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This Handbook brings together 40 of the world's leading scholars
and rising stars who study international law from disciplines in
the humanities - from history to literature, philosophy to the
visual arts - to showcase the distinctive contributions that this
field has made to the study of international law over the past two
decades. Including authors from Australia, Canada, Europe, India,
South Africa, the UK and the USA, all the contributors engage the
question of what is distinctive, and critical, about the work that
has been done and that continues to be done in the field of
'international law and the humanities'. For many of these authors,
answering this question involves reflecting on the work they
themselves have been contributing to this path-breaking field since
its inception at the end of the twentieth century. For others, it
involves offering models of the new work they are carrying out, or
else reflecting on the future directions of a field that has now
taken its place as one of the most important sites for the study of
international legal practice and theory. Each of the book's six
parts foregrounds a different element, or cluster of elements, of
international law and the humanities, from an attention to the
office, conduct and training of the jurist and jurisprudent (Part
1); to scholarly craft and technique (Part 2); to questions of
authority and responsibility (Part 3); history and historiography
(Part 4); plurality and community (Part 5); as well as the
challenge of thinking, and rethinking, international legal concepts
for our times (Part 6). Outlining new ways of imagining, and doing,
international law at a moment in time when original, critical
thought and practice is more necessary than ever, this Handbook
will be essential for scholars, students and practitioners in
international law, international relations, as well as in law and
the humanities more generally.
This Handbook brings together 40 of the world's leading scholars
and rising stars who study international law from disciplines in
the humanities - from history to literature, philosophy to the
visual arts - to showcase the distinctive contributions that this
field has made to the study of international law over the past two
decades. Including authors from Australia, Canada, Europe, India,
South Africa, the UK and the USA, all the contributors engage the
question of what is distinctive, and critical, about the work that
has been done and that continues to be done in the field of
'international law and the humanities'. For many of these authors,
answering this question involves reflecting on the work they
themselves have been contributing to this path-breaking field since
its inception at the end of the twentieth century. For others, it
involves offering models of the new work they are carrying out, or
else reflecting on the future directions of a field that has now
taken its place as one of the most important sites for the study of
international legal practice and theory. Each of the book's six
parts foregrounds a different element, or cluster of elements, of
international law and the humanities, from an attention to the
office, conduct and training of the jurist and jurisprudent (Part
1); to scholarly craft and technique (Part 2); to questions of
authority and responsibility (Part 3); history and historiography
(Part 4); plurality and community (Part 5); as well as the
challenge of thinking, and rethinking, international legal concepts
for our times (Part 6). Outlining new ways of imagining, and doing,
international law at a moment in time when original, critical
thought and practice is more necessary than ever, this Handbook
will be essential for scholars, students and practitioners in
international law, international relations, as well as in law and
the humanities more generally.
It is the condition of modernity that an institution cannot depend
on a god, tradition, or any other transcendental source to secure
its foundations, which thereby come to rest upon - or rather in,
and through - its subjects. Never wholly separated from its
subjects, and yet never identical with them: this contradictory
condition provides a way of seeing how modern law gives form to
life, and how law takes form, enlivened by its subjects. By driving
Theodor Adorno's dialectical philosophy into the concept of law,
the book shows how this contradictory condition enables law to
become instituted in ways that are hostile to its subjects, but
also how law remains open to its subjects, and thus disposed
towards transformation. To flesh out an understanding of this
contradiction, the book examines the making and remaking of
"Liberia", from its conception as an idea of liberty at the
beginning of the nineteenth century to its reconstruction at the
beginning of the twenty-first with the assistance of an
international intervention to "establish a state based on the rule
of law". In so doing, the book shows how law is at the epicentre of
a colonising power in Liberia that renders subjects as mere
objects; but at the same time, the book exposes the instability of
this power, by showing how law is also enlivened by its subjects as
it takes form in and through their lives and interactions. It is
this fundamentally contradictory condition of law that ultimately
denies power any absolute hold, leaving law open to the
self-expression of its subjects.
It is the condition of modernity that an institution cannot depend
on a god, tradition, or any other transcendental source to secure
its foundations, which thereby come to rest upon - or rather in,
and through - its subjects. Never wholly separated from its
subjects, and yet never identical with them: this contradictory
condition provides a way of seeing how modern law gives form to
life, and how law takes form, enlivened by its subjects. By driving
Theodor Adorno's dialectical philosophy into the concept of law,
the book shows how this contradictory condition enables law to
become instituted in ways that are hostile to its subjects, but
also how law remains open to its subjects, and thus disposed
towards transformation. To flesh out an understanding of this
contradiction, the book examines the making and remaking of
"Liberia", from its conception as an idea of liberty at the
beginning of the nineteenth century to its reconstruction at the
beginning of the twenty-first with the assistance of an
international intervention to "establish a state based on the rule
of law". In so doing, the book shows how law is at the epicentre of
a colonising power in Liberia that renders subjects as mere
objects; but at the same time, the book exposes the instability of
this power, by showing how law is also enlivened by its subjects as
it takes form in and through their lives and interactions. It is
this fundamentally contradictory condition of law that ultimately
denies power any absolute hold, leaving law open to the
self-expression of its subjects.
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