Pub Date : 2021-07-03DOI: 10.1080/17521483.2021.1902089
Róisín A Costello
ABSTRACT This article focuses on the Irish language macaronic song ‘An Trucailín Donn’ (ATD) as a piece that is representative of the broader Irish/English macaronic tradition in exposing the identity conflicts that minority language speakers must internalize to resolve themselves as citizens. The article focuses, in particular, on how such songs expose the dilemma faced by Irish language speakers – to either constitute themselves as Anglophone citizens within the institutional structures of the State, or Irish speaking citizens outside it.
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Pub Date : 2021-07-03DOI: 10.1080/17521483.2021.1983173
Amanda Finch
ABSTRACT This article uses the criminological frameworks of ideal and complex victims to explore the Donmar Warehouse’s 2018 production of Measure for Measure that grounded the play in references to the Me Too movement. This production staged two versions of the play in one performance, including regendering and role-switching of the central antagonists, which drew attention to the gender dynamics of victimization and offence. While the traditional Isabella was shown to be a nigh perfect ideal victim, when she assumed the offender’s role and victimized Angelo, no neat reversal of power roles was possible. A framework that allows for more complex understandings of victims and offenders is necessary to read this version and to apprehend these issues in real life contexts. This article argues that representations of victims and offenders in theatrical performance have the power to affect understandings of victimization in broader socio-legal contexts and therefore deserve close analysis.
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Pub Date : 2021-07-03DOI: 10.1080/17521483.2021.1985251
B. Thorne
ABSTRACT The violence and related crimes committed during the genocide against the Tutsi, April-July 1994, led to the creation of the International Criminal Tribunal for Rwanda. This international machinery of justice was located in the neighbouring country of Tanzania. The often complex, draining, meandering, problem-prone legal proceedings, sprawling across 21 years generated a rich and diverse archive containing fragments of pre-genocide, genocide and post-genocide periods. This somewhat side-lined archive is an interplay between plural experiences, memory, dialogue, power, and users. Atrocity archives and their material are sites of stimulation. They stimulate memory, dialogue, and the senses. The senses accompany all those who adventure with archive material. Accompany in both obvious and more subtle ways, which nonetheless can be profound. The stimulation of visual material is compelling, although sound, taste, touch, smell can equally weave, entwine and manifest during archival encounters.
{"title":"An atrocity archive: sensory expression of past-present-future","authors":"B. Thorne","doi":"10.1080/17521483.2021.1985251","DOIUrl":"https://doi.org/10.1080/17521483.2021.1985251","url":null,"abstract":"ABSTRACT\u0000 The violence and related crimes committed during the genocide against the Tutsi, April-July 1994, led to the creation of the International Criminal Tribunal for Rwanda. This international machinery of justice was located in the neighbouring country of Tanzania. The often complex, draining, meandering, problem-prone legal proceedings, sprawling across 21 years generated a rich and diverse archive containing fragments of pre-genocide, genocide and post-genocide periods. This somewhat side-lined archive is an interplay between plural experiences, memory, dialogue, power, and users. Atrocity archives and their material are sites of stimulation. They stimulate memory, dialogue, and the senses. The senses accompany all those who adventure with archive material. Accompany in both obvious and more subtle ways, which nonetheless can be profound. The stimulation of visual material is compelling, although sound, taste, touch, smell can equally weave, entwine and manifest during archival encounters.","PeriodicalId":42313,"journal":{"name":"Law and Humanities","volume":"15 1","pages":"272 - 278"},"PeriodicalIF":0.6,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43193541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-03DOI: 10.1080/17521483.2021.1983143
Gary Watt, D. Gurnham
This issue starts and finishes with Shakespeare’s Measure for Measure – a play of unerring prescience and one which foregrounds the two broad themes of the articles: the performance of justice and injustice, and the question of belonging when institutional and personal identities fail to align. These themes are themselves timely given that this issue went to press at the end of a summer dominated by the fall of the US-backed government in Kabul: an event leaving many thousands with an uncertain future in a country suddenly and once again subject to the repressive and puritanical policies of the Taliban, and effectively dashing the hope that women and girls might participate in public life. The theme of the sometimes disorienting and fearful experience of change was also the theme of the third Law and Humanities Roundtable in June 2021. That event, (‘Change and the law: hope, opportunity, shock and dread’) held online for the second time due to the ongoing pandemic, featured four fascinating paper presentations: Kamil Zeidler and Aleksandra Szydzik (Faculty of Law and Administration, University of Gdańsk), Aesthetics of Law: Does the Beauty of Law Play any Role During Times of Pandemic?; Dorothea Endres (Graduate Institute, Geneva), Norm-knitting; Lorna Cameron (The School of Architecture & Design, University of Lincoln), Change, Opportunity, and Court Systems: Exploring Access, Architecture, and Aspirations in a Post Covid-19 Future; and Guilherme Vasconcelos