Suchergebnisse

Abstract
If revenge functions to compensate for inequity arising from an initial transgression, thereby restoring equity, can we speak of restoration of an equitable social or personal situation in Janet Lewis's novel The Wife of Martin Guerre (1941)? This work belongs to Janet Lewis's series of three novels based on "Cases of Circumstantial Evidence", of which The Wife of Martin Guerre is the most famous. It concerns the case of Martin Guerre, the sixteenth-century French peasant who apparently returned home to his wife after a long absence but was later revealed to be an impostor. The wife at first believes that the impostor is indeed her husband, then starts to have doubts, gathers information to contest his assertions, develops an exaggerated religious sense of guilt for the sin of adultery, and successfully sues him, leading to his being hanged. Several questions arise: is she justified in feeling guilty for having given in to sexual attraction, thus blinding herself to the available clues pointing to the impostor's deception? Can the outcome be considered an equitable result, despite the fact that the false Martin Guerre was actually a good administrator, dealing fairly both with his subjects and his wife, and thus created a much more harmonious life for everybody than the lawful husband had done? I consider the story as a case of revenge stemming from an incorrect religious perspective, or alternatively narcissistic damage, which does not bring about redress of a tort, but rather social unhappiness.

Abstract
The island embodies a new and subversive geopolitical area. All modern juridical systems are the result of a catastrophe emerging from a state of exception: those who reach an island are in fact survivors of a wreckage, be it physical, spiritual, or cultural. These assertions are the basis for the creation of literary islands, themselves the result of a wreckage, exiles, of a separation from a civilization with its own juridical systems, a disruption of a known system, of a catastrophe, whether physical, moral, political or social. The creation of an island invites a re-examination of the old relationships concerning the juridical, the political, and the theological.

Abstract
In the contemporary world the law must use images to enforce our compliance: the law needs some enforcement in the form of visual help. Why then does the law have to rely on advertising in order to have its voice heard? What impact does advertising have on the legal profession?

Abstract
Elizabeth I's portraits span more than 40 years of her reign: during this time her courtiers commissioned paintings that developed both her own image and a complex set of symbols that transmitted her power. These paintings, together with other iconological representations of her sovereignty, embody her personal way to advertise her own power and keep her subjects within the fascination of her figure. By commissioning portraits of the Queen her courtiers both expressed their loyalty to her and helped to develop the wide range of emblems and visual devices through which her propaganda could be promulgated. The analysis of the symbols interwoven with the dresses which enwrapped the Queen in her portraits conveys both the social situation of the period and Elizabeth's will to impose her figure as divine so as to stress her legitimacy to the throne. The problem of power, legitimacy and legality are all intertwined in the dresses: the yarn that is spun by the painter's brush represents the rules that keep society together. It symbolises the legal system with all its paraphernalia and anticipates an awareness for those in power to advertise their image which typifies our age. The fundamental function of clothing in making or unmaking a person's status within society is often used in Renaissance plays. In many passages of Shakespeare's The Taming of the Shrew, for example, clothing is clearly connected to authority and it becomes the central device in the taming process itself.

AbstractMy starting point is that bioethics and the problems connected to human rights and human dignity are the logical evolution of the principles of equity. My paper aims at analysing Jodi Picoult's novel

Abstract
In Julius Caesar the wounds on the body of the "king" are like mouths that cry out the condemnation of the violation of power and of a cosmic order. The divine body of the king has a sacred hue as he represents God on earth, thus the killing of Caesar can be connected to the killing of Christ. Caesar in the text has many Christological connotations. The killing of Caesar has the emblematic character of a cry against the violation of legitimate power: the body is at first concealed (Caesar's mantel hides his corpse) then exhibited (when Antony uncovers it) and sacralized so as to make this catastrophe symbolic of an adhesion to legitimate power. Antony makes Caesar's body the voice of power: on one hand it has the function of stressing the persuasive power of Antony's words, on the other hand Antony transforms the body into a spiritual icon in order to reach his aim of denouncing the illegitimate subversion of the conspirators.