Literature and Law

IL VOLUME ANALIZZA I DUE VOLUMI DEL PROF. MARIO CATTANEO ORDINARIO DI FILOSOFIA DEL DIRITTO ALL'UNIVERSITA' STATALE DI MILANO . IL PRIMO LIBRO RIGUASRDA LE OPERE DI CARLO GOLDONI ED ALESSANDRO MANZONI ED I LORO RAPPORTI CON L'ILLUMINISMO, IL SECONDO VOLUME ANALIZZA LE OPERTE DI NUMEROSI LETTERATI EUROPEI DANTE, PARINI,FOSCOLO,HEINE,HUGO,DOSDTOEVSKIJ,TOLSTOI,WILDE,GIDE. KAFKA E HAVEL ED I LORO INFLUSSI SULLA EVOLUZIONE DEL DIRITTO PENALE . IL LIBRI DI PAOLA BELLOLI ANALIOZZA IL CONCETTO DI COLPA IN DOSTOEVSKIJ, FREUD ED HEIDEGGER, IL LIBRO DI ARIANNA SANSONE ESOINE L'EVOLUZIONE DEGLI STUDI SU DIRITTO E LETTERATURA IN EUROPA ED USA E LA SCUOLA DEL LAW AND LITERATURE IN USA, IL VOLUME DI SERGIO SPADONI TRATTA DI KARL KRAUS E DELL'USO DELLA SATIRA NEL DIRITTO NELL'IMPERO AUSTRO-UNGARICO 
THE BOOK CONCERNS THE RELATIONS BETWEEN LAW AND LITERATURE IN EUROPE AND USA AND THE INFLUENCE OF THE FAMOUS BOOKS ON THE DEVELOPMENT OF PENAL LAW

Uma das características particulares do movimento interdisciplinar direito e literatura, que o diferencia da grande quantidade de movimentos em "direito e" que proliferaram durante as décadas de sessenta e de setenta na academia norte-americana que o viu nascer, é a migração da preocupação em examinar as intersecções e os limiares entre ambos, de sua sede jurídica – onde surgiu – para o campo dos estudos literários denominados Literatura e Direitos Humanos. Este trabalho propõe-se ao exame de tal migração no contexto da tradição norte-americana, das formas que assume e de suas potencialidades críticas.

Esta nota crítica analiza la perspectiva que Martha Nussbaum presenta sobre la emoción de la ira en su último libro Anger and Forgiveness. Resentment, Generosity, Justice (2016). Para ello sitúo esta obra en el contexto del proyecto filosófico de la autora y señalo algunos cambios y continuidades en su análisis de la ira; después reviso a la luz de este nuevo libro algunas de las críticas que, centradas en la reivindicación de la ira, ha recibido su propuesta de una cultura política centrada en las emociones “humanizadoras”.

Resumo: Objetivando realizar uma análise lítero-jurídica da obra O mercador de Veneza, de William Shakespeare, no sentido de aproximar Direito e Literatura, parte-se de uma revisão crítica no que diz respeito à genericidade teatral do texto e aos seus símbolos culturais e psicológicos, para situar a problemática jurídica da interpretação no processo de julgamento do contrato firmado entre Bassânio, Shylock e Antônio, estudada à luz dos institutos civis do Direito Romano. Ao longo da reflexão, suscita-se uma série de questões atinentes à obra, tais como o antissemitismo, a intolerância à homossexualidade, a validade do contrato e do julgamento, etc.; constata-se o esvaziamento da questão hermenêutica, transmudada em problemas políticos.
Palavras-chave: Literatura; Direito Romano; O Mercador de Veneza; Hermenêutica.

Resumen: Con el fin de llevar a cabo un análisis literario-jurídico de la obra El mercader de Venecia, de William Shakespeare, acercándose Derecho y Literatura, partiendo de un revisión crítica con respecto a la generalidad del texto teatral y sus símbolos culturales y psicológicos, se discute la problemática jurídica de la interpretación en el proceso de juzgamiento del contrato firmado entre Bassanio, Shylock y Antonio, estudiada a la luz de los institutos civiles del Derecho Romano. A lo largo de la reflexión, surge una serie de cuestiones relacionadas con el texto literario, tales como el antisemitismo, la intolerancia a la homosexualidad, la validez del contrato y del juicio, etc.; se observa el vaciado de la cuestión hermenéutica, transmutada en problemas políticos.
Palabras clave: Literatura; Derecho Romano; El mercader de Venecia; Hermenéutica.

