights of the citizen with legislative rights of the government. Section 33 of the CCRF. The "Notwithstanding Clause" of the CCRF was added to the Charter in order to get the provinces to sign onto the Charter package. While it has been used sparingly by the provinces, it also applies to the Federal Government of Canada, and has never been used by the Federal Parliament. Commentators have suggested that s.1 of the CCRF has been sufficient to empower the government to enact any law that curbs the rights of the citizen that are deemed by the courts to be "demonstrably justifiable." While I am sure this is not exhaustive, it is a good basic starting point to answer the question.

55/100

factor out a 5

5*11/5*20

5 can be eliminated as a common factor in both numerator and denominator

11/20

======simplest form

It may be useful to distinguish between a monologue and a soliloquy: a monologue is simply a long uninterrupted speech - some of Robert Browning's most famous poems are in the form of dramatic monologues; a solo performance or one-man play is by definition a monologue. A soliloquy is a form of theatrical monologue with specific functions. A prologue is a monoloque but not necessarily a soliloquy.

A soliloquy is a dramatic device where a single actor speaks his thoughts aloud. He is usually alone on stage at the time. Or at least alone in the sense that he steps out of the action or separates himself from it in some way to deliver the soliloquy. For example, in 'Hamlet' when Hamlet discovers Claudius praying, Hamlet's speech 'Now might I do it pat..." is a soliloquy - he is not involved in the action behind him on the stage and nor is Claudius aware of his presence. In soliloquy the actor may either speak directly to the audience as if they were active participants in a conversation, or ignore the audience completely as if they are eavesdropping on his private thoughts.

The function of a soliloquy is to inform the audience of a character's thoughts, feelings and motivations - especially if they are differ from surface appearances - For example, Iago in "Othello" or Richard III. It is an efficient way of conveying information that the character speaking may not wish the other characters in the play to know but which it is important the audience should understand. It helps move the action forward. It can be a useful way of introducing 'dramatic irony' - where the audience is privy to information of which other characters in the play remain unaware. Soliloquies are usually reserved for the main protagonists in a play.

By 'thinking aloud' the character is often able to resolve inner conflicts and determine new courses of action that will then alter his behaviour as the play continues. Dramatic stories primarily unfold on stage by a series of actions: characters move, gesture, handle props, interact physically with each other and so on. But sometimes the 'action' is simply that of thinking, choosing or reasoning when physical movement or interaction with other actors might be distracting. A soliloquy functions rather like a close-up in a movie with the audience required to focus just on the thought processes of the individual character. An actor still uses voice, expressiveness and gesture to deliver a soliloquy of course, and may sometimes use a prop - for example, the opening moments of The Revenger's Tragedy: "Enter Vindici with a skull."

A prologue - the opening introductory moments of a play - is often in the form of a monologue addressing the audience directly in order to set the scene and give some background - "Two households both alike in dignity in fair Verona, where we lay our scene." Sabina in 'The Skin of our Teeth'; Tom in 'The Glass Menagerie."

A soliloquy differs from an aside: in an 'aside' the actor briefly interrupts himself to address a comment to the audience, while still remaining engaged in the action of the scene. This is often used to comic effect. By theatrical convention the other actors onstage behave as if they do not hear the aside.