Suchergebnisse

Art as the interface of law and justice : from annoyance to an ethics of affirmation -- Logic of fear vs logic of desire : Milo Rau's "The Congo tribunal" and the care for law" -- Logic of tragedy vs logic of comedy : Elfriede Jelinek's "Ulrike Maria Stuart and princess-dramas : death and the maiden" -- Logic of the official vs logic of the officious : the force in form and forum in Valeria Luiselli's "Tell me how it ends and lost children archive" -- Logic of personhood vs logic of self : threat of packs in Vondel's 'water-wolf' and the shift of commons into property -- Logic of completion vs logic of antinomy : corruption and well-being from Marek Hłasko, to Chibundu Onuzo, to the American suburban grass turf and Fritz Haeg -- Logic of violence vs logic of empathy : justice and law in Chiasmus through George Eliot's "Daniel Deronda" -- Logic of reason vs logic of dream : epistemic authority, habeas corpus, hallucination - Nicholas Refn's "Only God forgives".

A principal element of law is the unpredictable outcome of its proceedings. This unpredictability has fueled the hopes of many and the fears of equally as many. In recent years populists and other political mavericks have become highly capable at exploiting the element of chance in law, aiming not so much to prove guilt or maintain innocence, but rather to reconfigure the judiciary affectively as a game of winners and losers. Populists' legal and luysory tactics make it urgent to reconsider the relation between the fields of law and the humanities. By paying more attention to the genres and media of play and game we can better assess the ways in which contemporary actors are playing with law and exploring the limits of the rules of the game. Here, the plurality that characterizes culturally and medially determined forms of legality, as Greta Olson calls it, has a counterpart in an equally culturally inspired and mediatized form of totalitarianism. In analyzing the populist play with law, my guide will be Johan Huizinga's Homo Ludens, in which he considers law's origin in play and chance. For Huizinga, play is serious, as is the law. The populist play with law is equally serious, since it may have serious consequences for the Rechtsgefühle of citizens.

Joost van den Vondel (1587-1679) was the most prolific poet and playwright of his age. During his long life, roughly coincinding with the Dutch Golden Age, he wrote over thirty tragedies. He was a famous figure in political and artistic circles of Amsterdam, a contemporary and acquaintance of Grotius and Rembrandt, but in general well acquainted with Latin humanists, Dutch scholars, authors and Amsterdam burgomasters. He fuelled literary, religious and political debates. His tragedy 'Gysbreght van Aemstel', which was played on the occasion of the opening of the stone city theatre in 1638, was to become the most famous play in Dutch history, and can probably boast holding the record for the longest tradition of annual performance in Europe. In general, Vondel's texts are literary works in the full sense of the word, complex and inexhasutive; attracting attention throughout the centuries.
Contributors include: Eddy Grootes, Riet Schenkeveld-van der Dussen, Mieke B. Smits-Veldt, Marijke Spies, Judith Pollmann, Bettina Noak, Louis Peter Grijp, Guillaume van Gemert, Jürgen Pieters, Nina Geerdink, Madeleine Kasten, Marco Prandoni, Peter Eversmann, Mieke Bal, Maaike Bleeker, Bennett Carpenter, James A. Parente, Jr., Stefan van der Lecq, Jan Frans van Dijkhuizen, Helmer Helmers, Kristine Steenbergh, Yasco Horsman, Jeanne Gaakeer and Wiep van Bunge

Abstract
This article reads Peter Greenaway's 1989 film The Cook, the Thief, his Wife and her Lover for the way it deals with the relation between justice and desire. The authors discuss how the film portrays, on the one hand, a desire for justice that seeks a theatrical mode of legal procedure in the form of a rule of law that is systematically ethical; and on the other hand, desire as justice as the expression of what Gilles Deleuze called the "ethics of becoming." The two forms are brought in tension in the film's final scene, which can be read either as a case presented to the viewer as audience in the judicial theatre, or as a feud that plays out on what the authors read as a Brechtian podium, a space characterized by its radical openness and accessibility. On the podium the procedure is not structured by an audience that needs to watch the proceedings as a check on its fairness, but in which the audience actively participates in determining the situation. Through formal, cinematographic elements, The Cook, the Thief, his Wife and her Lover brings these two modes of desire and justice, and the ethical, theatrical and procedural forms they imply, in tension with one another. It makes the film a crucial jurisprudential text.

A bilingual collection of essays on the aesthetics of Gilles Deleuze, Discern(e)ments highlights what is at stake in Deleuzian philosophy of art. It traces the reception of Deleuzian thought in a broad range of disciplines and gauges its use-value in each of them. Following the dynamics between structure and becoming that punctuates Deleuzian aesthetics, Discern(e)ments sketches and erases boundaries between methods and traditions in philosophy and art theory, as well as in literary, performance and film studies. Offering both numerous case-studies as well as theoretical outlines, Discern(e)ments engages faculties, disciplines and criticisms not in a mere exchange of points of view, but in heterogenesis mapping out further discernments in Deleuzian aesthetics

Frontmatter -- Contents -- Foreword. Anomie, Resurgences, and De-Noming -- Introduction. Autonomy: Political Theory/Political Anthropology -- Part I. Geographies of Autonomy -- 1. The Death of Vitruvian Man: Anomaly, Anomie, Autonomy -- 2. Sovereignty, Indigeneity, Territory: -- Part II. Indigeneity and Commons -- 3. Enclosing the Enclosers: -- 4. Life and Nature "Otherwise" -- 5. Mind the Gap: -- 6. The Enclosure of the Nomos: -- Part III. Forms of Life -- 7. Decontainment: -- 8. The Savage Ontology of Insurrection: -- 9. Unreasonability, Style, and Pretiosity -- 10. Re-enchanting the World: -- Afterword. Resonances of the Common -- Bibliography -- Contributors -- Index