Without compromising the integrity of either Levinas' poetic evocations of our spirit or the law's dense descriptions of our society, Manderson brings the two into constructive dialogue. For the student of Levinas, the author offers an understanding of the implications and difficulties involved in applying ethics to law - major issues in continental philosophy. For the student of law, he provides a powerful framework through which to reconceptualize duty of care, the law of negligence, and the nature of legal judgment itself - major issues in legal theory.
Annotation This volume addresses the legacy of contemporary critiques of language for the concept of the rule of law. Can the rule of law be re-configured in light of the critical turn of the past several years in legal theory, rather than being steadfastly opposed to it?
In this pathbreaking and provocative analysis of the aesthetics of law, the historian, legal theorist, and musician Desmond Manderson argues that by treating a text, legal or otherwise, as if it were merely a sequence of logical propositions, readers miss its formal and symbolic meanings. Creatively using music as a model, he demonstrates that law is not a sterile, rational structure, but a cultural form to be valued and enhanced through rhetoric and metaphors, form, images, and symbols. To further develop this argument, the book is divided into chapters, each of which is based on a different musical form. Law, for Manderson, should strive for neither coherence nor integrity. Rather, it is imperfectly realized, constantly reinterpreted, and always in flux. Songs without Music is written in an original, engaging, and often humorous style, and exhibits a deep knowledge of both law and music. It successfully traverses several disciplines and builds an original and persuasive argument for a legal aesthetic. The book will appeal to a broad readership in law, political theory, literary criticism, and cultural studies.
In Law and the Visual, leading legal theorists, art historians, and critics come together to present new work examining the intersection between legal and visual discourses. Proceeding chronologically, the volume offers leading analyses of the juncture between legal and visual culture as witnessed from the fifteenth to the twenty-first centuries. Editor Desmond Manderson provides a contextual introduction that draws out and articulates three central themes: visual representations of the law, visual technologies in the law, and aesthetic critiques of law. A ground breaking contribution to an increasingly vibrant field of inquiry, Law and the Visual will inform the debate on the relationship between legal and visual culture for years to come."--
This collection brings together major writers and major works on what Emmanuel Levinas means to law, and injects Levinas' provocative ethics right into the heart of living law, radically changing our understanding of both.
Melissa Lucashenko's 'Sinking Below Sight: Down and out in Brisbane and Logan', detailing urban poverty in the area known as the 'Black Belt', won the 2013 Walkley Award for a long feature. Griffith REVIEW’s tenth-anniversary edition features Australia’s best writers tackling the underlying forces that will shape the next decade: sustainability, equality, belonging, technology and the capacity for change. Over its first decade Griffith REVIEW has had an uncanny ability to anticipate emerging trends. In this anniversary edition the insights from the past will inform a forward-looking agenda, explored with flair and literary panache. Frank Moorhouse reconsiders the proliferation of surveillance, Melissa Lucashenko observes up close what life is like being poor in a rich country, Kathy Marks describes how western Sydney has become a metaphor for a changing nation, Anna Rose anticipates how change might occur, Desmond Manderson draws parallels between the war on drugs and treatment of refugees, Michael Wesley tests what an Asian century might really mean, Rodney Croome argues that belonging will define the next decade, Andrew Belk explores the price of flying in and flying out—and more. Now We Are Ten offers powerful insights into the challenges of the next ten years on the eve of the federal election.
This is a series of reflections on the aesthetic dimensions of law (how it is presented and conveyed to its subjects) and justice (the ways in which justice can be aesthetically satisfying or dissatisfying).
Annotation This volume addresses the legacy of contemporary critiques of language for the concept of the rule of law. Can the rule of law be re-configured in light of the critical turn of the past several years in legal theory, rather than being steadfastly opposed to it?
In Law and the Visual, leading legal theorists, art historians, and critics come together to present new work examining the intersection between legal and visual discourses. Proceeding chronologically, the volume offers leading analyses of the juncture between legal and visual culture as witnessed from the fifteenth to the twenty-first centuries. Editor Desmond Manderson provides a contextual introduction that draws out and articulates three central themes: visual representations of the law, visual technologies in the law, and aesthetic critiques of law. A ground breaking contribution to an increasingly vibrant field of inquiry, Law and the Visual will inform the debate on the relationship between legal and visual culture for years to come.
This collection brings together major writers and major works on what Emmanuel Levinas means to law, and injects Levinas' provocative ethics right into the heart of living law, radically changing our understanding of both.
From Shamu the dancing whale at Sea World to Hawaiian lu'au shows, Staging Tourism analyzes issues of performance in a wide range of tourist venues. Jane C. Desmond argues that the public display of bodies—how they look, what they do, where they do it, who watches, and under what conditions—is profoundly important in structuring identity categories of race, gender, and cultural affiliation. These fantastic spectacles of corporeality form the basis of hugely profitable tourist industries, which in turn form crucial arenas of public culture where embodied notions of identity are sold, enacted, and debated. Gathering together written accounts, postcards, photographs, advertisements, films, and oral histories as well as her own interpretations of these displays, Desmond gives us a vibrant account of U.S. tourism in Waikiki from 1900 to the present. She then juxtaposes cultural tourism with "animal tourism" in the United States, which takes place at zoos, aquariums, and animal theme parks. In each case, Desmond argues, the relationship between the viewer and the viewed is ultimately based on concepts of physical difference harking back to the nineteenth century.
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