This short essay considers the different ways in which law professors and English professors teach courses in Law and Literature -- particularly the differences in the course materials and the analytic approaches used in understanding those materials. Courses taught on law faculties generally include fewer readings drawn from case law and legal theory. On the other hand, courses taught in English departments are more likely to emphasize similarities between the legal readings and works of fiction or drama. I discuss some of the disciplinary habits that make it difficult for faculty members in each area to come to terms with materials taken from another discipline, but I end by arguing that these barriers are not insurmountable and can even be addressed, to some extent, by focusing on analytical habits already available in the home discipline.

კამიუ და მისი შემოქმედება XX საუკუნის შუა წლებიდან მნიშვნელოვან გავლენას ახდენდა და ახდენს ადამიანებზე, სისტემებსა და შეხედულებებზე. მისი „უცხო“ უდავოდ ერთ-ერთი გამორჩეული ნაწარმოებია, რაც კი სამართლებრივ თემატიკაზე შექმნილა, შესაბამისად, მისი სამართლებრივ ჭრილში განხილვა ერთგვარი გამოწვევაა, რასაც სამართლისა და ლიტერატურის ურთიერთობების მკვლევარი იურისტები იღებენ.

Bloomsbury Press / Hart Law (2021) In this novel approach to law and literature, Robert Barsky delves into the canon of so-called Great Books, and discovers that many beloved characters therein encounter obstacles similar to those faced by contemporary refugees and undocumented persons.

The struggles of Odysseus, Moses, Aeneas, Dante, Satan, Dracula and Alice in Wonderland, among many others, provide surprising insights into current discussions about those who have left untenable situations in their home countries in search of legal protection.

Law students, lawyers, social scientists, literary scholars and general readers who are interested in learning about international refugee law and immigration regulations in home and host countries will find herein a plethora of details about border crossings, including those undertaken to flee pandemics, civil unrest, racism, intolerance, war, forced marriage, or limited opportunities in their home countries.

Table of Contents
Introduction: Opening Up the Great Books
I. Canons, Great Books and Classics
II. 'Popular' Culture
III. From Cultural Reflection to Legal Protection
IV. Why Fiction? What About the Real World?
V. From Escapism to Engagement
VI. From Empathy to Revelation

1. Spreading Disease, or Inoculating Us from Intolerance?
I. Pandemics in Literature and Culture
A. The Arc of Disease, Suffering and Death
II. The Foreignness of Diseases
III. The Rhetoric of Blame
A. From Vulnerable to Unwanted and Diseased
IV. The Plague
V. From Symptoms to Panic
VI. Creating Empathy
VII. Limbo and the Will to Move Around
VIII. From Quarantines to Quarrels to Empathy?
IX. Art in the Time of Cholera
X. Crossing the Border into Obscenity
XI. Predicting Post-Pandemic Politics

2. Following Pathways, Networks and Guides
I. The Cessation Clause
II. Following Intermediaries in Religious Texts
III. Human Smugglers
IV. Language Issues and Displacement
V. Pursuing the Land of Milk and Honey
VI. Divine Intermediaries and Shift s to Immigration Policy
VII. Guides from Behind the Veil
VIII. Intermediaries to Eden
IX. From Freedom Fighter to Refugee
X. From Civil War to Hell
XI. A Reluctant Follower
XII. Fleeing with Loved Ones
XIII. The Purposeless Quest
XIV. Constantly on the Road
XV. The Search for Treasure
XVI. The Promised Land

3. Opening Doors and Scaling Walls
I. From Protection to Integration
II. From Victim to Slave
III. Supplicating Before the Gatekeeping King
IV. Consulting Constituents on Border Policy
V. Opening the Right Doors
VI. Doors, Doorways and the People Hidden Behind Them
VII. Before the Law
VIII. Ill-Advised Strategies for Opening Doors
IX. Real-World Gatekeeping
X. Rights at the Border
XI. Behind Closed Doors
XII. Doors Towards Metaphysical Voyages

