Categorías
Uncategorized

Heavy metal & Law. And Justice for All, de METALLICA, 1988 [Sobre corrupción en el sistema judicial]

Metallica. And Justice For All (live)

Letra:

Halls of justice painted green money talking. Power wolves beset your door hear them hola stalking. Soon you’ll please their appetite they devour. Hammer of justice crushes you overpower. The ultimate in vanity. Exploiting their supremacy. I can’t believe the things you say. I can’t believe I can’t believe the price. You pay nothing can save you. Justice is lost justice is raped justice is gone. Pulling your strings justice is done. Seeking no truth winning is all. Find it so grim so true so real. Apathy their stepping stone so unfeeling. Hidden deep animosity so deceiving. Through your eyes their light burns hoping to find. Inquisition sinking you with prying minds. The ultimate in vanity. Exploiting their supremacy. I can’t believe the things you say. I can’t believe I can’t believe the price. You pay nothing can save you. Justice is lost justice is raped justice is gone. Pulling your strings justice is done. Seeking no truth winning is all. Find is so grim so true so real. Lady Justice has been raped truth assassin. Rolls of red tape seal your lips now you’re done in. Their money tips her scales again make your deal oh. Just what is truth? I cannot tell cannot fell. The ultimate in vanity. Exploiting their supremacy. I can’t believe the things you say. I can’t believe I can’t believe the price. We pay nothing can save us. Justice is lost justice is raped justice is gone. Pulling your strings justice is done. Seeking no truth winning is all. Find it so grim so true so real. Seeking no truth wining is all. Find it so grim so true so real.

Categorías
Uncategorized

Art and Justice. South Africa

Bronwyn Law-Viljoen (ed.)

Art and Justice: The Art of the Constitutional Court of South Africa

Photography by Ben Law-Viljoen

David Krut Publishing, Parkwood, South Africa, 2008, 212 pp.
ISBN: 9780958497558

This magnificent new book, launched in October 2008, celebrates and documents the artworks integrated into and collected for the Constitutional Court of South Africa. The book pays tribute to the extraordinary vision of the architects and judges of the Court who sought to bring together, in the most inspiring, innovative and dignified way possible, art and the workings of justice, and to give a public soul to the new Court building. Working closely with the Constitutional Court Artworks Committee headed by Justices Yvonne Mokgoro and Albie Sachs, David Krut Publishing has prepared the book as a companion volume to Light on a Hill: Building the Constitutional Court of South Africa. Art and Justice: The Art of the Constitutional Court of South Africa is designed by Ellen Papciak-Rose and features photography by Ben Law-Viljoen.

Essential to the original design of the Constitutional Court by the Durban-based omm design workshop and their Johannesburg partner Urban Solutions, was the integration of art and architecture into the most important building of the new South Africa. To realise this aim, the architects sought designs from artists for elements of the building such as lights, security gates and sun screens. The architects also commissioned artists and craft collectives to design and make furnishings for the Court. The result of these important collaborations can be seen in the colour, vibrancy, warmth, and humanity of the building.

The inclusion of artwork in the structural and functional elements of the Court is enhanced by a growing collection of art on view to the public. The Constitutional Court collection started – with very few resources – before the Court moved into its current home and has taken shape around several key works by artists such as Dumile Feni, John Baloyi, William Kentridge, Judith Mason, Gerard Sekoto, Marlene Dumas, and others. The collection is noted for its exploration of figuration in contemporary South African art, a theme that is well adapted to the values that the Court seeks to uphold in its mandate to hear matters relating to human rights and the Constitution.

Art and Justice: The Art of the Constitutional Court of South Africa will serve as a record of the Court’s growing collection of paintings, prints, fibre art and sculptures, but more importantly it will pay tribute to an extraordinary vision: to bring together art and justice in a building that would welcome all citizens of the country.

XXX—XXX

Estimo de interés recuperar y recoger la referencia de esta obra, a pesar de que la fecha de edición remonta tres años atrás. Además de una fotografía espectacular en un formato adecuado (276 x 276mm). La obra es complemento de una anterior, a cargo igualmente de Bronwyn Law-Viljoen con fotografías de Angela Buckland: Light on a hill : building the Constitutional Court of South Africa (David Krut Publishing, Parkwood, South Africa, 2006, 173 pp. ISBN: 978-0958486071), que estuvo dedicada a la arquitectura del Constitutional Court of South Africa, inaugurado en 2004. El edificio está simbólicamente erigido sobre el antiguo Fort Prison of Johannesburg.

