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This book looks at the way in which the 'call for justice' is
portrayed through art and presents a wide range of texts from film
to theatre to essays and novels to interrogate the law. 'Calls for
justice' may have their positive connotations, but throughout
history most have caused annoyance. Art is very well suited to deal
with such annoyance, or to provoke it. This study shows how art
operates as an interface, here, between two spheres: the larger
realm of justice and the more specific system of law. This
interface has a double potential. It can make law and justice
affirm or productively disturb one another. Approaching issues of
injustice that are felt globally, eight chapters focus on original
works of art not dealt with before, including Milo Rau's The Congo
Tribunal, Elfriede Jelinek's Ulrike Maria Stuart, Valeria
Luiselli's Tell Me How It Ends and Nicolas Winding Refn's Only God
Forgives. They demonstrate how through art's interface, impasses
are addressed, new laws are made imaginable, the span of systems of
laws is explored, and the differences in what people consider to be
just are brought to light. The book considers the improvement of
law and justice to be a global struggle and, whilst the issues
dealt with are culture-specific, it argues that the logics
introduced are applicable everywhere.
This Element describes the development of an affective economy of
violence in the early modern Dutch Republic through the circulation
of images. The Element outlines that while violence became more
controlled in the course of the 17th century, with fewer public
executions for instance, the realm of cultural representation was
filled with violent imagery: from prints, atlases and paintings,
through theatres and public spectacles, to peep boxes. It shows how
emotions were evoked, exploited, and controlled in this affective
economy of violence based on desires, interests and exploitation.
This title is also available as Open Access on Cambridge Core.
The common saying is that people have a culture. This book argues
that people live a culture - which may explain why they are so
affectively attached to it. By considering cultural interactions on
a global scale, this book investigates how cultures can be
understood in terms of conflict and cooperation, in relation to the
nation-state, a multiplicity of worlds, society, civilization and
community. It considers how culture is at the basis of the
construction of individual and collective selves; how they can come
to be alienated; are defined in relation to others; are perhaps
in-comparable; when they are considered to be dis-abled; and
whether we can speak of animal cultural selves and mechanical
cultural selves. Its twelve chapters consists of two parts each
that both start with a piece of music. The pieces are taken from
different cultures and all connote that getting to understand
cultures depends on listening, first and foremost.
This book looks at the way in which the 'call for justice' is
portrayed through art and presents a wide range of texts from film
to theatre to essays and novels to interrogate the law. 'Calls for
justice' may have their positive connotations, but throughout
history most have caused annoyance. Art is very well suited to deal
with such annoyance, or to provoke it. This study shows how art
operates as an interface, here, between two spheres: the larger
realm of justice and the more specific system of law. This
interface has a double potential. It can make law and justice
affirm or productively disturb one another. Approaching issues of
injustice that are felt globally, eight chapters focus on original
works of art not dealt with before, including Milo Rau's The Congo
Tribunal, Elfriede Jelinek's Ulrike Maria Stuart, Valeria
Luiselli's Tell Me How It Ends and Nicolas Winding Refn's Only God
Forgives. They demonstrate how through art's interface, impasses
are addressed, new laws are made imaginable, the span of systems of
laws is explored, and the differences in what people consider to be
just are brought to light. The book considers the improvement of
law and justice to be a global struggle and, whilst the issues
dealt with are culture-specific, it argues that the logics
introduced are applicable everywhere.
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