4. Confronting Inhospitable Spaces and Hostile Hosts
I. Storms, Floods and the Purging of Unwanted Civilisations
II. The Romantic Refugee
III. Mary and Percy Shelley: Feminist and Atheist
IV. Refugees in a Time of Climate Change
A. Mary Shelley, Victor Frankenstein and His Monster: Climate Refugees
B. Percy Shelley's Perspective on Climate and Geomorphology
C. Lord Byron: Catastrophism, Climate Change and Ensuing Darkness
V. From Creation of the Earth to Apocalypse
VI. Being Misled into the Wrong Paradise
VII. Finding Revelation Instead of Refuge
VIII. From Persecution to Punishment
IX. Chance Encounters
X. Finding Hell
XI. Transformation into Darkness

5. Encounters with Aliens, Monsters and Terrorists
I. Monsters in the Great Tradition
II. Insidious Monsters in the (Real) World
III. First Encounters
IV. The Monstrous Unfamiliar
V. A Refugee Amongst Refugees
VI. Confronting Your Neighbour: The Monster
VII. Identifying the Monsters, then Living with Them
Conclusion: From Persecution to Wonderland

Derecho y teatro La Cultura literaria del Derecho ha generado estudios que han indagado la experiencia jurídica a partir de sus entramados con otras dimensiones narrativas de la existencia: la literatura, la música, el cine, la mitología, etc. También para lo que concierne la relación entre el derecho y el teatro se ha vuelto a proponer la gran dicotomía entre "derecho en el teatro" y "derecho como teatro". En la primera corriente han sido examinadas las cuestiones jurídicas presentes en obras teatrales. Baste pensar en la copiosa literatura sobre Shakespeare. 1 Con la segunda, por el otro lado, han sido analizadas las dimensiones teatrales de algunos fenómenos jurídicos, el proceso penal in primis. Esta contribución se inserta en la primera línea de investigación y pone de relieve los temas jurídicos que se infieren de un texto clásico de la literatura italiana: Lo cunto de li cunti de Giambattista Basile. 2 Primer libro europeo de fábulas populares, El cuento no es sólo una recopilación de relatos tradicionales de origen popular. De hecho, fue concebido como un guión teatral destinado a su representación escénica-siguiendo las técnicas del teatro callejero-ante las cortes napolitanas después del almuerzo. El cuento, además, alberga asimismo múltiples entrelazamientos entre materias jurídicas y dimensión teatral. Como es sabido, El cuento de los cuentos fue escrito por un aristócrata napolitano que, casi como un antropólogo, viajó en la Campania y la Lucania del siglo XVII, oyendo y transcribiendo los cuentos de hadas transmitidos por la tradición popular. Publicado 3 sólo después de la muerte del autor, entre 1634 y 1636, encontró difusión en Europa gracias a las traducciones primero al alemán y a lengua inglesa, y seguidamente al español y al francés, con lo que muy pronto acabó convertido en un verdadero clásico de la literatura europea. En este sentido, es preciso repetir y subrayar que se trata del primer libro europeo de cuentos de hadas y que las obras posteriores de Perrault y los hermanos Grimm se han limitado a recoger y transformar varios Cuentos, haciendo célebres algunos de ellos: sólo recuerden La bella durmiente que es otra versión de Sole, Luna e Talia (V, 5), Cenicienta que procede de La gatta Cennerentola (I, 6), Rapunzel que desarrolla Petrosinella (II, 1) y El gato con botas inspirado por Cagliuso (II, 4). En cuanto libro, El Cuento comparte con la revolución Gutenberg las ideas de reproducibilidad 4 y serialidad; los relatos, en él contenidos, están dirigidos antes a la representación que a la lectura, y, por lo tanto, son susceptibles, en su puesta en escena, de infinitas posibilidades de variación. Efectivamente, el teatro callejero presupone una multiplicidad de lugares, situaciones y oyentes en la que se produce la representación, en ausencia de "apariencias", como en la época solían llamarse las escenografías. Como texto clásico de la primera modernidad, el Cuento se relaciona con la tradición oriental de Las mil y una noches: "la estructura del Cuento es una respuesta filosófica, europea y geométrica a la imagen ética, oriental y fractal de Las mil y una noches. Cenicienta es la jovencita cruel que, como Scheherazade, consigue 1 Cf. Jose Garcez GHIRARDI, O mundo fora de prumo. Transformação social e teoria política em Shakespeare, São Paulo: Almedina, 2011. 2 Giovan Battista BASILE, Lo cunto de li cunti, ediziome di riferimento a cura de Michele Rak, Milano: Garzanti, 1995. (N. de la trad. Existe ed. española como Giambattista BASILE, Pentamerón. El Cuento de los Cuentos, introd. de Benedetto Croce, epíl. de Italo Calvino, pról., trad. y notas de César Palma, Madrid: Eds. Siruela, 2006, 2019 2. Las citas en adelante referidas esta obra corresponden con la última ed. disponible). 3 Giambattista BASILE, Lo cunto de li cunti overo lo trattenimiento de peccerille, In Napoli: per Camillo Cavallo, 1644. (N. del Ed.). 4 "La totalidad de los cincuenta relatos del Cuento tienen la misma estructura y muchos otros han sido contados y pueden ser contados a partir de aquélla. Se trata de una aplicación al cuento del principio de la replicabilidad del experimento que circulaba en la fase de configuración de la filosófica experimental. En esta óptica han de observarse las extraordinarias variantes de la Cenicienta y de otras personas y entramados en todas las culturas del planeta." Cf. Michele RAK, Logica della fiaba: fate, orchi, gioco, corte, fortuna, viaggio, capriccio, metamorfosi, corpo, Milano: Bruno Mondadori, 2005, p. XIV.

