tag:blogger.com,1999:blog-53913479225043784102024-03-13T03:05:16.205+01:00Law and the Humanities RomaTre The blog of the "Law and the Humanities" course at the RomaTre University (Law Faculty) directed by Prof. Emanuele Conte. By Stefania Gialdroni and Angela CondelloDr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.comBlogger96125tag:blogger.com,1999:blog-5391347922504378410.post-63223195361322632472015-05-13T15:11:00.001+02:002015-05-13T15:11:10.193+02:00WE HAVE MOVED! <div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">Dear all,<br />since the month of February 2015 the "Law and the Humanities" course has a brand new website: <a href="http://www.lawandhumanitiesrome.org/">www.lawandhumanitiesrome.org</a>. This blog will therefore not be updated anymore. Follow us!</span></div>
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com1tag:blogger.com,1999:blog-5391347922504378410.post-62090658097890883582015-01-21T20:32:00.001+01:002015-01-21T20:32:36.519+01:00CFP: Law, Literature and the Humanities Association of Australasia Conference 2015<div dir="ltr" style="text-align: left;" trbidi="on">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6swRgNyKDw66eYL_LKNihqpVvDi2PyHYfH2QrRvU7P8IugPCiUpaqCW_5yUOJfvXlSmLkaaIEilso6sqrFJFjRZTm9oBd7-6vFjtSG_P11-THWWwe7RENFWOpbSwRF1v8qG4RQ1Wp_G8/s1600/lrc-complicities-main3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6swRgNyKDw66eYL_LKNihqpVvDi2PyHYfH2QrRvU7P8IugPCiUpaqCW_5yUOJfvXlSmLkaaIEilso6sqrFJFjRZTm9oBd7-6vFjtSG_P11-THWWwe7RENFWOpbSwRF1v8qG4RQ1Wp_G8/s1600/lrc-complicities-main3.jpg" height="400" width="96" /></a><span style="background-color: white; font-family: arial, sans-serif;"><b>What</b>: Law, Literature and the Humanities Association of Australasia Conference</span><br style="background-color: white; font-family: arial, sans-serif;" /><br style="background-color: white; font-family: arial, sans-serif;" /><span style="background-color: white; font-family: arial, sans-serif;"><b>Where</b>: University of Technology Sydney Law School,</span><span style="background-color: white; font-family: arial, sans-serif;">Sydney, Australia</span><br style="background-color: white; font-family: arial, sans-serif;" /><span style="background-color: white; font-family: arial, sans-serif;"><br /></span><br />
<span style="background-color: white; font-family: arial, sans-serif;"><b>When</b>: 9-12 December 2015 </span><span style="background-color: white; font-family: arial, sans-serif;">(with 9 December as a postgraduate day)</span><br />
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<span style="background-color: white; font-family: arial, sans-serif;">Complicity is a state of being complex or involved, and no matter where we are, or what we do, law is part of our entanglement in the world. This conference will explore law’s complex relations with culture, politics and capital. It will investigate law as an accomplice, as well as law’s role in shaping (and resisting) certain problematic moral, political and material positions.</span></div>
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The LLH Association of Australasia invites scholarly and creative research from academics and graduate students working at the intersection of law and the humanities, whether based in legal theory or in disciplines such as literature, art, film, music, history, continental philosophy, anthropology, psychoanalysis, visual culture, or cultural studies. Contributions may take a variety of forms from traditional academic papers to poster presentations, video, or other genres or media.</div>
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The conference invites consideration of the following questions:</div>
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• What does complicity reveal about law’s methods and modes, its affects and effects?</div>
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• How are law’s genres, narratives, processes and images complicit in the creation of particular imaginaries, materialities and practices of the everyday?</div>
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• How might we work within visual, narrative, creative and textual domains and devise strategies to reveal and counter law's complicities, and acknowledge our own?</div>
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We ask you to make your own interpretation of the theme ‘Complicities,’ and invite scholars from a range of disciplines to propose papers, complete panels and streams. Proposals should consist of a short abstract (max. 250 words). Please email your abstract to <a href="mailto:llh@uts.edu.au">llh@uts.edu.au</a>. Please include your name and the word Complicities in the subject line.</div>
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<b>Deadline for Stream Proposals: 31 March, 2015 </b></div>
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<b style="background-color: transparent;">Deadline for Paper and Panel Proposals: 1 May 2015</b></div>
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For all conference information including on-line registration, check our web site at this address:<a href="http://www.law.uts.edu.au/llhaa" target="_blank">http://www.law.uts.edu.au/<wbr></wbr>llhaa</a></div>
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And for further information, contact the Co-convenors, Dr Honni van Rijswijk and Associate Professor Penny Crofts.</div>
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com4tag:blogger.com,1999:blog-5391347922504378410.post-26525985064048725722014-09-18T14:13:00.003+02:002014-09-18T14:23:23.370+02:00<div style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;">MASTER COURSE IN </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i>Droit et normativités comparées</i></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Organized by</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">University of Roma Tre, Law School</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">EHESS, Centre d'études des normes Juridiques (Paris)</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Université Paris 1 - Sorbonne (Paris) </span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Scientific directors: Prof. Emanuele Conte, Prof. Paolo Napoli</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">You can register until October 15th!</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">See all information here: <a href="http://master.giur.uniroma3.it/offerta-20142015/master-20142015-livello/diritto-normativita-comparate/">http://master.giur.uniroma3.it/offerta-20142015/master-20142015-livello/diritto-normativita-comparate/</a></span><br />
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Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com1tag:blogger.com,1999:blog-5391347922504378410.post-53135059555044433822014-07-17T22:19:00.001+02:002014-07-17T22:19:44.319+02:00MASTER: Law and Compared Normativities between Rome and Paris <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><b>What</b>: Double Master Degree in "Law and Compared Normativities", University of RomaTre, Ecole des Hautes Etudes en Sciences Sociales and Sorbonne (Paris).</b></div>
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<b>Where</b>: one year in Paris and one year in Rome (accomodation expences included in the enrollment fees). <span style="text-align: center;">. </span></div>
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<b>When</b>: beginning October 2014. </div>
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<u>Deadline for enrollment at the RomaTre University: 31st July 2014</u></div>
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Who can enroll? People with (at least) a 3 years degree in law, humanities and social sciences. The very aim of the Master is to open the doors of law departments to people coming from different backgrounds.</div>
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<b>More information <a href="http://www.uniroma3.it/schedaPostLauream14.php?pl=417&facolta=009447" target="_blank">here </a>and <a href="http://cenj.ehess.fr/index.php?431" target="_blank">here</a></b>. </div>
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com1tag:blogger.com,1999:blog-5391347922504378410.post-6336363975003260032014-06-10T10:09:00.000+02:002014-06-10T10:09:03.826+02:00Conference in Canberra: Law and the Visual: Transitions and Transformations <h1>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-weight: normal;">A wonderful conference on Law and the Visual in Canberra, at the </span></span></span></h1>
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Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com1tag:blogger.com,1999:blog-5391347922504378410.post-48846252881822264082014-05-21T15:34:00.000+02:002014-05-21T15:34:08.232+02:00Tomorrow: Museo Nazionale dell'alto medioevo <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial, Helvetica, sans-serif;">Dear students,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">don't miss our last class! We will meet at 10:00 am in front of the <a href="http://archeoroma.beniculturali.it/musei/museo-nazionale-dell-alto-medioevo" target="_blank">Museo Nazionale dell'alto medioevo</a> in the neighbourhood EUR: <span style="background-color: white; line-height: 16.20359992980957px;">Viale Lincoln, 3, Metro EUR Palasport or EUR Fermi. See you there! </span></span></div>
Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com3Viale Lincoln, 3, 00144 Roma, Italia41.8326711 12.47225049999997316.3106366 -28.836343500000027 67.3547056 53.780844499999972tag:blogger.com,1999:blog-5391347922504378410.post-62468316428015089172014-05-18T22:30:00.004+02:002014-05-18T22:31:22.333+02:00Giulia Peresso on Law and Archeology - get ready!<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dear All,</span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">the end of this exciting and very enriching experience is (sadly - and way too early) approaching. </span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Before drowning in a sea of tears, let me tell you that working with you was a great honor. Despite the absences due to my academic adventures, I was always with you (thanks to the help of Prof. Conte and Dr. Gialdroni) - also when physically you could not perceive my presence.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This week's classes will be devoted to a new topic, law and archeology. A young archeologist, Giulia Peresso, will be our guest speaker. A seminar will take place on Wednesday (at 2 pm, as usual) and then on Thursday she will take you to the Museo dell'Alto Medioevo - Dr. Gialdroni will give you all the details.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Please read the following summary of an introductory text that Giulia has written (I am sending you the complete pdf via email). As usual, you will also receive the additional materials on your email account.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Have fun!</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Court in the Courtyard</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Starting from the information provided by the archeological documentation, combined with written sources, the lecture will focus on the transformation of political spaces in Rome, as well as on changes occurred in the conception of power itself, between Empire and Early Middle Age. A focus on archeological remains will be crucial in order to understand how much of the old system of self-representation of upper classes survives within new architectural shapes and - most interesting - how it deals with the general organization of the urban space. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">City of Hunters: squatting dynamics throughout late antiquity and Early Medieval Ages (V-XI century)</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Talking about the limits of historical reconstruction a very big topic concerns the representation of lower classes, traditionally unspoken by written sources and quite invisible through the lens of archeological traces. Nevertheless, the urban space was performed mostly by these actors, and this is not something an historical study can understate. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Giulia Peresso's CV:</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Giulia was born in Rome and is currently running a Ph.D. in Late Antiquity and Early Medieval Archeology at Roma Tre University.</span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She is currently involved (thanks to a EU Fellowship) in a project based on a campaign of documentation in the SW region of Provence, with particular attention to the city of Arles. </span></div>
Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com1tag:blogger.com,1999:blog-5391347922504378410.post-4804886931280219772014-05-16T22:37:00.005+02:002014-05-16T22:37:33.117+02:00Law & Music: very special events at the RomaTre University!!!<div dir="ltr" style="text-align: left;" trbidi="on">
Prof. Giorgio Resta and M° Roberto Baldinelli<br />
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com3tag:blogger.com,1999:blog-5391347922504378410.post-7410790343399840692014-05-14T14:47:00.002+02:002014-05-14T14:47:36.137+02:00May 15th and 16th: Open classes (Law and Music and Law and...cinema)!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, Helvetica, sans-serif;">Dear students,</span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">tomorrow and the day after tomorrow (Thursday May 15th and Friday May 16th), our Law and the Humanities classes will be open to all people interested. So, feel free to invite friends, family and fellow students. </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>May 15th, 10:00 am, room 4: Law and Music class by Prof. Resta with the exceptional participation of M° Baldinelli (violin). </b></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><b>May 16th, 10:00 am, room 4: We will show the videos made by some students of the 2014 Law and the Humanities class </b>for our little "competition". The other works will be made available online on this blog and/or on <a href="https://www.facebook.com/pages/Law-the-Humanities-at-Roma3/481618731948979?ref=hl" target="_blank">our facebook page</a> as soon as possible. Otherwise, the videos are too heavy to be uploaded but they are really good. This will be an occasion to discuss together your works and to ask questions about the course and the exams (remember that you have to register for the final oral Law and the Humanities exam as you do for any other exam). </span></div>
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-5391347922504378410.post-81378757316780275602014-05-11T14:04:00.000+02:002014-05-11T14:04:33.117+02:00Giorgio Resta and Roberto Baldinelli on LAW & MUSIC <div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Arial, Helvetica, sans-serif;">Dear all,</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">next week's classes will be devoted to an extremely fascinating topic: the relationship between Law and Music. Prof. Giorgio Resta (University of Bari) with the help of M° Roberto Baldinelli (violin) will introduce us to this extremely intriguing world. Don't miss it! </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Abstract:</b></span><br />
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<a href="http://4.bp.blogspot.com/-F2keCnKb6qE/U29m3fvh_NI/AAAAAAAABx4/PcUyAnGizLs/s1600/Plato_2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-F2keCnKb6qE/U29m3fvh_NI/AAAAAAAABx4/PcUyAnGizLs/s1600/Plato_2.jpg" height="150" width="200" /></a></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Law
& music might appear as one of the most recent and less investigated
frontiers of the law & literature movement. To some extent this is true.
However, the interface between law and music has also been the subject of
important studies in ancient times (Plato in particular), in the middle age (one
of the first examples is the anonymous treatise of the fourteenth century <i>Ars cantus mensurabilis mensurata per modus
iuris</i>) and during the twentieth century. Prominent legal scholars have
written about musical estethics and musicology (Pugliatti) and at the same time
several important composers and musicians have been trained in the law (among
the others C. P. E. Bach, Schumann, Stravinsky, Nono).<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">The
most important intersection between the two disciplines is represented by the
theory of interpretation. Interpreting and performing a score raises a set of
questions involves a range of problems not entirely different from interpreting
a constitution, a statute, a regulation, or even a legal precedent. During the lecture,
Prof. Resta and M. Baldinelli will deal with these issues both from a legal and
a musical perspective. </span><span style="font-family: Garamond, serif; font-size: 14pt;"><o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Readings:</b></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">J. Frank, <i>Words and Music: Some Remarks on Statutory Interpretation</i>, in "Columbia Law Review", 47.8 (1947), 1259-1278.</span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">S. Levinson-J.M. Balkin, <i>Law, Music, and Other Performing Arts</i>, in "U. Pa. L. Rev", 139 (1991), 1597 ss.</span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>Prof. Resta's CV</b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Giorgio Resta is Associate Professor of Comparative
Law at the <st1:placetype w:st="on">University</st1:placetype> of Bari “Aldo
Moro” (Italy). He has received scholarships from national and international
institutions (among the others the Italian Research Council, the Max Planck
Gesellschaft and the International Council for Canadian Studies) and is
regularly invited to lecture in foreign universities. In 2010-2011 he has been Visiting
Professor at McGill University and in 2009, 2010 and 2013 at the </span><span lang="FR">École des hautes études en sciences
sociales</span><span lang="EN-GB"> (Paris). He is
author of many articles and books, including <i>Trial by Media as a Legal Problem. A Comparative Analysis </i>(E.S. 2009),
<i>Le persone fisiche e i diritti della
personalità </i>(UTET, 2006), <i>Autonomia
privata e diritti della personalità </i>(Jovene, 2005; prize Club dei Giuristi).
He is co-editor of <i>Riparare risarcire
ricordare. Un dialogo tra storici e giuristi </i>(E.S. 2012), and <i>Karl Polanyi. Per un nuovo Occidente </i>(ilSaggiatore,
2013); and editor of <i>Diritti esclusivi e
‘nuovi’ beni immateriali</i> (UTET, 2010); <i>Giustizia
e mass media. Quali regole per quali soggetti </i>(E.S. 2010). Recently he
published three essays in <i>Law &
Contemporary Problems</i>, <i>Tulane Eur.
