{"title":"将国际法描绘为普世:帝国主义和图像与艺术的合用","authors":"Kate Miles","doi":"10.1093/LRIL/LRAB002","DOIUrl":null,"url":null,"abstract":"\n Visual international law tells stories. Image and art supporting imperialism in the eighteenth and nineteenth centuries also projected the authority and universalism of international law. This article argues that depictions of treaty-making, of international legal theorists, and of conferences were about painting European international law as ‘successful’—telling stories of an authoritative, universal, and virtue-laden mode of international regulation.","PeriodicalId":43782,"journal":{"name":"London Review of International Law","volume":null,"pages":null},"PeriodicalIF":0.8000,"publicationDate":"2021-03-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/LRIL/LRAB002","citationCount":"0","resultStr":"{\"title\":\"Painting international law as universal: imperialism and the co-opting of image and art\",\"authors\":\"Kate Miles\",\"doi\":\"10.1093/LRIL/LRAB002\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n Visual international law tells stories. Image and art supporting imperialism in the eighteenth and nineteenth centuries also projected the authority and universalism of international law. This article argues that depictions of treaty-making, of international legal theorists, and of conferences were about painting European international law as ‘successful’—telling stories of an authoritative, universal, and virtue-laden mode of international regulation.\",\"PeriodicalId\":43782,\"journal\":{\"name\":\"London Review of International Law\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.8000,\"publicationDate\":\"2021-03-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1093/LRIL/LRAB002\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"London Review of International Law\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/LRIL/LRAB002\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"Q2\",\"JCRName\":\"LAW\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"London Review of International Law","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/LRIL/LRAB002","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"Q2","JCRName":"LAW","Score":null,"Total":0}
Painting international law as universal: imperialism and the co-opting of image and art
Visual international law tells stories. Image and art supporting imperialism in the eighteenth and nineteenth centuries also projected the authority and universalism of international law. This article argues that depictions of treaty-making, of international legal theorists, and of conferences were about painting European international law as ‘successful’—telling stories of an authoritative, universal, and virtue-laden mode of international regulation.