Garnier a composé son Antigone (1570) en s’inspirant d’une part des Phéniciennes de Sénèque et de la Thebaïde de Stace, et d’autre part de l’Antigone de Sophocle. La cohérence de la pièce tient au fait que toutes les sources font apparaître un conflit entre les prétentions également légitimes des personnages. Si le tragique se définit comme ce qui est à la fois impossible et nécessaire, ces conflits insolubles entre des normes coexistantes sont proprement tragiques. Ils rappellent la complexité du système normatif auxquelles Garnier a été confronté dans son activité de magistrat. La composition d’Antigone est contemporaine de celle de La République (1576) de Jean Bodin : dans ces années charnières émerge l’idée que la loi positive doit exprimer la volonté du roi absolu. Pourtant, la doctrine juridique, qui place au sommet de la hiérarchie des normes le droit divin et le droit naturel, offre le moyen de contester la loi du roi.

The ambivalent status of circumstantial evidence has been intensively discussed since the 18th century, in both fiction and forensics. (Forensic) Evidence is both hermeneutic and material -- a phenomenon of ambiguity: the conclusions to be drawn from clues are generated by an amalgam of enlightened promises of objectivity and the opaque materiality of the surface. According to the forensic and juridical hope associated with circumstantial evidence, neutral things do not lie, but show (evidentia) as pars pro toto the actual facts in nuce. Yet every fact, every thing remains tied back to a closing instance , to the investigative and hermeneutic conclusions of thought: this opens the operational field of literature. Poetic dynamics enable literature to simultaneously cope with indexed ambiguity and indeterminacy, both by producing them, and by reflecting on them by means of investigative self-observation.

This paper proposes an analysis of the legal aspects present in the narrative of “The Handmaid´s Tale”, a novel by Margaret Atwood. First published in 1985, and heavily influenced by second-wave feminism, “The Handmaid´s Tale” addresses, mainly, the matter of gender inequality, once it creates a reality in which fertile women are compelled to reproduce through a servitude system. Through a rupture with the Cartesian dichotomy whose dualist notion separates objectivity from subjectivity, reason from emotion, this paper exposes that this oppression is not a literary creation by Atwood, but a reproduction of the power relations put forward in the history of humankind. In this regard, it is explored how Literature can aid the Law in facing the questions that come up in the resolution of legal and social problems. Besides gender inequality, it is possible to spot in the novel several violations concerning the principle of human dignity. Therefore, this research analyzes the legal provisi...

This paper briefly revisits the plot of William Shakespeare's play The Tragedy of Julius Caesar and seeks to reflect on power and human behavior at the dusk of the Roman Republic. The play, in fact, portrays the tragedy of Brutus, who, moved by idealism and the impetus to protect the Republic, betrayed Caesar and participated in the conspiracy to kill him. The article ends with considerations about love, ideal and treason.