El libro que ahora reseño recoge la colección de arte reunida a partir de 1994 por el Justice Albie Sachs, ahora miembro retirado de la Constitutional Court. Con Sachs también colaboró intensamente asimismo el Justice Yvonne Mokgoro. La colección se nutrió de donaciones de artistas, galeristas y mecenas, que finalmente se ha instalado en el edificio, ejemplo de moderna arquitectura.

La obra se acompaña de textos redactados por los arquitectos, otros a firma de los jueces del Tribunal Constitucional y de algunos de los varios artistas cuyas obras integran la colección

Recomiendo visitar la Constitutional Court Art Collection website: http://concourt.artvault.co.za/overview.php

J.C.G.

Categorías
Uncategorized

Argumentario

Pablo Raul Bonorino Ramírez

Argumentacón en debates

Universidade Vigo, Vigo, 2012, 149 pp.

ISBN 978-84-8158-573-5

La democracia se nutre de disenso y su funcionamiento requiere aceptar como una de las reglas fundamentales del juego que las discrepancias se deben dirimir empleando como única arma las palabras. Lan argumentación resulta indispensable para resolver las diferencias de opción sin emplear la fuerza. Los debates, intercambios argumentativos orales entre sujetos que defienden puntos de vista opuestos sobre la verdad de un enunciado, constituyen el mecanismo que históricamente se ha utilizado para decidir pacífica, ante cuál de las posiciones en conflicto debe ser aceptada. Este libro brinda herramientas para mej0orrar nuestras argumentaciones en el marco de un debate.

XXX—XXX

A través del Servizo de Publicacions de la Universidade de Vigo recibí hace algunas semanas este reciente libro del Prof. Bonorino, colega y no obstante amigo, que tuvo de gentileza de procurar que la enviaran. Sea agradecido su obsequio, y bienvenida la obra.

Quienes conocemos a su A. sabemos de sus afanes y numerosas iniciativas -‘Derecho y cine’, es una de ellas, como lo es su esfuerzo editorial en la revista InterXesiones– en materia de innovación docente. Argumentacón en debates es sin duda otra más de ellas. Como ventaja añadida está el no orientarse únicamente a lectores jurídicos. De hecho, el Dr. Bonorino ha organizado debates «jurídicos» entre alumnos de otras titulaciones. Esta ampliación de horizontes es ciertamente positiva.

Argumentacón en debates es una herramienta útil a ese propósito. Y es lo cierto, además, que ni abundan ni entre las pocas existentes me parecen todas igualmente eficaces. En alguna oportunidad he señalado la necesidad de disponer de esta clase de instrumentos docentes en nuestra literatura [vid. en este blog la entreda relacionada con Kodeks argumentacyjny dla prawników, , Kraków, 2003, 108 pp. (ISBN: 83-7333-261-8, del del prof. Jerzy Stelmach (https://mixcelanea.es/iuridisctio/2011/04/visita-academica-krakow-i-teoria-de-la.html)]. Así, pues, me declaro favorable a los catálogos argumentales útiles para juristas en formación, y para quienes orientan otras especialidades su estudio universitario, y que saben dispensar al lector de bizantinas disputaciones doctrinales -por lo demás, ya generalmente conocidas y también prudentemente «olvidadas»- para ofrecerle herramientas que le ayuden a averiguar cómo construir en concreto y hacerlo.

Es claro, quienes así son capaces de actuar a la manera de un matriciero de la Argumentación -construyendo elementos mecánicos precisos y bien ajustados- han atravesado el río de la teoría sin naufragar. El trabajo del Prof. Bonorino es una buena prueba de ello.

J.C.G.

El Índice y primer Capítulo (‘El debate’) puede consultarse en:

http://publicacions.uvigo.es/opencms/export/sites/publicacions/publicacions_gl/documentos/Argumentacixn_en_Debates_I_capitulo.pdf

Una reciente entrevista con el autor acerca de esta obra podrá verse en:

http://duvi.uvigo.es/index.php?option=com_content&task=view&id=6492&Itemid=49

Categorías
Uncategorized

Supernatural Law. Comic book series. Batton Lash

Batton Lash

The Monsters Meet on Court Street: And Other Tales of Supernatural Law

Exhibit A Press, San Diego, CA, 2012, 176 pp.

