Other FrameWorks Fellows consider immunity in its moral or legal aspects. Esraa Wasel uses Medea’s seeming immunity from punishment in Euripides’ famous play as the basis for a discussion of moral character as a pretext for sentencing of convicted criminals. Angela Jardina considers the first installment of Francis Ford Coppola’s The Godfather trilogy as a reflection on the rhetorical and political power of “family” to justify morally questionable actions. Ada Cinar examines the moral solipsism of rugged individuals in Cormac McCarthy’s No Country for Old Men. Finally, two FrameWorks Fellows use immunity as a metaphor to describe forms of artistic integrity. Akanksha Bhatia argues that Ken Garland’s “First Things First” manifesto played an important role in ensuring that the artistry and civic value of design (especially graphic design) was not completely overwhelmed by its commercial function. Elizabeth Spencer takes us through the movements of Shostakovich’s 13th Symphony, detailing Shostakovich’s and Yevtushenko’s critiques of the Soviet Union, at great risk to themselves and their careers. As in previous years, each of these essays and the volume that contains them speak to the work ethic and endurance of FrameWorks Fellows, their faculty mentors, the Editorial Board, and numerous members of the Honors College staff. This third issue of FrameWorks: A Journal of Undergraduate Research in the Interdisciplinary Humanities is a testament to a collective effort of which, it is my fervent hope, each individual contributor is immensely proud. Max Rayneard, Editor 8
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