Civ. L. Forum, Law & History Rev. </i>His areas of interest are comparative
law, information and new technologies law, intellectual property, law &
economics. He is member of the Italian Bar.<o:p></o:p></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB"></span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Email:
giorgio.resta@uniba.it<o:p></o:p></span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;"><b>M° Baldinelli's CV</b></span></span></div>
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<a href="http://4.bp.blogspot.com/-TBdMF2GXMF4/U29m9f35kbI/AAAAAAAAByA/2N7paImHNf4/s1600/violin.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-TBdMF2GXMF4/U29m9f35kbI/AAAAAAAAByA/2N7paImHNf4/s1600/violin.jpg" height="132" width="200" /></a></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="line-height: 150%; text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Studies and Prizes</i></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">1991 </span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;">Maturità Classica
Leaving Certificate</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">1992 </span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Violin Diploma
of the Conservatorio
di Musica </span>“Santa Cecilia”
of Rome
under the</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">guidance</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">of</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">M°
Antonio</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">Marchetti</span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Postgraduate studies with Shlomo Mintz , Herman Krebbers , Victor Tretiakov, Pavel Vernikov, Lenuta Ciuley and
Franco Gulli</span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">1996 </span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Violin Diploma of Merit
from the Accademia Chigiana in the class of Boris Belkin</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Winner
of a S.I.A.E.(Società Italiana Autori Editori) scholarship</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">1997 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Admission to Ruggiero
Ricci’s solo class at the Universitat Mozarteum Salzburg </span></span><span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Chamber
Music Diploma of
the Conservatorio di
Musica “Santa Cecilia” of Rome in</span></span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">the class of Luciano Cerroni</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">1998 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Winner of the Y.E.S.(Young
European Strings) international selection</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">1999 </span></span></div>
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<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Admission to
the Principal Leader
Course of the
Accademia Nazionale di “Santa </span></span><span style="font-family: Arial, Helvetica, sans-serif;">Cecilia” and</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">final</span><span style="font-family: Arial, Helvetica, sans-serif;">
</span><span style="font-family: Arial, Helvetica, sans-serif;">diploma</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">in</span><span style="font-family: Arial, Helvetica, sans-serif;"> </span><span style="font-family: Arial, Helvetica, sans-serif;">2000</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">2001 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">Master of Arts Violin Degree
(Zweite Diplomprufung) with honours from the Universitat </span></span><span style="font-family: Arial, Helvetica, sans-serif;">Mozarteum Salzburg in
the class of Ruggiero Ricci </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;">Second Prize at</span><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;"> </span><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;">the 4</span><sup style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;">th</sup><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;"> Solo Violin Competition of
the Università</span><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;"> </span><span style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;">Cattolica of </span><st1:place style="font-family: Arial, Helvetica, sans-serif; text-indent: -36pt;" w:st="on"><st1:city w:st="on">Rome</st1:city></st1:place></div>
<div class="MsoNormal" style="margin-left: 36pt; text-align: justify; text-indent: -36pt;">
<span lang="EN-GB"><st1:place w:st="on"><st1:city w:st="on"><span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></st1:city></st1:place></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span style="line-height: 150%;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Professional Activities</i></span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Solo concerts
for the Euromusica
Festival of Rome , Società del
Quartetto di Vercelli , Estate Chigiana
and Kulturreferat der
Stadt Kitzbuhel </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">1996-2014 Collaboration
with the
Orchestra dell’Accademia Nazionale
di Santa Cecilia
also as Assistant
Principal. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">2000-2014 Collaboration with
the Orchestra del Teatro dell’Opera di Roma</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">2009 Collaboration with the BBC Concert Orchestra as Principal Second
Violin</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">2007 Collaboration with the
Orchestra di Roma e del Lazio as Principal Second Violin</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-GB"><span style="font-family: Arial, Helvetica, sans-serif;">2003-2008 Collaboration with the
Orchestra Symphonica Toscanini</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span lang="EN-US"><span style="font-family: Arial, Helvetica, sans-serif;">2002-2005 Concertmaster ( 40% ) and Principal Second Violin of the </span></span><span style="font-family: Arial, Helvetica, sans-serif;">Orchestra Sinfonica
Abruzzese. </span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
</div>
Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com7tag:blogger.com,1999:blog-5391347922504378410.post-61047051905574706512014-05-03T11:16:00.000+02:002014-05-03T11:16:44.006+02:00Anne Wagner on Law, Language and Semiotics<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjEUF-w7dCv32J3WEaaWxxMxsyvZ7RlsjmNxd_TNL6R4HyUew37empr2uCgq8wZ-E6awzPbYG39AZDycvV8lnxnv1KMYz8rihV3_2GGRghsqQ5TSk3Zc0_XohH7Yb-fRWNWXoYQXmqRE/s1600/stamp.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSjEUF-w7dCv32J3WEaaWxxMxsyvZ7RlsjmNxd_TNL6R4HyUew37empr2uCgq8wZ-E6awzPbYG39AZDycvV8lnxnv1KMYz8rihV3_2GGRghsqQ5TSk3Zc0_XohH7Yb-fRWNWXoYQXmqRE/s1600/stamp.jpg" height="320" width="275" /></a></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dear All!</span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Next week our guest speaker will be Prof. Anne Wagner; she will discuss with us three very interesting (and interconnected) topics - in particular, she will focus on indeterminacy in legal language, on <span lang="EN-GB">French Commemorative Postage Stamps as a Means of
Legal Culture and Memory and (last but not least!) on the close connections between visual and legal semiotics.</span></span></div>
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<!--StartFragment-->
<!--EndFragment--><div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Please read the three introductions Prof. Wagner would like us to read, and soon you will get more materials on your email account.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>LESSON N. 1: INDETERMINACY IN LEGAL LANGUAGE</b></span></div>
<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 24px;">This talk is devoted to legal and linguistic accounts
of the various problems with meaning that are associated with indeterminacy.
This multistage dynamic is an open texture (MacCormick 1978) where central
concepts or even key words are not satisfactorily defined and so lead to
various possibilities of interpretation within space and time. This open
texture operates at different levels. It is first visible in statutes where
indeterminacy can be either voluntarily or involuntarily promoted (first
level), but it is also central for judges’ legal reasoning who can decide to
slightly change meanings of words/concepts or radically ‘implement’ new
meanings in their ratio decidendi (second level).</span></div>
<br />
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 27.0pt;">
<span lang="EN-GB" style="line-height: 150%;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Law is, by definition, the
codification of modes of expression in a given society. However, its use is
distinctive owing to the ways in which users apply or modify it. The shift in
meaning between the product and its expression can be analysed not only within
its content but also by the means of communication employed. The influence of
spheres from the government and the Legal Profession is one the main issue to
explore. <o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify; text-indent: 27.0pt;">
<span lang="EN-GB" style="line-height: 150%;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Consequently, understanding the
respective parts of legal discourse implies the deep analysis of three kinds of
interference in the work under examination:</span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> </span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="line-height: 150%;"><span style="mso-list: Ignore;">1)<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-GB" style="line-height: 150%;">The linguistic method used: The semantic production,
the articulation of its elements as well as the formation and meaning of its
terms.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="line-height: 150%;"><span style="mso-list: Ignore;">2)<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--><span lang="EN-GB" style="line-height: 150%;">The method of legal conceptualisation: the analysis of
the means employed to assure that the idea conforms to the implementation of