ISBN-13: 978-0981551913

Beware the creatures of the night – they have lawyers! Alanna Wolff and Jeff Byrd have an unusual law practice – defending monsters and the supernaturally afflicted. In this collection of stories, the attorneys represent a wide variety of clients, from a mad scientist who falls in love with a woman in another dimension, to a gangster gorilla boss, to a tycoon’s childhood invisible friend. Readers also learn more about the personal lives of the attorneys and of their intrepid secretary, Mavis, who has her own adventure with a runaway robot. Contents include issues 30, 37, 38, 39, and 40 of Batton Lash’s Supernatural Law comic book series as well as Mavis #4 and twenty all-new pages. The Monsters Meet on Court Street is volume 6 in this ongoing graphic novel series that mixes humor, horror, and the law to produce a unique and fun reading experience.

Brooklyn-born cartoonist Batton Lash created Alanna Wolff and Jeff Byrd, Counselors of the Macabre, for a newspaper strip in 1979. He has been publishing them in comic book form since 1994, and the comics have been collected into several trade paperbacks. The comic has been optioned by Universal Studios for a major live-action motion picture to be titled SUPERNATURAL LAW. Lash has also written a number of comics for companies such a Marvel, Archie («Archie Meets the Punisher»), and Bongo («Bart Simpson’s Treehouse of Horror»).

XXX—-XXX

Los monstruos a veces también se encuentran urgidos por la necesidad de utilizar los servicios de un abogado. La serie » Supernatural Law” trata de las aventuras de los abogados defensores Jeff Byrd y Alanna Wolff, de la firma Byrd y Wolff, cuya especialidad es la defensa de monstruos que pueden encontrarse en dificultades legales. Esto es resultado, a menudo, de una falta de comprensión hacia la naturaleza de esos monstruos por parte de otras criaturas -también molestas- como los son, en efecto, los «seres humanos».

La metáfora es incisiva en esta especie de ‘novela gráfica’. Hasta los monstruos merecen ser defendidos, y yo añadiría que incluso, y hasta especialmente, cuando se trata de “causas perdidas”. Esta fabula docet en orden a entender el significado y valor del ‘derecho de defensa’ no me parece irrelevante.

J.C.G.

Éste reseñado aquí es, en efecto, el sexto volumen de la serie » Supernatural Law» de Lash Batton y su equipo de dibujantes y editores.

Entre otros títulos también los siguientes:

Wolff & Byrd, Counselors of the Macabre: Supernatural Law

Exhibit A Press, 1992, 76 pp.

ISBN-13: 978-0963395405

This 76-page 12 x 9 trade paperback collects 14 stories from the weekly comic strip ‘Wolff & Byrd, Counselors of the Macabre,’ which has been appearing in the National Law Journal since 1983. The stories feature attorneys Alanna Wolff and Jeff Byrd, who specialize in a unique clientele: vampires, werewolves, and things that go bump in the night. This mix of humor and horror has created quite a national following for the strip. Among stories included in this collection are parodies of the ‘Beauty and the Beast’ TV series and ‘Prairie Home Companion’; an excursion to visit a client in hell; and a case involving a cartoon cat accidentally brought to life.

Mr. Negativity: And Other Tales of Supernatural LawExhibit A Press, 2004, 176 pp.
ISBN-13: 978-0963395481

In 1979, Lash created the comic strip «Wolff & Byrd, Counselors of the Macabre,» about two attorneys specializing in cases dealing with supernatural matters. Unlike Wolfram & Hart, the law firm with a similar clientele on the TV show Angel, Alanna Wolff and her partner, Jeff Byrd, have always been on the good guys’ side, and their exploits are comedies. Over time, Wolff and Byrd have migrated from one comics venue to another, and now star in their own comic book, Supernatural Law, from which the stories were collected for this paperback. The stories aren’t laugh-out-loud funny, but instead deal in quiet, gentle whimsy. The appealingly cartoony art maintains a light tone even in the more morbid scenes; the firm’s secretary looks as if she grew up in Archie’s Riverdale. Lash is overly fond of some of comics’ and soap opera’s kitschier clichés. His characterizations tend to be one-dimensional; Wolff and Byrd have little personality and function as the straight men to a supporting cast of eccentrics. What’s most impressive about this book are the inventive concepts. In the title story, a man with an obsessively negative attitude visually transforms into a «photo-negative» version of himself. Lash parodies pop culture targets ranging from Stephen King and Harry Potter to other comics. The high point is a satire on Dave Sim’s Cerebus comics, which should delight even readers unfamiliar with the target. After a full quarter century, it’s remarkable that Wolff and Byrd’s saga still demonstrates such imaginative vitality.