A partir de El proceso, se pretende develar la presencia del deseo en los dispositivos burocráticos de justicia. Así, en un primer momento se explorará la relación entre derecho y literatura, destacando el valor de la obra kafkiana. Posteriormente, de la presencia femenina en El proceso, se evidenciará la encarnación del deseo en los dispositivos burocráticos de justicia. A renglón seguido se analizará la impartición justicia como dispositivo burocrático, a fin transcribir y desmontar su presentación formal como aparato no deseante. Por último, se tratará de sostener que es el deseo lo que habita y alienta en la justicia.

Este trabalho analisa Ovos verdes e presunto, o quarto livro infantil mais vendido de todos os tempos, como um estudo de caso, para ponderar que a literatura infantil não-didatizante é uma fonte fundamental do direito. O artigo parte da categorização da literatura infantil como constitutiva de regras comportamentais internas junto à criança-leitora, e dessas regras como cruciais para nortear o comportamento humano. O argumento defendido é de que as regras comportamentais que podem ser sintetizadas a partir da literatura não-didatizante compartilham as principais características das leis e são inclusive mais fundamentais do que as fontes tradicionais do direito. Por fim, apresentam-se dois exemplos de regras comportamentais que podem ser sintetizadas a partir de Ovos verdes e presunto, uma sobre a importância da persistência e outra sobre a importância de se manter a mente aberta.

This paper is a modest attempt to study how common law, legal English, and legal education interact. The birth and evolution of legal English and legal education are bound up with that of the common law and the history of Great Britain. Therefore, to understand the unique nature of legalese, it becomes necessary to revisit the evolution of Common Law. This paper is divided into five parts. The first part deals with the changing dimensions of Common Law from a historical perspective; in the second, the development of legalese in British history has been discussed. Part third talks about how literature plays a vital role in the enrichment of legal language while locating the areas of possible synergy between law and literature; and the fourth part centers around the idea that law is expressed in a language and, therefore, the importance of hermeneutics in the interpretation of law also needs to be comprehended. The need to revise legal pedagogy in the existing legal education system has also been highlighted in the fifth part of this paper before drawing the inferences. The paper concludes by stressing the importance of legal language and the need to reform existing pedagogy to equip law students with good communication skills necessary for legal practice in modern times.
KEY WORDS : Anglo-Saxon, Norman Conquest, Common Law, Legalese, hermeneutics.

In this paper I would like to outline a comprehensive theory of legal interpretation based on an assumption that legal text, understood as the aggregate of texts of all legal acts in force at a particular time and place, describes one, rational and coherent possible world. The picture of this possible world is decoded from the text by interpreters and serves as a holistic model to which the real world is adjusted when the law is applied.
From the above premise I will limit myself to draw two conclusions for how legal interpretation should be carried out. First, I argue that the possible world described by the legal text has to be ‘accessible’ from the real world, i.e. it has to be feasible to transform the actual world into the described one. Were it otherwise, the possible world could not serve as a model for adjustment. The accessibility requirement imposes obligations on the interpreters to secure the rationality of the possible world decoded from the text, amongst other to secure that the description of this world is not contradictory and – as a consequence – the law of excluded middle is obeyed in the possible world described by the legal text.
Secondly, I argue for the inevitability of interpretative discretion arising from the requirement to decode a sufficiently ‘saturated’ picture of the possible world., i.e. possessing enough properties to resemble the actual world. As texts have a limited number of sentences and worlds have an unlimited number of properties, interpreters have to supplement the picture of a possible world to achieve its coherence (seamlessness???). This involves the inclusion of some additional, non-predetermined features that fit in with the properties of the world predefined by the legal text. This process of saturation consists of filling in so-called ‘places of indeterminacy’ (Roman Ingarden) with content implicated by other features of the possible world. I also argue that the discretion resulting from the necessity of filling in the places of indeterminacy is justified by the requirement of fulfilling the intention of the lawmaker to make the possible world described by the legal text real.
The presented theory is based on contemporary theories of discourse representation and so-called ‘text-world theory’ by J. Gavins.  Phenomenalism and causal (historical) theories of reference provide its philosophical background.