Vilaça (Instituto Tecnológico Autónomo de México), The Role of Myth in Legal Change.We are delighted to be able to offer this platform for law and humanities scholars from all over the world to share and exchange new ideas and lines of inquiry. A call for papers for the July 2022 Roundtable was circulated in November 2021 (on the journal’s website and on twitter @law_humanities) and abstract proposals for law and humanities paper presentations on Time and Temporalities are welcome (deadline Feb 4th 2022). So to the articles of this issue. In ‘Representing victims and offenders in contemporary performance: the ideal and the complex in Shakespeare’s Measure for Measure’, Amanda Finch focuses on how Josie Rourke’s recent production calls attention to how gendered scripts for victims and perpetrators condition our readings of performances of sexual coercion, by ‘flipping’ the roles halfway through, such that the play’s traditional depiction of male heterosexual coercion (by the cruel Deputy Angelo of the chaste Isabella) and a self-defensive bed-trick by the female victim is reversed. The outcome of this reversal, both in Rourke’s production, and in Finch’s article, is far from a ‘mirror’ image. Finch’s article argues that women are victimized both in the traditional ‘ideal victim’ role that we are used to finding Isabella in, and in the ‘complex offender’ role traditionally given to Angelo. For Finch, the ostensibly dominant and controlling ‘Isabella 2’
{"title":"Editorial","authors":"Gary Watt, D. Gurnham","doi":"10.1080/17521483.2021.1983143","DOIUrl":"https://doi.org/10.1080/17521483.2021.1983143","url":null,"abstract":"This issue starts and finishes with Shakespeare’s Measure for Measure – a play of unerring prescience and one which foregrounds the two broad themes of the articles: the performance of justice and injustice, and the question of belonging when institutional and personal identities fail to align. These themes are themselves timely given that this issue went to press at the end of a summer dominated by the fall of the US-backed government in Kabul: an event leaving many thousands with an uncertain future in a country suddenly and once again subject to the repressive and puritanical policies of the Taliban, and effectively dashing the hope that women and girls might participate in public life. The theme of the sometimes disorienting and fearful experience of change was also the theme of the third Law and Humanities Roundtable in June 2021. That event, (‘Change and the law: hope, opportunity, shock and dread’) held online for the second time due to the ongoing pandemic, featured four fascinating paper presentations: Kamil Zeidler and Aleksandra Szydzik (Faculty of Law and Administration, University of Gdańsk), Aesthetics of Law: Does the Beauty of Law Play any Role During Times of Pandemic?; Dorothea Endres (Graduate Institute, Geneva), Norm-knitting; Lorna Cameron (The School of Architecture & Design, University of Lincoln), Change, Opportunity, and Court Systems: Exploring Access, Architecture, and Aspirations in a Post Covid-19 Future; and Guilherme Vasconcelos Vilaça (Instituto Tecnológico Autónomo de México), The Role of Myth in Legal Change.We are delighted to be able to offer this platform for law and humanities scholars from all over the world to share and exchange new ideas and lines of inquiry. A call for papers for the July 2022 Roundtable was circulated in November 2021 (on the journal’s website and on twitter @law_humanities) and abstract proposals for law and humanities paper presentations on Time and Temporalities are welcome (deadline Feb 4th 2022). So to the articles of this issue. In ‘Representing victims and offenders in contemporary performance: the ideal and the complex in Shakespeare’s Measure for Measure’, Amanda Finch focuses on how Josie Rourke’s recent production calls attention to how gendered scripts for victims and perpetrators condition our readings of performances of sexual coercion, by ‘flipping’ the roles halfway through, such that the play’s traditional depiction of male heterosexual coercion (by the cruel Deputy Angelo of the chaste Isabella) and a self-defensive bed-trick by the female victim is reversed. The outcome of this reversal, both in Rourke’s production, and in Finch’s article, is far from a ‘mirror’ image. Finch’s article argues that women are victimized both in the traditional ‘ideal victim’ role that we are used to finding Isabella in, and in the ‘complex offender’ role traditionally given to Angelo. For Finch, the ostensibly dominant and controlling ‘Isabella 2’","PeriodicalId":42313,"journal":{"name":"Law and Humanities","volume":"15 1","pages":"143 - 145"},"PeriodicalIF":0.6,"publicationDate":"2021-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42349997","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-03DOI: 10.1080/17521483.2021.1983270
D. Kenny
ABSTRACT In this paper, I examine disputes about citizenship in Northern Ireland though the lens of poet Seamus Heaney’s 2004 version of Antigone, The Burial at Thebes. Citizenship and identity in Northern Ireland – if people are Irish or British – has been a central issue of the conflict there. The 1998 peace agreement promised to allow people to identify however they wished, and not be forced to adopt an identity they rejected. But recent controversies, including Brexit and a major legal challenge, have shown that the legal concept of citizenship has not been able to fulfil this promise. Sophocles’ Antigone presents a great clash between the authority of the State and deep personal/morality commitments, and the tragedy that result. Heaney’s Antigone casts light on the fundamental clash at the centre of citizenship, and points us toward a flexible, contextual multi-level citizenship as a solution to law’s rigid conception of what a citizen must be.