Practicing supernatural law isn’t always safe. Just ask attorneys Alanna Wolff and Jeff Byrd, whose office is currently being renovated after a client’s rampage. Such vicissitudes don’t deter the pair, who now take on the case of Nagy D’Viti, a guy so pessimistic he literally radiates negative energy and whose constant whining even gets on their nerves until they realize he might be able to help them with another case. In «Trail of the Trial of the Mummy,» Wolff and Byrd try to prevent an ancient mummy from being reawakened and unleashing its curse on its descendants. «Courting the Muse» brings a disgruntled muse–the tenth muse, the muse of potboilers–to the lawyers’ doorstep, feeling she has been taken advantage of by the cute slacker who convinced her to write his novel for him. Little does he know, the joke is on him. Meanwhile, both Alanna and the firm’s secretary, Mavis, are torn between two men. Clever, witty, and funny, Lash’s tales delightfully evoke the humorous side of the supernatural.

Kristine Huntley

Copyright © American Library Association. All rights reserved

The Soddyssey, And Other Tales of Supernatural Law

Introduction by F. Paul Wilson
192 pp.

ISBN: 978-0-9815519-0-6

At last, the «missing» volume from the Supernatural Law series of trade paperbacks. This book collects issues 9-16 of the original Wolff & Byrd comic book series. Chronologically, it falls after Tales of Supernatural Law and before Sonovawitch! As with Tales, the stories in this collection have been «remastered,» including complete relettering and retoning. The stories include: «The * Files» (parodying, of course, The X Files), «I'm Carrying Satan's Baby,» «Strange Bedfellows,» «I Married a Sniveling Blob of Jelly,» «The Man Who Had His Own Personal Laugh Track,» «Personal Injuries and Guardian Angels» (with Jack Benny as the guardian angel), «Triskaidekaphobia» (in which perennial client Sodd finally goes on trial), «Bad Blood» (a takeoff on Anne Rice), «The Statue of Limitations,» «The Returns of Roger Rizzolli,» «The Littlest Loup Garou,» and the whole conclusion to the Sodd story, «Sodd, We Hardly Knew Ye.»

Disponible en http://issuu.com/jackieestrada/docs/soddyssey_89-108

Más información en:

http://www.exhibitapress.com/pages/index.php

http://www.exhibitapress.com/

Categorías
Uncategorized

Cantar a una DEMOCRACIA. Mayra Andrade, de ‘Studio 105’

Mayra Andrade (La Habana, Cuba, 1985), se ha formado en las músicas de Senegal, Angola y Cabo Verde donde vivió. Reside en vive en Rio de Janeiro desde 2004.

http://www.mayra-andrade.com

Categorías
Uncategorized

On visual culture and Law. Scandinavia

Kjell Å Modéer – Martin Sunnqvist (eds.)

Legal stagings: the visualization, medialization and ritualization of law in language, literature, media, art and architecture

Museum Tusculanum, Copenhagen, 2012, viii, 302 pp. : ill.

ISBN: 9788763531610

As contemporary culture becomes increasingly visual, new challenges and requirements arise for institutions that have historically been text-based. One of the most important institutions facing this challenge is that of law. A collection of articles written by lawyers and scholars in a variety of fields, Legal Stagings examines the many visual representations law has assumed across a multitude of scholarly disciplines and artistic genres, including architecture, theatre, cinema, literature, and journalism, as well as in courtroom art and portraiture. Mixing theoretical analysis with practical experiences, the articles here examine not only how law contributes to visual culture but how that culture in turn analyzes, maintains, criticizes, and ultimately transforms law.