Artykuł prezentuje zarys teorii interpretacji prawniczej opartej na założeniu, że tekst prawny, rozumiany jako zbiór tekstów wszystkich aktów prawnych obowiązujących w danym miejscu i czasie, opisuje jeden spójny i racjonalny świat możliwy. Obraz tego możliwego świata jest odtwarzany z tekstu prawnego i służy jako całościowy model, do którego dostosowuje się świat rzeczywisty w procesie stosowania prawa.
Z powyższego założenia wyprowadzam w niniejszym opracowaniu dwie konsekwencje dla procesu interpretacji prawa. Po pierwsze, podnoszę, że świat możliwy opisywany przez tekst prawny musi być ‘dostępny’ ze świata rzeczywistego, a więc musi istnieć fizyczna, logiczna i funkcjonalna możliwość przekształcenia świata rzeczywistego w ten świat możliwy. W przeciwnym razie świat możliwy opisywany przez tekst prawny nie mógłby służyć jako wzorzec dostosowania dla świata rzeczywistego. Wymóg dostępności skutkuje wieloma obowiązkami interpretatora w zakresie sposobu odtwarzania z tekstu prawnego racjonalnego i możliwego do realizacji obrazu świata możliwego.
Po drugie, argumentuję, że dyskrecjonalność interpretatora jest nieunikniona, ponieważ wynika z konieczności odtworzenia z tekstu prawnego wystarczająco ‘nasyconego’ obrazu świata możliwego, a więc obrazu cechującego się wystarczającą ilością właściwości, aby przypominał on strukturę właściwości świata rzeczywistego. Ponieważ każdy tekst posiada ograniczoną liczbę zdań, natomiast każdy świat ma nieskończoną ilość właściwości, interpretator musi uzupełnić obraz świata możliwego o właściwości nieopisane w tekście, a konieczne do spójności tego świata. Wymaga to zawarcia w tym obrazie dodatkowych niewyrażonych w tekście właściwości, które jednak muszą pasować do właściwości wyrażonych w tekście. Wskazany proces ‘nasycania’ obrazu świata możliwego polega na wypełnianiu tzw. miejsc niedopowiedzenia (Roman Ingarden) treścią implikowaną przez inne cechy tego świata.
Prezentowana koncepcja jest oparta na współczesnych teoriach reprezentacji dyskursu i tzw. teorii świata tekstu autorstwa J. Gavins. Jej tło filozoficzne obejmuje fenomenalizm i przyczynową (historyczną) teorię referencji.
"

This paper proposes an analysis of the legal aspects present in the narrative of The Handmaid's Tale, a novel by Margaret Atwood. First published in 1985, and heavily influenced by second-wave feminism, The Handmaid's Tale addresses, mainly, the matter of gender inequality, once it creates a reality in which fertile women are compelled to reproduce through a servitude system. Through a rupture with the Cartesian dichotomy whose dualist notion separates objectivity from subjectivity, reason from emotion, this paper exposes that this oppression is not a literary creation by Atwood, but a reproduction of the power relations put forward in the history of humankind. In this regard, it is explored how Literature can aid the Law in facing the questions that come up in the resolution of legal and social problems. Besides gender inequality, it is possible to spot in the novel several violations concerning the principle of human dignity. Therefore, this research analyzes the legal provisions taken in the fictional space of Gilead, as well as in the country that preceded it, the United States of America, as well as in Brazil. In addition, it studies the symbolic violence to which women are submitted in Gilead and how it relates to the experiences lived by contemporary Brazilian women.

Abstract
[Between law, justice and social rules. Mozart/Da Ponte trilogy].
Lorenzo Da Ponte worked together with the most famous composers
of XVIII century. He wrote the libretto of Mozart’s Nozze di Figaro,
Don Giovanni, and Cosi fan tutte.
Da Ponte and Mozart were seduced and deeply influenced by the
ideals of American and French Revolution and by philosophers like
Rousseau and Voltaire.
In this essay, I would analyse the trilogy from a legal point of view,
looking for aspects that normally are underestimated. In Le Nozze di
Figaro, for instance, we find a quite interesting description of law
and lawyer in the ancien régime. Don Giovanni turns around the idea
of justice and punishment and Così fan tutte inspires some
considerations on legal and moral rules.