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Pub Date : 2021-01-02DOI: 10.1080/17521483.2021.1918378
Gary Watt, D. Gurnham
It is always a pleasure when writing these editorials to reflect on the contents of an issue and to marvel at the wide cast of the law and humanities net in terms both of geography and of scholarly subject matter. Few legal journals can claim, we think, to have such a broad diversity of contributions as this one. It is a claim amply borne out by the present issue. In addition to Marie-Catherine Petersmann’s review of Frédéric Neyrat’s, The Unconstructable Earth: An Ecology of Separation (2018), this issue contains five full-length articles. What follows is a brief overview, which, in accordance with time-honoured theatrical tradition, introduces the articles in order of appearance. In fact, the phrase ‘running order’ is apt to describe the sequence of the five articles that make up the bulk of this issue. ‘Order’, because the one thing that certainly connects them to each other is concern for ‘law’ broadly conceived. ‘Running’, because the course of the articles takes us from two that are concerned with law and literature – the first law as literature, the second law through a literary lens – to a piece engaged with the photographic lens, to another on the cinematic moving image, to another on law and dance. The running order therefore runs through forms of order ranging from inscribed code to the static image to the moving image and finally to bodily kinesthetics. Stability is an attribute traditionally associated with government, but talk of ‘running’ a country is a clue to other attributes at play – attributes of motion, emotion, and change. ‘Change and the Law’ is in fact the theme of the annual Law and Humanities Roundtable for Summer 2021. We are pleased to say that the final article in the present issue – Sean Mulcahy’s ‘Dances with Laws’ – was first presented at last year’s Law and Humanities Roundtable. In this issue, as in all issues of this journal, our contributors show us that concerns for law’s wider cultural impact and cultural expression run deep in the long running history of law and society. The course of the present issue is wide-ranging not only in terms of the sorts of cultural works that are engaged with, but also wide-ranging through time and space. We visit the Anglo-Saxon kingdom of England; India in the shadow of the Bhopal disaster; Poland in the shadow of Nazi war crimes; and, bringing us right up to date, we visit Hong Kong’s Storm series of films, and popular UK television show Strictly Come Dancing. We begin with Anya Adair, an Assistant Professor in Law and Humanities at the University of Hong Kong, who teaches courses in the Faculty of Law as well as in the School of English. Her article ‘Narratives of authority: the earliest Old English law-code prefaces’, examines the introductions to the earliest surviving English
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Pub Date : 2021-01-02DOI: 10.1080/17521483.2021.1902086
S. Mulcahy
ABSTRACT Though law in/and/as performance is a burgeoning area of scholarship, with scholars exploring the relation between theatre, music and law, there is substantially less attention paid to the possibilities of dancing the law. In this article, the author identifies three styles of legal dance – (1) dance as legal practice, (2) dance as legal resolution, and (3) dance as legal research – providing case studies of each from amongst contemporary dance practice. Drawing from this legal dance practice and a survey of the existing field of dance and law research, the author asserts then challenges some common dichotomies between dance and law, most predominant of which is the claim that dance is body oriented whereas law is word oriented. Arguing against this common dichotomy, as the curtains close, the author choreographs the beginnings of dance as an embodied jurisprudence – one that moves the discussion of dance and law from metaphor to methodology.
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Pub Date : 2021-01-02DOI: 10.1080/17521483.2021.1918377
Leila Neti
ABSTRACT Indra Sinha's novel Animal's People provides a fictional account of the 1984 Union Carbide toxic gas leak in Bhopal, India. Animal, who is severely injured in the disaster, guides the reader through both the post-apocalyptic social landscape, as well as the community's failed efforts to hold the 'Kampani' accountable for the consequences of the leak. Reading Animal's story through the lens of what I identify as its historical precedent, I trace the continuities between the Union Carbide Corporation and the East India Company in order to reveal in both moments a shared substitution of the corporation for the human. Bringing Animal's People into dialogue with this broader legal history, I argue that the terms of humanity set forth in the British colonial era rationalize the portrait of disposable humanity that Sinha paints. The guiding question of the paper is how does the legal realm shape and guide the imaginative possibilities of the human as represented in literature?
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Pub Date : 2021-01-02DOI: 10.1080/17521483.2021.1908684
M. Petersmann
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Pub Date : 2021-01-02DOI: 10.1080/17521483.2021.1882657
Alvin Hoi-Chun Hung
ABSTRACT When Chinese leader Xi Jinping came to power in 2012, the Chinese government adopted an anticorruption policy pledging to uproot corruption in China, and since then, an anticorruption crime film series known as the Storm films has been produced in Hong Kong and released with a progressively successful box-office performance in mainland China. The purpose of this essay is to examine the series’ role as an entertainment-based pedagogical and ideological tool within the broader socio-political context of post-2012 China. I argue that through portraying corruption in Hong Kong and the idealized role model image of anticorruption law enforcement officers, this Hong Kong film series has served to create a safe distance with which the general public in mainland China could be educated about the social harms of corruption, and could be forged with an ‘appropriate’ legal consciousness comprising complete trust, respect, and support for both the anticorruption campaign and the law itself.
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