Preface

I. Introduction

1. Visualization of a Nordic Legal Modernity: From August Strindberg to Lars von Trier

Kjell Å Modéer

2. Visualization of the Law

Peter Wahlgren

3. On-stage and Off-stage European and Global Legal Scenes

Hanne Petersen

II. Law and the Media

4. Media Industry, Economy and Value in Crisis: The Role of Contemporary Journalism in Relation to the Danish Cartoon Controversy

Khaled D. Ramadan

5. Freedom from Publicity or Right to Information?: Visual Cultures of the Courtroom

Lynda Nead

III. The Visuality of Law

6. Law as Visual Communication

Dag Michalsen

7. The Patron-Client Relations Visualized

Cecilie Schjatvet

8. The Menace of Venice, Or Reading and Performing the Law in/of The Merchant of Venice

Leif Dahlberg

9. Man and Dog: The Modernity of Law—Jurists, Violence, Poetries, and a Photograph

Rainer Maria Kiesow

IV. Courts of Law: Their Buildings, Rooms and Actors

10. Images of Finnish Justice

Pia Letto-Vanamo

11. Imagining the Judge: A Case Study of Judicial Portraiture

Leslie Moran

12. This Is Not a Courthouse

Eva Löfgren

13. Stage Justice

Lisbeth Fullu Skyberg

14. From Stone Circle to Transit Hall: Law and Art in the District Court Buildings in Ängelholm and Helsingborg

Martin Sunnqvist

Kjell Å Modéer is professor emeritus in at the University of Lund, Sweden.

Martin Sunnqvist teaches legal history at the University of Lund, Sweden.

XXX—XXX

Se trata de una espléndida obra. Su contenido indaga en las perspectivas de las múltiples y diferentes formas de escenificación y representación visual del Derecho, y el modo en que ello repercute en nuestra percepción social e institucional de lo jurídico. El punto de vista de análisis es ciertamente importante porque enfoca el fenómeno más allá de lo que ha sido la visión tradicional, basada en una tradición y cultura fundamentalmente textual. Adoptar una perspectiva visual que incluye la arquitectura, el teatro, la distribución espacial y mobiliario de las salas de justicia, el cine, la literatura o el periodismo supone introducir un método ´contextual´. Un ejemplo más de cómo ‘mirar’ el Derecho y descubrir nuevas visiones.

Con viva recomendación.

J.C.G.

Categorías
Uncategorized

Sobre imaginarios jurídicos

Jessica M. Silbey, “Images in/of Law”, 57 New York Law School Law Review 171 (2012/13), pp. 172-183.

Abstract.

The proliferation of images in and of law lends itself to surprisingly complex problems of epistemology and power. Understanding through images is innate; most of us easily understand images without thinking. But arriving at mutually agreeable understandings of images is also difficult. Translating images into shared words leads to multiple problems inherent in translation and that pose problems for justice. Despite our saturated imagistic culture, we have not established methods to pursue that translation process with confidence. This article explains how images are intuitively understood and yet collectively inscrutable, posing unique problems for resolving legal conflicts that demand common and shared language. It canvasses the law and film scholarship, provides examples of film evidence that renders judgment problematic, and predicts future legal terrain in which visual images will feature prominently. It concludes by calling for a theory of aesthetics in order to analyze and interpret the visual images that will take center stage in so many contemporary legal debates.

Jessica M. Silbey, Suffolk University Law School, BOSTON , M A S S A CH U S E T T S

Fuente: vía Christine Corcos Law and Humanities blog. https://mixcelanea.es/iuridisctio/2012/10/images-and-law.html

XXX—XXX

El texto, que ofrece un tratamiento de la imagen diferente a los habituales, es accessible –acceso libre y completo- dcsde http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2159996.

Lectura recomendable.

J.C.G.

Categorías
Uncategorized

La Justicia como relato, por Arnaldo Godoy

A Justiça como relato, uma leitura de José Calvo

Por Arnaldo Sampaio de Moraes Godoy

José Calvo Gonzalez é pensador fecundo do selo Direito e Literatura. Professor da Universidade de Málaga, na Espanha, Calvo concebe a Justiça também como um relato. Meticuloso, erudito, irreverente, observador dos variados pormenores que compõem o substrato da experiência cultural, Calvo fundamenta suas reflexões em ângulos inesperados e inusitados. Parece que devorou todos os autores.

E se a Justiça é relato, narrativa, revela-se por miríade de fórmulas, que transitam da expressão escrita para a energia gestual. A premissa substancializa o parágrafo de abertura de um de seus mais iluminados ensaios, ao mesmo tempo enigmático e claríssimo, paradoxo insinuado já no título, Justiça e Semionarrativa: Imagem, Gesto e Relato, ao qual o professor espanhol acrescentou tratar-se de uma preliminar a uma história que não abre capítulo.