the legal system under examination, and<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB" style="line-height: 150%;"><span style="mso-list: Ignore;">3)<span style="font: 7.0pt "Times New Roman";"> </span></span></span><!--[endif]--></span><span lang="EN-GB" style="line-height: 150%;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The method of socialisation: its adequacy between the
intention of the production and its application.</span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<span lang="EN-GB" style="line-height: 150%;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 150%; margin-left: 18.0pt; mso-list: l0 level1 lfo1; tab-stops: list 18.0pt; text-align: justify; text-indent: -18.0pt;">
<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">LESSON N. 2: FRENCH COMMEMORATIVE POSTAGE STAMPS AS A MEANS OF LEGAL CULTURE AND MEMORY</span><span class="Apple-style-span" style="line-height: normal;"><i style="mso-bidi-font-style: normal;"><span lang="EN-GB"><o:p> </o:p></span></i></span></b></div>
<div class="MsoNormal" style="margin-left: 18pt; text-align: justify; text-indent: -18pt;">
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This</span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif; line-height: 31px;"> talk will explore the way French stamps (intermedial
text) over the last two centuries reflect the problems of constructing national
identity in a small country with rich and heterogeneous cultural, legal
backgrounds. Commemorative stamps, almost always an intermedial discourse,
demonstrates perfectly the descriptive power of the theory proposed here, at
the same time as it illustrates the specific artistic creativity evident in
each stamp. An analysis of word and image relations in a corpus of contemporary
French stamps supports the validity of intermedial discourse and the
possibility of combining them in a single commemorative stamp.</span></div>
<div class="MsoNormal" style="line-height: 150%; text-align: justify;">
<span class="Apple-style-span" style="line-height: 31px;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="line-height: 31px;"><b>LESSON N. 3: </b></span></span><span class="Apple-style-span" style="line-height: 32px;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="line-height: 200%;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">IMAGING
AND REVEALING THE CLOSE CONNECTIONS BETWEEN VISUAL AND LEGAL SEMIOTICS</span></span></b></span></div>
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<span lang="EN-GB" style="line-height: 200%;">Our
knowledge is now mass mediated in public spaces. More and more visible and
giant advertising signs surround and even invade our environment for strict
commercial benefits. The ‘invasion’ of commercial signs can be compared to a
visual pollution affecting our perception, autonomy in thinking and health
depending on the part of the population being considered. What is visual
pollution? Can we really argue that advertising campaigns are a potential
nuisance to the public, a visual distraction and a potential risk for public
safety? With this new visual landscape reality, France has recently taken
several steps to sustainably manage and regulate these issues. New planning
rules have been set up to find a good balance between commercial and citizens’
interests. But can their interests be similar? What are the regulations set up
to preserve citizen’s well-being and reduce visual pollution in our modern
urban landscape? <b style="font-family: 'Times New Roman';"><o:p></o:p></b></span></div>
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<span lang="EN-GB" style="line-height: 200%;">Prof. Wagner's CV (brief):</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-GB">Anne WAGNER</span><span lang="EN-GB"> is an Associate
Professor at the </span><span lang="FR">Université
Lille</span><span lang="EN-GB"> –
Nord de France. She is a research member at the Centre de </span><span lang="FR">Recherche Droits et Perspectives du Droit,
équipe René Demogue</span></span><span lang="EN-GB"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span class="Apple-style-span" style="font-size: small;"> (http://crdp.univ-lille2.fr/equipe-rene-demogue). She
is a Research and Adjunct Professor at China University of Political Science
and Law (Beijing). She is the Editor-in-Chief of the </span><i>International Journal for the Semiotics of Law </i><span class="Apple-style-span" style="font-size: small;">(Springer) and the
Series Editor of </span><i>Law, Language and
Communication </i><span class="Apple-style-span" style="font-size: small;">(Ashgate). She is President of the </span><i>International Roundtable for the Semiotics of Law</i><span class="Apple-style-span" style="font-size: small;"> and Vice
President of the </span><i>Multicultural
Association of Law and Language</i><span class="Apple-style-span" style="font-size: small;">. She serves as an international jury member
of the </span><i>Mouton d’Or prize</i><span class="Apple-style-span" style="font-size: small;"> for </span><i>Semiotica. </i>She has been granted the
French National Award of Scientific Excellence. She has lectured in Asia,
Australia, Europe and North America. She has extensively published research
papers in the area of law and semiotics, legal translation, legal discourse
analyses. </span><span style="font-family: 'Times New Roman'; font-size: 12pt;"><o:p></o:p></span></span></div>
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<!--EndFragment-->Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com6tag:blogger.com,1999:blog-5391347922504378410.post-20112114699804202742014-04-30T09:08:00.008+02:002014-04-30T09:11:31.080+02:00REMINDER: Submission Midterm Exam <div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Dear all,</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">I would like to remind you that <b>you should submit your Midterm Exam today</b>, via email, to the following email addresses: </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">e.conte@uniroma3.it; </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">gialdronis@gmail.com; </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">angelacondello@gmail.com.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">Many of you have already done it but I would like to be sure that you don't miss the date.</span><br />
<span style="font-family: Arial, Helvetica, sans-serif;">See you soon </span></div>
<div style="text-align: justify;">
<br /></div>
</div>
Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-5391347922504378410.post-58971659140911447652014-04-18T12:35:00.000+02:002014-04-18T12:35:05.755+02:00Emanuele Coccia on Law and Religion<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCDszX0JPttHuUAc18bBaHBfSAGJLj43STUkp3MkSccgiSvp5uFPssxfTOztaH26rD-h0kTEIfAfGhrt05O1TBZKXJ9zy8A3eOCU4BEojCGKq9WhRl-6DJbMhL0fZCHil2nCiItPwvRb8/s1600/8713_-_Roma,_museo_civilt%C3%A0_Romana_-_Sarcofago_di_Stilicone_-_Foto_Giovanni_Dall%27Orto_12-Apr-2008.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCDszX0JPttHuUAc18bBaHBfSAGJLj43STUkp3MkSccgiSvp5uFPssxfTOztaH26rD-h0kTEIfAfGhrt05O1TBZKXJ9zy8A3eOCU4BEojCGKq9WhRl-6DJbMhL0fZCHil2nCiItPwvRb8/s1600/8713_-_Roma,_museo_civilt%C3%A0_Romana_-_Sarcofago_di_Stilicone_-_Foto_Giovanni_Dall'Orto_12-Apr-2008.jpg" height="320" width="240" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;">Dear All,</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">next week's classes will be devoted to a complex and incredibly fascinating topic: <i>Law and Religion. </i></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Here are two brief introductions to the seminars:</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><span dir="ltr"></span></span><br />
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US"><b>1. The Poetics of the Law in Ancient Judaism</b></span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US">The </span><span lang="en-US"><i>Tanakh</i></span><span lang="en-US">
(the jewish “Bible”) is not just
a religious book : it is a collection of law books which includes
narratives and literary texts. Alexandrine Judaism developed a very
detailed theory on the reason why the Law has not to limit itself to
using imperative forms and has to adopt a larger variety
of rhetoric and literary forms. What is a form of Law, which speaks the
language of Literature? </span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US"> <b>2. Law and Biography : from the Gospels to Facebook</b></span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US">The
inclusion of the four Gospels in the New Testament (the juridical
Appendix to the Tanakh –the Old Testament) represents a sort of
revolution in the history
of Western normative forms : for the first time four biography were at
the center of a Law Book. Which kind of normativity is embodied in a
biography ?</span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US"> For what concerns the readings, you just got an email with a list of them.</span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US"> Enjoy!</span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US"> Prof. Coccia's CV:</span></div>
<div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span dir="ltr"><div align="justify" style="margin-bottom: 14pt; margin-top: 14pt;">
<span lang="en-US" style="font-variant: small-caps;">Emanuele Coccia </span><span lang="en-US">is
Associate Professor in Social Sciences at the Ecole
de Hautes Etudes en Sciences Sociales in Paris. His research focuses on
the history of christian normativity and on aesthetics. Among his
publications are : </span><span lang="en-US"><i>La trasparenza delle imagine. Averroè e l'averroismo,
</i></span><span lang="en-US">Milano 2005 (Spanish transl. 2008), </span><span lang="en-US"><i>Angeli. Ebraismo Cristianesimo Islam</i></span><span lang="en-US">, Milano 2009 (with
G. Agamben), </span><span lang="en-US"><i>La vie sensible</i></span><span lang="en-US">, Paris 2011 (portuguese transl. 2010, Spanish transl. 2011, Italian transl 2011, Romanian transl. 2011 ; English transl.
