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Zusatztext A thought-provoking and well-considered book that builds toward a general theory of law and justice but that is also able to include in-depth analyses of multiple different literary/artistic works that span genres. Informationen zum Autor Frans-Willem Korsten holds the chair in “Literature and Society” at the Erasmus School of Philosophy and is working at the Leiden University Centre for the Arts in Society in the Netherlands. Vorwort This book looks at issues of law and justice as important artistic themes, examining a wide range of texts from film, theatre, essays, and novels to interrogate and criticise the law. Zusammenfassung 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. Inhaltsverzeichnis 1. Art as the Interface of Law and Justice: From Annoyance to an Ethics of Affirmation I. Law – Justice and Art as Interface II. System, Realm and Two Kinds of Logic: Affirmation and DisturbanceIII. ‘Thirds’: Forces of Disruption and Impasse IV. In Defence of Law, as a Defence of Justice V. Art, Annoyance and an Ethics of Affirmation 2. Logic of Fear vs Logic of Desire: Milo Rau’s The Congo Tribunal and the Care for Law I. Absent Rule of Law and the Potential in Art’s Interface II. Law’s Genesis, Fear of Law and the Nature of Courts III. Apathy: The Threat to Law and Justice IV. Theatre and Drama: Dunamis and the Judicial Mise-en-scene V. The Care for Law: Jurisannihilatio and Juriscaritas 3. Logic of Tragedy vs Logic of Comedy: Elfriede Jelinek’s Ulrike Maria Stuart and Princess-dramas: Death and the Maiden I. Open or Closed: Tragedy, Comedy, Impasse II. Culture-text and the Cohabitation of Symbolic Order and Law III. Mary Stuart and Ulrike Meinhof: Law’s Domesticity and Mystery IV. The Weight of Law’s Architectonic: Sovereignty 4. 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 I. Officious: Meddlesome, Informal, Obliging, Passionate II. Data Subjects: Records, Documents and Form III. Ö ffentlichkeit , Publicity and Forum IV. The Destructive Fictitious and the Test of Fiction: Forensic Architecture 5. Logic of Personhood vs Logic of Self: Threat of Packs in Vondel’s ‘Water-wolf’ and the Shift of Commons into Property I. Personhood, Self, Pack and the Legal Need for Dissection II. The Art of Mapping: From Centralisation to Ecological Territorialisation III. Waters as Wolf Packs: Tropes of Infuriation IV. The V...