Calvo inventariou quantidade exuberante de gestos, indicando meneios cartesianos, lânguidos, involuntários, tiques, espasmódicos, distintos, vulgares, tímidos, titubeantes, ambíguos, decididos, firmes, solventes, arrogantes, humildes, indolentes, irascíveis, persuasivos, não convincentes, dissuasórios, elevados, sublimes, baixos, miseráveis, patéticos, pusilânimes, graves, serenos, entre outros (cf. CALVO, 2002, p. 13).

O excerto literariamente lembra-nos as taxonomias de Jorge Luís Borges; do ponto de vista antropológico remete-nos à história de nossos gestos, do potiguar Luís da Câmara Cascudo.

A partir desse levantamento de gestos Calvo confessa-se atraído por gestos com fisionomia intelectual (cf. cit., p. 14). Gestos também qualificam etiquetas litúrgicas e ritualismos processuais (cf. cit., p. 15). A narrativa jurídica em sua dimensão pragmática é multiplicação de gestos, e também de momices. O martelo do magistrado que apela pelo silêncio, o dedo em riste do acusador, o olhar reverente do réu.

O espaço judicial comporta a troca de gestos, e de expressões, providenciando sonoplastia, decorando e animando o embate em busca de verdade comprometida tão somente com a resolução de um problema. A Justiça gesticula, movimenta-se, mimetiza-se em nichos de segurança imaginária. Para Calvo, nenhuma representação gestual da Justiça é natureza morta (cf, cit., p. 17).

Creio que é justamente essa verdade pretendida pela tradição ocidental que busca racionalidade e certezas, onde há somente incertezas e desatinos, que provoca em Calvo a admiração pela composição de gestos. É que gestos narram, aproximam-se e convergem para outros modelos expositivos e narratórios.

Calvo problematiza certezas inexistentes, lembrando-nos o dilema que opõe a hermenêutica às técnicas estruturalistas de desconstrução. Recorre ao mote não acredite no contista, mas no conto, acrescentando aporia demolidora, que indaga, afinal, por que se deve acreditar em qualquer um dos dois, conto e contista (cf. cit., p. 25). E acrescenta Calvo que a confiança não é a nota mais relevante da hermenêutica… (cf. cit., p. 27).

Calvo divide com Walter Benjamin uma dúvida que acompanha nossa cultura; questiona o que conta a estória, bem como o que é que ela conta (cf. cit., p. 26). Em língua portuguesa a questão ganha demãos esfíngicas na medida em que apartamos estória de história, narrativa ficcional de fala memorial, embora bem saibamos que esta última é muitas vezes aquela primeira, e que ficção e história se confundem, à luz de uma historiografia da suspeição. Ambos, estória e história, atormentaram Walter Benjamin, o filósofo da melancolia.

A percepção de Calvo afasta-se da dúvida do frankfurtiano que não foi para o exílio, na medida em que o professor espanhol sugere aproximações entre entornos de verdade, bem como de construção e de outorgas de sentido (cf. cit., p. 26). Para Calvo, em versão livre minha, “(…) contar uma estória faz de seu relato o ato mediante o qual tem lugar uma experiência cognitiva, a compreensão do sentido. Por conseguinte, em uma narração o que conta do ato do relato é compreender o sentido da estória contada no relato do narrador, como da estória contada na narração do relato” (cit., p. 29).

Calvo identifica a justiça também com o relato, como já dito, assumindo todos os problemas que narrativa e compreensão dos relatos possam provocar. A Justiça seria relato que não perdeu a capacidade de enlaçar uma continuidade narrativa, de prosseguir contando sua estória (…) (cit., p. 30).

O autor aqui estudado declara convicção firme que dá conta de que Justiça é relato que exprime destino sem desenlace, e que cativa com a sedução do conto nunca acabar. Há coincidências com a chave das 1001 noites.

No texto de Calvo alguns eixos temáticos de Homero são recapitulados. Lembra-se, indiretamente, e subliminarmente, do pomo da discórdia, da vingança de Éris, a deusa da discórdia, do afetuoso Paris, de Príamo, do infeliz Menelau e, por fim, de Helena, a mais bela entre as mortais, favorita de Afrodite (cf. cit., p. 31).