forthcoming), and </span><span lang="en-US"><i>Le bien dans les choses</i></span><span lang="en-US">, Paris 2013 (Italian transl. 2014, Portuguese, German and Spanish transl. forthcoming).</span></div>
</span></div>
Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com6tag:blogger.com,1999:blog-5391347922504378410.post-68678240552739749482014-04-15T14:11:00.001+02:002014-04-15T14:11:23.257+02:00Sara Menzinger on Law and Dante<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigt0-i10yQ6-vUWALF-wKoWx1E897bn8pdg4ZaR0qM8alXE6psz61ZkA7R2TWBLShJtq-4neaaHpdyMOuBZtUlVFKeiSzt9XqB7i9Alcnrir3gUDFKbDXlVPf1OuKr3SktSaJdpIwol7g/s1600/prot_561.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigt0-i10yQ6-vUWALF-wKoWx1E897bn8pdg4ZaR0qM8alXE6psz61ZkA7R2TWBLShJtq-4neaaHpdyMOuBZtUlVFKeiSzt9XqB7i9Alcnrir3gUDFKbDXlVPf1OuKr3SktSaJdpIwol7g/s1600/prot_561.jpg" height="195" width="200" /></a></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Dear Students,</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">this week's classes will take place on Wednesday and Thursday only - due to Easter break. </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">They will be devoted to the topic of "Law, Canonists and Bible in the Political Thought of Dante".</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">The classes will be based on sources which you will receive via email today. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">If you would like to have a more thorough insight on the topic, here are some further non compulsory readings: </span><br />
<br />
<br />
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">- J. Steinberg, Dante and the Limits of the Law, Chicago 2013; </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">- D. Quaglioni, “Arte di bene e d’equitade”. Ancora sul senso del diritto<br />
in Dante (Monarchia, II v 1), in “Studi Danteschi”, 76 (2011), pp.<br />
27-46; Monarchia, ed. by D. Quaglioni, in Dante Alighieri, Opere, ed.<br />
M. Santagata, vol. II, Milano, Mondadori («I Meridiani»), 2014;</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">- B.Tierney, Religion, Law and the Growth of Constitutional Thought.<br />
1150-1650, Cambridge 1982.</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Next week the classes will take place regularly (April 23rd and 24th)! </span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Prof. Menzinger's CV:</span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Sara Menzinger is Substitute Professor of Legal History at the Law Department in Roma Tre. She specializes in Medieval Legal History and she has published widely on the topic of Italian city states [e.g. <i>G</i><i style="mso-bidi-font-style: normal;"><span lang="IT" style="font-size: 11pt;">iuristi e politica nei comuni di Popolo. Siena, Perugia e Bologna, tre
governi a confronto</span></i><span lang="IT" style="font-size: 11pt;"> (ius nostrum. Studi e
testi pubblicati dall’Istituto di Storia del Diritto italiano, Università degli
Studi di Roma, “La Sapienza”, vol. 34), Roma 2006 and </span><i><span lang="IT" style="font-size: 12pt;">La</span></i><span lang="IT" style="font-size: 12pt;"> <i>Summa Trium
Librorum di Rolando da Lucca (1195-1234). Fisco, politica, scientia iuris</i>. Roma
</span><span lang="IT" style="font-size: 12pt;">2012 (together with Emanuele Conte)].</span></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">She has conducted research in many Italian and international universities and research centers, among which the Istituto Italiano di Studi Storici (Naples), the Max Planck Institute for European Legal History (Frankfurt) and the Deutsches Historisches Institute (Rome).</span><!--[if gte mso 9]><xml>
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Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com5tag:blogger.com,1999:blog-5391347922504378410.post-63128848115037611852014-04-14T10:21:00.001+02:002014-04-14T10:21:15.069+02:00About the Midterm and Final Exam<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Dear all,</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">I would like to remind you about the content and schedule of the Midterm Exam and tell you something more about the Final Exam.</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Wednesday, April 30th 2014: Submission Midterm Exam ("Competition")</b></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">As you already know, this year the Midterm Exam will consist of a sort of "Competition". The idea is to be creative, to "perform Law and the Humanities". You can submit a photo, a drawing, a video (short! No more than 5 minutes!), a poem, a novel, etc. related to the topics we have discussed in class or others. In case you are going to submit an image or a video, please remember to add a brief comment in order to explain the connection to "Law and the Humanities". It could be even just a title, if it's a good one. In any case, you shouldn't write more than one page.</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">All materials should be sent to the 3 of us (gialdronis@gmail.com; angelacondello@gmail.com; e.conte@uniroma3.it) by April 30th. There will be no lesson on April 30th but it is the final date for the submssion of the Midterm. If you want to submit a drawing or similar, please scan it and send it via email.</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Friday, May 30th 2014, 10:00 am: Final Exam </b></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">The Final Exam will consist of a list of questions about all the topics discussed in class. You will then choose the two questions you prefer and answer, writing two short essays. You won't be allowed to use any vocabulary. Time at your disposal: 1h 30m. Remember that the readings are very important in order to improve your evaluation!!!</span></div>
</div>
Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-5391347922504378410.post-41556659420210172722014-04-07T14:38:00.001+02:002014-04-07T14:38:18.742+02:00Gary Watt on Law, Dress and Fashion<br /><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik7o5lZ2ftjDHsnTiEjLZ8m0XZoHhbkyYUtxUdHxyxabOydclx7qrK9iyaj7mA83vT0NCUnSBlXFY4SwXX0YV7wSUu2Amg_Jlbd4Xe2ds245B8c9nmj8zXwwUXH6jnfRHqekt-FCtQlGM/s1600/biggerdress_law_and_naked_truth_cover_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEik7o5lZ2ftjDHsnTiEjLZ8m0XZoHhbkyYUtxUdHxyxabOydclx7qrK9iyaj7mA83vT0NCUnSBlXFY4SwXX0YV7wSUu2Amg_Jlbd4Xe2ds245B8c9nmj8zXwwUXH6jnfRHqekt-FCtQlGM/s1600/biggerdress_law_and_naked_truth_cover_3.jpg" height="400" width="270" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;">Dear All, </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">here are some introductory remarks on this week's classes. </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Please read carefully!</span><br />
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Professor Gary Watt’s three seminars under the title ‘Law, Dress and
Fashion’ are based on chapters from his book Dress, Law and Naked Truth:
A Cultural Study of Fashion and Form (London: Bloomsbury, 2013) (<a href="http://www.bloomsbury.com/uk/dress-law-and-naked-truth-9781472500427/" target="_blank">http://www.bloomsbury.com/uk/<wbr></wbr>dress-law-and-naked-truth-<wbr></wbr>9781472500427/</a>).
The seminars will use cultural and artistic sources (including The Epic
of Gilgamesh, Thomas Carlyle’s Sartor Resartus, Shakespeare’s Othello
and Twelfth Night, Dickens’s novels and Daumier’s lithographs) to show
that ‘dress is law and law is dress’. The history of political
civilization is the history of social regulation that has been
simultaneously, and similarly, established in the cultural forms we call
‘dress’ and ‘law’. The first seminar, ‘Foundations of the State of
Dress’, demonstrates foundational, architectural qualities shared by
dress and law, with special reference to The Epic of Gilgamesh. Students
should familiarize themselves with the text of the Epic in advance of
class. We will be using the Andrew George penguin translation (which can
be accessed free online: enter ‘<a href="http://roberthaug.files.wordpress.com/2012/09/epic-of-gilgamesh.pdf" target="_blank">roberthaug.files.wordpress.<wbr></wbr>com/2012/09/epic-of-gilgamesh.<wbr></wbr>pdf</a>’
into Google and you will see a pdf available for free download). The
second seminar, ‘Shakespeare on Proof and Fabricated Truth’ looks at the
way in which the language and culture of legal proof closely parallels
the language of armorial proof, with the result that the artificial
process of producing satisfactory armour can be said to mirror the
artificial process by which legal evidence produces satisfactory proof
in a court of law. (In order to prepare for the second seminar, students
should read Shakespeare’s plays Othello and (or) Twelfth Night
(available online here: <a href="http://shakespeare.mit.edu/%29" target="_blank">http://shakespeare.mit.edu/)</a>.)