Using a miracle tale as a focal point, this paper illuminates the political and cultural context of York at the turn of the twelfth to thirteenth century in order to make sense of England's rapid transition from trial by ordeal to trial by jury after 1215. More specifically, the paper highlights the possible impact of the period of papal interdict (c. 1208 – 1214), imposed by Pope Innocent III in response to King John's intransigence over the appointment of a new archbishop of Canterbury, during this transitional period in criminal procedure. It argues that the interdict, with its suspension of liturgies, might have forced experimentation with alternative means of reaching verdicts in felony cases. The paper also suggests that juries might have been involved in the issuance of ordeal verdicts in the late ordeal period in England, in which case the shift from trial by ordeal to trial by jury may be less a moment of rupture than a transition from one form of trial using juries to another, albeit a trial form more starkly desacralized after 1215. It is the author's hope that the paper will serve as a starting point for further research, not a decisive answer to the questions it raises, including whether England's rapid adoption of final jury verdicts may owe something to the tussle between King John and a particularly imperial and imperious pope.

This article analyses Aravind Adiga’s Booker prize-winning novel The White Tiger (2008) through the lens of justice: philosophical, legal, and literary. What is justice when its agent is subaltern—disprivileged by both caste and class—and delivers justice to himself? I argue that the fictional representation of class, caste, poverty, and violence can be similar to the structuring and translations of justice. By writing his novel from the perspective of a subaltern character, Adiga joins the call by Dalit critics to reconfigure modernity from the interests of the oppressed and the marginalized. In the process, there can be a rethinking of postcolonial literary criticism from within the postcolonial nation, rather than the established perspective of the postcolonial nation understanding its own colonial oppression. My essay provokes wider insights into the implications for justice and human rights as they are informed and represented by literary fiction, subaltern theory, and deconstructive theory. How can a writer conceive of and represent justice—literary justice—by working within and against philosophical and legal conceptions of justice? The philosophers and theorists I invoke include Drucilla Cornell, Jacques Derrida, Wai Chee Dimock, Emmanuel Levinas, Gayatri Chakravarty Spivak, and Robert Young.

Στο παρόν άρθρο εξετάζεται σε κείμενα των Πέτρου Πικρού, Γαλάτειας Καζαντζάκη και Νίκου Κατηφόρη η αναπαράσταση μιας πλήρως διεφθαρμένης και στερούμενης δικαιοσύνης αστικής κοινωνίας, καθώς και η ανάδειξη του ελέγχου της ανθρώπινης -γυναικείας κυρίως- σεξουαλικότητας ως αιχμής του δόρατος στη σύγκρουση των συγγραφέων με την κοινωνία της εποχής τους.

First, I examine the aspects of the political sovereignty on the Shakespearean stage. In the light of Walter Benjamin’s Origin of the German baroque drama (1928) and of Carl Schmitt’s answer to Benjamin in Hamlet or Hecuba (1956), I show that Shakespeare stages the mortality of the political bodies and the new sovereignty of the plotter. Urged to master the art and the tempo of the plot, the prince is nonetheless unable to prevent the decomposition of the state. Then, drawing on the Elizabethan drama, I question the contemporary effort towards order and synchronization within the city. Hobbes’s theory of political and juridical representation breaks with the mystical conception of political unity and with any inspired legislation, whereas the civil scene is dedicated to the peace between individuals in order to ensure the possibility of a real autonomy in the private sphere. Reciprocally, this autonomy must consolidate the solutions to the problems of melancholy and skepticism conceptualized in Leviathan. While endorsing the tragedy of human condition and of knowledge already put on stage by Shakespeare, Leviathan prevents Schmitt’s exaltation as well as the « pure » violence which, according to Benjamin, lies in the subject’s state of exception. Yet, through the ghosts that Leviathan cannot tolerate within the public sphere, the Shakespearean stage unravels the mechanisms of perpetual order and synchronization without rejecting the law and the project of autonomy.