Concomitantemente, o professor espanhol comenta quadro de Alberto Dürer, a Justiça, qualificando experiência estética vivida ao longo do movimento contrarreformista (cf. cit., p. 34). Experiências estéticas reverenciam, refletem ou abominam experiências políticas, e disso faz prova o amplo conjunto iconográfico do classicismo, recorrente na afirmação de valores greco-romanos, retomados e redimensionados por euforia de consagração do ideário burguês.

Calvo provoca-nos com a referência à associação da espada e da balança na confecção da imagem da justiça (cf. cit., p. 39). Refere-se a um poder simbólico; explicitamente, “não há dúvidas que uma das principais funções do poder simbólico consiste basicamente em sua capacidade para conotar e denotar, isto é, associar ou evocar e indicar e referenciar, sistemas de símbolos que constelam em renovados universos de sentido, socializados através de imagens e de gestos reconhecíveis” (cit, p. 40).

A Justiça é relato que se manifesta por meio de intensa gesticulação, formal ou imaginária. Multiplica símbolos que firmam instâncias identificadoras do poder. Menos conteúdo metafísico do que experiência concreta sentida no cotidiano, a Justiça, na leitura de Calvo, é indicativa de experiência captada pela sedução das narrativas.

De tal modo, concluo com o professor da Universidade de Málaga, “se, como penso, a Justiça é assunto central da utopia civilizatória do direito, é sem dúvida correto, também que para sustentar a vertigem da realidade a Justiça unicamente tem o espelho dos relatos. Por isso, apenas quando a Justiça, de que possuímos apenas sombras e miragens (Cícero) se reconcilie com as revelações desse enfrentamento especulativo começa a ser possível não tanto superar os limites daqueles, quanto completá-los e estabelecê-los» (cit., p.45).

Bibliografia

CALVO GONZÁLEZ, José. La Justicia como Relato. Málaga: Agora, 2002

Arnaldo Sampaio de Moraes Godoy é consultor-geral da União, doutor e mestre em Filosofia do Direito e do Estado pela PUC-SP.

Fuente: Revista Consultor Jurídico, 21 de outubro de 2012. Disponible en http://www.conjur.com.br/2012-out-21/embargos-culturais-justica-relato-leitura-jose-calvo

Categorías
Uncategorized

James Baldwin and Malcolm X Discussion – April 25, 1961

Categorías
Uncategorized

Law and Literature. African American writers. James Baldwin (1924 -1987)

James Baldwin (1924 -1987) en 1965, por Beauford Delaney (1901-1979)

D. Quentin Miller

A criminal power : James Baldwin and the law

Ohio State University Press, Columbus, 2012, ix+187 pp.

ISBN: 9780814211755

James Baldwin, one of the major African American writers of the twentieth century, has been the subject of a substantial body of literary criticism. As a prolific and experimental author with a marginal perspective—a black man during segregation and the Civil Rights era, a homosexual at a time when tolerance toward gays was not common—Baldwin has fascinated readers for over half a century. Yet Baldwin’s critics have tended to separate his weighty, complex body of work and to examine it piecemeal. A Criminal Power: James Baldwin and the Law is the first thematic study to analyze the complete scope of his work. It accomplishes this through an expansive definition and thorough analysis of the social force that oppressed Baldwin throughout his life: namely, the law. Baldwin, who died in 1987, attempted suicide in 1949 at the age of 25 after spending eight-days in a French prison following an absurd arrest for “receiving stolen goods”—a sheet that his acquaintance had taken from a hotel. This seemingly trite incident made Baldwin painfully aware of what he would later call the law’s “criminal power.”

Up to now, the only book-length studies to address Baldwin’s entire career have been biographies and artistic “portraits.” D. Quentin Miller corrects this oversight in a comprehensive volume that addresses and unifies all of Baldwin’s work. Miller asserts that the Baldwin corpus is a testament to how the abuse of power within the American legal, judicial, and penal systems manifested itself in the twentieth century.

Contents

Introduction

No room of one’s own

Other countries, hidden laws

A criminal power

Return to exile

The fire reignited

Bibliographical references (pp. 178-182)

D. Quentin Miller is professor of English at Suffolk University in Boston

XXX—XXX

Puede accederse a algunos extractos del contenido de la obra (Introduction “A Criminal Power”. James Baldwin and the Law, pp. 1-16; From Death Row to the Beer Summit, pp. 162-168) desde: https://ohiostatepress.org/Books/Book%20PDFs/Miller%20Criminal.pdf