This seminar will suggest that proof is a manufactured thing, thereby
challenging the assumption that juridical courts are constituted for the
purpose of discovering underlying or ‘naked’ truth. This leads to the
subject of the third seminar, ‘The Face the Law Makes’. In this seminar
we will see how the legal profession performs the public face of law
through theatrical use of costume and how this performance reinforces
the architectural foundations of the law and presents a
carefully-fashioned fascia of authority. (In order to prepare for the
third seminar, students should browse the images of Daumier’s legal
lithographs here: <a href="http://bir.brandeis.edu/handle/10192/5/browse?value=Lawyers&type=subject" target="_blank">http://bir.brandeis.edu/<wbr></wbr>handle/10192/5/browse?value=<wbr></wbr>Lawyers&type=subject</a>)</span>
<span style="font-family: Arial,Helvetica,sans-serif;"><br />
In addition to the readings set out above, please carry out the
following brief tasks ahead of each seminar. Seminar One: come prepared
to share a source or a quotation from creative literature (a novel, a
play, a fairy tale etc) which supports or challenges the statement
“dress is law”. Seminar Two: come prepared to share a source or a
quotation from creative literature of the period 1550-1650 which
demonstrates deception by dress, or doubt based on perceived discrepancy
between inner substance and outward form. Seminar Three: please bring a
nineteenth century (1800-1899) image of a lawyer to class and be
prepared to discuss it. The image should not be by Daumier.</span></div>
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<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Prof. Watt's brief CV: </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span><br /><span style="font-family: Arial,Helvetica,sans-serif;">Gary Watt is a Professor in the School of Law at The University of
Warwick. He is a National Teaching Fellow and was named UK ‘Law Teacher
of the Year’ in 2009. His books include Trusts and Equity 6th edn (OUP,
Oxford, 2014), Equity Stirring: The Story of Justice Beyond Law (Oxford,
Hart, 2009) and Dress, Law and Naked Truth: A Cultural Study of Fashion
and Form (London, Bloomsbury Academic, 2013). He is a founding
co-editor of the journal Law and Humanities, and writes extensively at
the intersection of law, culture and the arts. He has written for BBC
Radio 3, the Times Literary Supplement and regularly delivers workshops
in rhetoric for the Royal Shakespeare Company.</span></div>
Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com21tag:blogger.com,1999:blog-5391347922504378410.post-24691338050661781092014-04-04T17:45:00.002+02:002014-04-04T17:45:57.229+02:00The Supreme Court - the pictures (of us)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_5wO4FQLjP51snJGQ4gD16s2iD4z_RnqZAP6KheYD4CyT8MeJXENeSJQWCihl7t39CNeu2ISPuqoY870dK_cUxqyiRC5fQNQCEZ9IAyeIUVqvGfTndynpCPQMWpzlUaWesw5bDoAE6g/s1600/foto.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP_5wO4FQLjP51snJGQ4gD16s2iD4z_RnqZAP6KheYD4CyT8MeJXENeSJQWCihl7t39CNeu2ISPuqoY870dK_cUxqyiRC5fQNQCEZ9IAyeIUVqvGfTndynpCPQMWpzlUaWesw5bDoAE6g/s1600/foto.jpg" height="266" width="400" /></a></div>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Thanks to Francesca Semeraro for the picture...and to Giorgio Polacco for the selfie!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XMrxLaUJbmcP0WID5mnKq6W09TqYuPH185BZys7fn66n0Hd4ynA_1R_X48mMK5ttUKJdx_zusEslS1Q9BoNzUoQxV920B2QczzDQMuLpynUyoOwj1pVIHbgLJ8NWQb3elkXgVBt4hxY/s1600/selfie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4XMrxLaUJbmcP0WID5mnKq6W09TqYuPH185BZys7fn66n0Hd4ynA_1R_X48mMK5ttUKJdx_zusEslS1Q9BoNzUoQxV920B2QczzDQMuLpynUyoOwj1pVIHbgLJ8NWQb3elkXgVBt4hxY/s1600/selfie.jpg" height="300" width="400" /></a></div>
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<br />Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com0tag:blogger.com,1999:blog-5391347922504378410.post-90308177033495696172014-03-31T20:33:00.002+02:002014-03-31T20:33:32.347+02:00Gialdroni & Condello on Law and Architecture (between History and Philosophy)<div>
<div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrIynECgwVytsjTT_x3fws3cU0FEbF22vvDr80CMu0UZHlII4kz-ZQ78fGJMk9_QeomNASB_7kiUqOH_r5Zh1BxDXakOVftGG04UqgXPoxmcy4VO7M63PJRWN3eW2imH_9tP4qfcUj3Ao/s1600/L&H_ProgettoEditoriale-1-2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrIynECgwVytsjTT_x3fws3cU0FEbF22vvDr80CMu0UZHlII4kz-ZQ78fGJMk9_QeomNASB_7kiUqOH_r5Zh1BxDXakOVftGG04UqgXPoxmcy4VO7M63PJRWN3eW2imH_9tP4qfcUj3Ao/s1600/L&H_ProgettoEditoriale-1-2.jpg" height="240" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Dear All,<br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">this week classes will be devoted
to the meaning and function of the Italian Court of Cassation's
building, better known in Rome as "Il Palazzaccio". </span></div>
</div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">We will
start with a philosophical introduction on semiotics with a focus on
symbols (in particular using Peirce and Cassirer). On
Thursday we'll apply the theoretical framework to the historical context
of Italian unification, with regard to the construction of the Supreme
Court. </span></div>
</div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Finally, on Friday we will "learn by experience" - by visiting the Supreme Court as well as Piazza Cavour.</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Don't forget the bring your cameras and IDs (carta d'identità)!</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Readings:</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">T. Rossi Kirk, The Politicization of the Landscape of Roma Capitale and the symbolic role of the Palazzo di Giustizia, in Mélanges de l'Ecole Française de Rome: Italie et Mediterranée, 109.1 (2006), pp. 89-114</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">If you want to have a general overview on C. S. Peirce and E. Cassirer please read </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><br /><a href="http://plato.stanford.edu/entries/peirce/" target="_blank">http://plato.stanford.edu/<wbr></wbr>entries/peirce/</a><br /><br /><a href="http://plato.stanford.edu/entries/cassirer/" target="_blank">http://plato.stanford.edu/<wbr></wbr>entries/cassirer/</a> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Dr. Gialdroni's CV:</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 13pt;">Dr. Stefania Gialdroni is a
legal historian with a passion for interdisciplinary studies. </span></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 13pt;">She graduated in Law from the
RomaTre University in 2003 and in 2005, after having finished her legal
apprenticeship, she started the <i>International Max-Planck Research School for
Comparative Legal History</i> in Frankfurt am Main. In 2006 she was admitted as
a Marie Curie fellow to the <i>PhD in European Legal Cultures. </i>In the
framework of this Doctorate, she spent one year at the LSE in London and two
years at the <i>EHESS </i>in Paris as a visiting Ph.D. student. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 13pt;">As a research fellow at RomaTre University, she has been coordinating the
Law and the Humanities course since 2008 and since 2011 she has been the
instructor of the Human Rights in Historical Perspective Course at Arcadia
University. She has published articles and a book on legal history and on law
and literature. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 13pt;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 13pt;">Dr. Condello's CV:</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: 13pt;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br />Angela Condello studied law at the University of Torino and at the
University of Roma Tre, where she focused on international and
comparative law, and worked since then as a research assistant for the
chair of philosophy and sociology of law (Prof. Dr. Eligio Resta) after
graduating. In 2013, she received her doctorate at the University of
Roma Tre with a thesis entitled <em>Analogica</em>.
<br /><br />
Since January 2014, together with Prof. Dr. Emanuele Conte and Dr.
