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Call for papers. Art, Law and Social Change, a cura di Anna Simone e Alberto Vespaziani
Anna Simone
In the last two decades, the languages for describing social change have multiplied, along with attempts to open individual academic disciplines to interdisciplinary insights. The law, as a codified body of knowledge subject to rigid interpretative rules, has also had to confront this multitude of languages. In studying the relationship between the arts, law and social change we seek to map knowledge by making use of such interpretative sources as iconography, literature, theater, music, the visual arts. Beyond the disciplinary processes of functional differentiation in which these studies often end, our starting point is the need to situate the law within the humanities, and simultaneously contaminate the humanities with the legal sciences. We believe that is it essential to recover the educational, sentimental and communicative function of artistic languages in order to check the technical formalism of legal and sociological
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When the Law Performs - inquiries on the possibility of an aesthetics of law
Pedro Augusto Simões Da Conceição
Law was once seen as a way to achieve Truth, as in the Greek origins of western though. Later, it has been politicized and organized by the Romans, achieving the status of an Art. Modern times, however, perceive Law as a technical tool to achieve Truth, caring more about the maintenance of the organization frames of social spaces already set by given and enforced laws than about justice or fairness. I recover the ancient Greek conception of the Truth to question whether Law could once again be seen as an Art. In the context of the bureaucratic world we live in, where art is not regarded a source of Truth, but of entertainment, performance art emerges as a possible breakthrough and the perfect ally to lighten the performative perspectives of Law by questioning the management of social spaces. The fact that performers stage their art with their bodies might be the key element to reveal a new aesthetic era for the Law.
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The Blindness of Justice: An Iconographic Dialogue between Art and Law by Marcilio Franca
Richard de Koster
This essay seeks to listen to the ‘muta eloquentia’ of visual arts, in a very specific field, namely, the plastic discourse on the eyes, the blindness and the blindfold of justice ‘the most enigmatic feature of justice’ – throughout the last centuries of western art history. Why, over the centuries, has the goddess of justice been so often depicted with eyes open, with eyes closed, with blindfolds, without blindfolds...? What does that mean? What is the reason for these changes? These are the central issues of this text. Images shape powers, knowledge and invisible arguments, making present all which is many times absent above all in those historical times when printed language was still not available to diffuse ideas. Therefore, the immediate objective of this text is to better understand law and better understand the art that speaks of law.
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The art of law
George Karavokyris
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Law, Opera, and the Baroque Mentality Contradictions, Paradoxes, and Dialogues
Mariana Maia
Law and Opera, 2018
Opera can be seen as a baroque form of art, since it established itself at the same time and setting baroque aesthetics arose, and as such it bears all the contradictions inherent to this artistic movement. Both are the offspring of early modernity's heavily visual culture from which they emerged and share its fundamental contradiction: visual spectacle's unique ability to move individuals, such as opera's capacity to overwhelm the senses, was the cause of both devotion and disdain. This mentality-the baroque mentality-also played out in the law field, as the political and legal power of the then rising absolute state held visual spectacle as an important tool of legitimation. Contemporary society and law, ridden with screens are also marked by visuality and its axienties, a phenomenon Richard Sherwin calls 'digital baroque'. In this context, law also becomes a feared spectacle. Trusting law's power and ability to make just decisions thus becomes a challenge similar to trusting images. This article aims at drawing a parallel between the challenge Tragédie em musique-early French opera, a courtly amusement used as propaganda of the ancien régime-faced in order to affirm its legitimacy as a form of art and law in the age of the digital baroque's quest for legitimating its power, and also at demonstrating the way in which the concept of sublime, the aesthetical solution for Tragédie em Musique's challenge, can also be a useful tool for solving contemporary law's ultimate quest.
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Aesthetics of law and undiscovered approaches to law and literature
Aleksandra Guss, Kamil Zeidler
ISAIDAT Law Review, 2021
When undertaking research on the relationship between law and aesthetics, it is worth adopting the most broad meaning of the concept of law itself. As a result, the aesthetics of law can be perceived in its three dimensions – external, internal and the so-called „law as a tool of aestheticization”. In external frame, the aesthetics of law is concerned with manifestations of the law, legal inspirations, legal motives, symbols, signs, etc., which have been presented for centuries in the fine arts. In internal frame, law itself – in the form of legal acts, jurisprudence and legal activity, is a carrier of aesthetic values. The last frame, „law as a tool of aestheticization”, refers to the norms that show what is aesthetic, thus determining the aesthetics of everyday life. The trend of Law and Literature is the best-known example of the manifestation of the aesthetics of law, both in its internal and external frames. This movement, like the aesthetics of law itself, is a very fertile and interdisciplinary ground, based on the assumption that there are many links between law and literature. It is usually divided into two perspectives – external and internal, but the aim of this article is to present other, undiscovered possibilities of perceiving Law and Literature.
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José M. González García: The Eyes of Justice. Blindfolds and Farsightedness, Vision and Blindness in the Aesthetics of the Law, Frankfurt am Main, Klostermann, 2016, 412 pages
José M. González-García
Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.dnb.de abrufbar.
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David Rifkind, Monica Cioli
We asked a series of questions to Monica Cioli and David Rifkind, authors of two important books which focus on the process that enabled art and architecture to acquire a specific political meaning under fascism. The outcome is a dialogue that shows how the relationship between fascism and art is not characterized by a mere appropria- tion or a mutually functional exploitation between the artist or the architect and the fascist regime. Art prepares a specific appropriation of technology and serves to introduce the political anthropology of the fascist man. Similar- ly, architecture establishes an organization of urban spaces coherent and necessary to the hierarchical order of the corporatist society.
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Opera and Law: Critical Notes
Giorgio Fabio Colombo
Law & Literature, 2020
This paper intends to provide some methodological tools to explore the many different connections between law and opera. While the paper may of course be set in the context of studies about law and humanities, it intends to address some specific issues typical of the opera context. It proposes three different pathways: studies about legal problems as described in opera plays ("Law in opera"); analyses about the regulation of opera itself (copyright, etc., collectively referred to as "Law on opera"); and a broader, less theoretically-constrained field of connections between the two worlds, covering parallels between the circulation of legal and operatic traditions, regulations of new interaction between the audience and the staging, etc.
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ARTSUPPOSES JUSTICE : REFLECTIONS ON “DAS TRIBUNAL“
Raphael Zagury-Orly
ART SUPPOSES JUSTICE : REFLECTIONS ON “DAS TRIBUNAL“ INTERVIEW WITH JOSEPH COHEN AND RAPHAEL ZAGURY-ORLY BY LENA‑JOHANNA HERRMANN
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