Keywords : Melancholy – Skepticism – Law – Discipline – Elizabethan drama – Shakespeare – Walter Benjamin – Carl Schmitt – Hobbes – Leviathan – Behemoth

The growing recognition of the relation between nature and man in recent years has led ecofeminism to emerge as a new aspect of feminist thought. It is a movemen t, a th eory th at a pp lies th e prin cip les an d approaches of feminism to both women and ecology. The paper seeks to study the changing dimensions of ecofeminist jurisprudence from the perspective of both East and West. It has been predominantly divided into two parts. Part one traces the conceptual development of ecofeminism based on Western ecofeminist texts. Its various dimensions and kinds conceptualized by the western scholars have been discussed here to set the background for arguments to be initiated in the next part of the paper. In the second part, ecofeminism in the Indian tradition has been foregrounded with special reference to the contributions of Indian scholars. Here, the emphasis is also on studying the links between 'feminine principle' and nature in ancient Indian tradition with respect to Hinduism, Buddhism, Sankhya philosophy, and various cultural p ra ctices. The pa per con clud es tha t ecofeminism in particular and environmentalism, in general, can gather more momentum if seen from a holistic perspective by recognizing the feminist and ecological concerns of people across the cultures.

Resumo: O presente artigo, de alcance conceitual,tem por objeto a relação entre Direito e Música e busca demonstrar de que forma a música pode ser utilizada como veículo de contestação e luta social, a partir do exemplo de Raul Seixas. Tendo alcançado sucesso de público no período ditatorial brasileiro, época na qual os direitos e garantias fundamentais, como a liberdade de expressão, eram tolhidos arbitrariamente, o artista procurou utilizar seu status social e sua audiência para disseminar ideais relativos à liberdade individual. Conhecedor da Lei de Thelema, Raul ressignificou esse postulado esotérico e o aplicou no campo social e político brasileiro, de modo a difundir suas premissas como forma de luta e resistência contra a ditadura. O artigo, nesse sentido, irá problematizar uma forma de se utilizar a música como objeto de estudo do direito, a partir do exemplo de Raul Seixas, bem como uma forma de como a música pode influenciar o campo social, político e jurídico. Para tanto, metodologicamente, se buscará investigar como e por que a música deve ser considerada uma promissora fonte de estudos jurídicos, na esteira de estudos sobre direito e outras linguagens artísticas como a literatura; na sequência, será contextualizada a situação brasileira da década de 70, época de maior sucesso de Raul Seixas, e investigada a maneira como o artista utilizou de seu lugar de destaque para denunciar e contestar o status quo.

Abstract: This conceptual article aims the relation that can be established between Law and Music, as well as it seeks to show how music can be used as a vehicle of protest and social struggle, by the example of Raul Seixas. Having achieved great success in Brazilian dictatorial period, time in which fundamental rights and guarantees such as freedom of expression were arbitrarily constrained, the artist sought to use his status in society, also his audience, to spread ideals concerning individual freedom. Believing in the importance of Thelema Law, the musician tried to apply its esoteric propose in Brazilian social and political field, in order to spread its premises as a form of struggle and resistance against dictatorship. In this sense, the article questions the way of using music as a field of study of law, by the example traced by Raul Seixas, as well as it questions how can music influence social, political and juridical fields. For this, methodologically, we will investigate how and why music should be considered a promising source of legal studies. After, we will try to understand Brazilian 70’s, time in which
Raul had his most success. Also, in the end, we will try to analyze how the artist used his prominent position to expose and challenge the status quo.

Este artigo propõe evidenciar os aspectos jurídicos contidos no romance The Handmaid’s Tale, de Margaret Atwood. Publicado pela primeira vez em 1985 e fortemente influenciado pela segunda onda do feminismo, The Handmaid’s Tale aborda, principalmente, a temática da desigualdade de gênero ao criar uma realidade na qual as mulheres férteis são obrigadas a reproduzir através de um sistema de servidão. Rompendo com a dicotomia cartesiana cuja noção dualista separa a objetividade da subjetividade, a razão da emoção, este trabalho expõe que essa opressão não é uma criação literária de Atwood, mas uma representação das relações de poder existentes ao longo da história da humanidade. Assim, explora-se como a Literatura pode auxiliar o Direito a enfrentar as dúvidas que surgem na solução dos problemas jurídicos e sociais. Além da desigualdade de gênero, pode ser extraída do texto a violação ao princípio da dignidade da pessoa humana. Dessa forma, são analisadas as previsões legais em Gilead, nos Estados Unidos, ou seja, no sistema vigente antes da criação literária de Atwood, e no Brasil. Além disso, é estudada a violência simbólica à qual as mulheres são submetidas em Gilead e como ela se relaciona às experiências vividas pelas mulheres do Brasil.