Stefania Gialdroni, she collaborates on the pluri-disciplinary course,
Law and the Humanities at the Department of Law at Roma Tre. Since 2008
Angela has been teaching philosophy of law and legal theory at the
International University Uninettuno. As of 2013, Angela works with the
Human Rights Committee of the ItalianSenate of the Republic, as an
assistant to the President of the Commission, Prof. Luigi Manconi.
<br /><br />
In terms of research, Angela has collaborated with: Max Planck Institute
for Comparative Public and International Law (Heidelberg), the École
des Hautes Études en Sciences Sociales (Paris), the Department of
Philosophy and the School of Law at the University of California at
Berkeley, the Australian National University in Canberra. Recently, she
completed a scholarship program at the Max Planck Institute for
Comparative Public and International Law (Heidelberg). As of January
2014, Angela is a member associé of the Centre d'étude des normes
juridiques at the EHESS in Paris, directed by Prof. Dr. Paolo Napoli.
She is also currently involved in an international research project
entitled ENTRE A JURISDIÇÃO E A MEDIAÇÃO: O PAPEL POLÍTICO/SOCIOLÓGICO
DO TERCEIRO NO TRATAMENTO DOS CONFLITOS, based in Brazil. Additoinally,
Angela Condello is a Fellow at the Käte Hamburger Centre for Advanced
Study “Law as Culture”.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"> </span></div>
Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com6tag:blogger.com,1999:blog-5391347922504378410.post-34504310282221652092014-03-27T18:28:00.003+01:002014-03-27T18:28:28.529+01:00REMINDER: Visit to the Court of Cassation, April 4th 2014<div dir="ltr" style="text-align: left;" trbidi="on">
Dear all,<br />
as you already know, we are going to visit together the Italian Supreme Court on Friday April 4th. The visit is intended to provide a "learning-by-experience" approach to the classes devoted to the topic "Law and Architecture", which will focus on the history and meaning of the so called "Palazzaccio". We will meet at 10.00 in Piazza dei Tribunali (near Castel Sant'Angelo).<br />
See you tomorrow</div>
Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com1Visita Virtuale Piazza dei Tribunali, Piazza dei Tribunali, ., 00193 Roma, Italia41.903153 12.47095400000000616.381118500000003 -28.837639999999993 67.4251875 53.779548000000005tag:blogger.com,1999:blog-5391347922504378410.post-73570196026808434962014-03-26T18:16:00.000+01:002014-04-11T11:09:57.069+02:00Let's get started with our collection of images of law and justice <div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Dear students,</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">as promised, we will post the images you will send us related to the topic "Law and Iconography". We can modify this post in the future, so just send the images with a comment to gialdronis@gmail.com. We will start with a picture that can't be excluded from a photogallery on "Law and Iconography": Ambrogio Lorenzetti's Buon Governo frescoes (Siena). Don't forget that you can use our facebook page to post whatever you like (well, if related to this course!) </span><br />
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<div style="text-align: justify;">
<b style="font-family: Arial, Helvetica, sans-serif;">Fabiana di Fazio:</b></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-fs9nwgiyANc/UzMGGqp2AJI/AAAAAAAABso/gS_3k1cGD18/s1600/images.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-fs9nwgiyANc/UzMGGqp2AJI/AAAAAAAABso/gS_3k1cGD18/s1600/images.jpg" height="167" width="400" /></a></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">As far as I'm concerned, in the context of law and Iconography, is impossible not to refer to the painter Ambrogio Lorenzetti; He was the last great representative in the great sesaon of the 14th century Sienese painting. Among his frescoes the cycle of good government and bad government, which are detactable in the Sala dei Nove, on the first floor of Palazzo Pubblico in Siena, are the most important. The allegory of Good government is a proud eblem of the civil virtues of Senesi. In this vision good governance is represented by a wise old man with sceptre, shield and crown. He is seated on a throne beneath the winged figures of Faith, Hope and Charity. To his right sits Prudence, Fortitude and Peace, while on the left there are Magnanimity, Temperance and Justice. The latest reappears crowned, enthroned, on the far left of the painting. It is depicted in the Act of holding up in perfect balance the scales, in this inspired from above by Sapienza. The complex composition end with a aparade of twenty-four towns councilors supporting symbolically two long tubes that Harmony, sitting just below the justice, welcomes them. These cords departing from two plates of scales and show how each citizen should be tied to each other by concorde will of justice. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Luigi Winkler: </b></span><br />
<a href="http://3.bp.blogspot.com/-Mum1HQdS7a4/UzPv8ybaGTI/AAAAAAAABs4/bNkH3TROITg/s1600/Jacques-Louis_David_006.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://3.bp.blogspot.com/-Mum1HQdS7a4/UzPv8ybaGTI/AAAAAAAABs4/bNkH3TROITg/s1600/Jacques-Louis_David_006.jpg" height="251" width="400" /></a><span style="font-family: Arial, Helvetica, sans-serif;">In today's lesson we looked at the importance of iconography in the development and justicification of the law. Until the French Revolution the power of the la, ita was believed, was descended from God, and the paintings of antiquity and the Middle Ages are related to this concept (vertical scepter symbol of power, the tree that tends to God, the coronarion by the Pope the to king like the coronation of Carlo Magno); after the French Revolution the power is no longer legitimized from above, from God, but in the "general will" expressed in the Parliament. So, I came to mind is a famous painting by David, titled " The Coronation of Napoleon". In this painting we see Napoleon, in the cathedral of Notre Dame, take the crown at the top, and then place it on the head of Josephine. This iconography, is the first step that breaks with the tradition of the Ancient Regime. Napoleon with his back to the Pope, marks the end of the legitimacy of power that wants the Pope to crown its King, but its almost sacred place in the context makes it clear that he is still the holder of a divine law. </span><br />
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Lucrezia Ciocci: </b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLfRRBn77HJJ-ECHWD1MizcEBLRdDC0N8OYGBtfxNGAJbxLtJdig_yu8S1-2FEaTxG4yWmfsvaRoSdOrhzlD1Gsm6bFo1jsspe3ZOoLne8YdXeh2DDbXEC1r0G06juDLLDKVlm49Nq2MY/s1600/klimt.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLfRRBn77HJJ-ECHWD1MizcEBLRdDC0N8OYGBtfxNGAJbxLtJdig_yu8S1-2FEaTxG4yWmfsvaRoSdOrhzlD1Gsm6bFo1jsspe3ZOoLne8YdXeh2DDbXEC1r0G06juDLLDKVlm49Nq2MY/s1600/klimt.jpg" /></a></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;">“Jurisprudence” was one of the most contested Klimt’s
work. It was commissioned in 1894 by Minister of Education to decorate the
Great Hall of the University of Vienna. The university wasn’t happy for his
work: Klimt portrayed a cruel force that was considerate inappropriate for the
University. He made three works: The
Medicine, The Philosophy and the Jurisprudence. </span><span class="hps"><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">The Jurisprudence</span></span><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;"> <span class="hps">follows</span> <span class="hps">a hierarchical model</span>.
<span class="hps">Below</span> <span class="hps">is</span> <span class="hps">the
figure of the</span> <span class="hps">condemned</span>, <span class="hps">curved</span>
<span class="hps">and narrow</span> <span class="hps">from the tentacles</span> <span class="hps">of a giant</span> <span class="hps">octopus</span>. <span class="hps">Around
the</span> <span class="hps">condemned</span> we can <span class="hps">see three</span>
<span class="hps">female figures: the Fates</span> and a<span class="hps">t the top</span>, <span class="hps">on a</span> <span class="hps">gold background</span>, we can see the allegories of the <span class="hps">Truth</span>,
Justice <span class="hps">and the Law. Klimt doesn’t represent them as institutions
that help men but as cold and heartless women that punish men. I understand the
embarrassment of the university in front of this painting: it would been more
appropriate for an university a painting that would transmit faith in justice
than a painting that gives a sense of anxiety and disquietude. Maybe to understand this painting we have to
consider who was Klimt and the historical period in which he lived. In fact he
was a member of the Vienna Secession: a group of artist that tried to represent
the world in which they lived in a different way from the traditional forms,
Klimt was the president of the Secession, he believed that it was the
instrument to create a new, free and authentic art.</span></span><span class="hps"><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"> </span></span><span class="hps"><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Arial;">At the end
of the XIX century the Austria believed in the idea of the “Austria Felix”: a
great empire full of elegant café and theaters. Austrians didn’t realize that
this golden age was at end and they weren’t ready to understand and accept the
anxiety of Klimt’s paintings, I think that his work was against the idea that
Austria had of herself. Klimt was so offended by his critics that had no
intention in put the work in the Great Hall that he gave back his salary and
took his paintings with him. Unfortunately his paintings were lost in the fire
of 1945. </span></span></span><span class="hps"><span lang="EN-US" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US;"><o:p></o:p></span></span></div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span>
<br />
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Laura Sonnino Silvani</b></span><br />
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<b><span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">The ostrich
as an attribute of Lady Justice</span></span></b></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">I found all these lessons about Law and Iconography (or
better Iconology) very interesting: as a law student I was always interested in
the meaning of Justice. Since it is a very huge social and juridical concept,
that was treated and that has changed through time, it was very stimulating to
visualize it in symbols, to better understand it and appreciate it.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">We talked about how IUSTUTIA was represented as a
lady, Lady Justice, holding a scale in one hand, to represent her impartiality
and objectivity in the judgment, and a sword in the other, to represent her
authority in executing the sentence and the law itself. Eventually, after the
16<sup>th</sup> century, in some representations she was painted as
blindfolded: For some authors, to better underline the idea of her impartiality
in the sense that the good judge can’t be influenced by the appearance or by the wealth of the parties, for others, as
the result of a misinterpretation of a
critique that was moved to the magistracy of that time by some painters and
illustrators and that, instead, was afterward interpreted as a good quality.
But I wanted to point out about another attribute that was put on the left of
Lady Justice by many painters and authors: the ostrich.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">The ostrich is the biggest living species of bird on
earth, it has big wings but it is not able to fly. From XVI century it became
one of the attributed of Justice, as Cesare Ripa in his “Iconology” and as
Plinius The Old in his “Naturalis Historia” confirm.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">The Ostrich was linked to justice because it was
believed that they could digest everything, even iron, as Justice is capable of
meditating every judgment, and that is also why it was placed by Cesare Ripa as
an attribute of Gluttany as well. <o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;">Also for the Egyptians the ostrich was an attribute of
the Goddess of Justice, Ma’at, who was always represented with an ostrich
feather on her head. She was also the Goddess of the Truth and, therefore, the
ostrich feather represented also the hieroglyphics, that were considered also a
manifestation of Truth.<o:p></o:p></span></span></div>
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<span lang="EN-US" style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Image of the Goddess Ma’at, Queen Nefertari’s
Tomb</i></span></span><br />
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<span style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>“La
Battaglia di Ponte Milvio” , Giulio Romano, Stanze Vaticane, Roma (1520-24)</i></span></span></div>
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<span style="line-height: 115%;"><span style="font-family: Arial, Helvetica, sans-serif;"><i>Sala di
Costantino, Palazzi Pontifici, Vaticano (1520-24)</i></span></span></div>
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<span style="font-size: 14.0pt; line-height: 115%;"><br /></span><span style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;"><b>Gemma di Stefano</b></span><br />
<span style="font-family: Arial, Helvetica, sans-serif; line-height: 115%;">During the lectures of Professor Martyn we saw that Lady Justice is often depicted with a snake, and we repeatedly emphasized the presence of dogs in courts, explaining the symbolic meaning of every animal. In Vatican City (Apostolic Palace, Sala Costantino, 1520) we have a fresco by Giulio Romano in which Lady Justice is depicted with an ostrich. And this is not the only depiction, with a simple search on the internet I found others. Therefore it intrigued me. So I did a little research to understand the iconographic meaning of this animal. I found two theories: the first one says that in ancient times it was believed that the ostrich was able to digest iron, and this supposed ability was seen as a useful attribute for the slow and intricate machinery of justice. The second one comes from ancient Egypt. The ostrich was a symbol of justice and equality because his feathers are all the same length. In fact, the Egyptian goddess of order, balance and justice, Ma'at, is always depicted with an ostrich feather on her forehead. </span><br />
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<a href="http://4.bp.blogspot.com/-DjwDAhnLS60/Uzl2VdSvDkI/AAAAAAAABuY/cm9s7xap4T8/s1600/maat+(2).jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-DjwDAhnLS60/Uzl2VdSvDkI/AAAAAAAABuY/cm9s7xap4T8/s1600/maat+(2).jpg" height="400" width="276" /></a></div>
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<div style="background-color: white; color: #222222; font-family: arial, sans-serif; font-size: 13px; text-align: justify;">
<b>Katharina Bohdal</b></div>
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I found this painting interesting since it contains lot's of the elements we were talking about in the lesson with professor Martyn. </div>
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So is King Solomon positioned in the center of the painting on a throne which is higher than the rest of the scene underling his important role in the judgement. </div>
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As a whole the scene reminds of depictions of the Last Judgement such as the one by Hans Memling.</div>
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The elevated position of Solomon between the figures and his pose are eluding to the image of Christ as the judge of the world throning above mankind. The red cloak of Christ, representing his ability to judge about life and death, is mirrored in Solomon's clothes the painting by Poussin. In fact also Solomon is about to decide about the life of the child held by a soldier on the left hand side of the painting. </div>
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The backrest of Solomon's throne resembles the godly glory which surrounds Jesus in Memling's triptych.</div>
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The two women who claim Solomon's judgement on the other hand are arranged in a way that the real, the 'good' mother, is positioned on Solomon's right hand side, the 'good' side, whilst the mother of the dead child is on the left, the 'bad' side. The same schematic is used in the depiction of the Last Judgement where the honorable ad prayerful people can enter heaven on the right hand side (of Christ) while the sinners are expected by hell's creatures on his left hand side.</div>
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From the motive of the 'sacred space' in which the judgement takes place, of which we talked during the lesson, in Poussin's finished painting rests nothing more than a slight idea. In the sketch to his work however the 'sacred place' is clearly visible. The great public is separated from the judicial action by a bar and can watch the scene only from distance. The figures involved in the process are placed in the foreground in an open space in which one can clearly assume the roles the parties have in the process. </div>
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A reason for Poussin to change the composition in the end might have been that through the reduction of figures he achieved a higher focus on the main action of the painting. In difference to the lively background in the sketch the plain and quiet background in the final painting underlines the grandeur and majesty of Solomon.</div>
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<span style="text-align: start;">The Judgement of Solomon by Nicolas Poussin (finished 1649)</span></div>
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<a href="http://2.bp.blogspot.com/-_KiTXm042R4/U0evPZ6jmnI/AAAAAAAABvU/Syl1iXlIETk/s1600/Nicolas-Poussin-The-Judgment-of-Solomon+(1).jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-_KiTXm042R4/U0evPZ6jmnI/AAAAAAAABvU/Syl1iXlIETk/s1600/Nicolas-Poussin-The-Judgment-of-Solomon+(1).jpeg" height="265" width="400" /></a></div>
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<span style="text-align: start;">Scetches for the painting</span></div>
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<a href="http://4.bp.blogspot.com/-cd0MCPyc-QU/U0ewd0PPUvI/AAAAAAAABvg/xwB7mGraxUc/s1600/Poussin_-_Urteil_des_Salomon_-_Studie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-cd0MCPyc-QU/U0ewd0PPUvI/AAAAAAAABvg/xwB7mGraxUc/s1600/Poussin_-_Urteil_des_Salomon_-_Studie.jpg" height="251" width="400" /></a></div>
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<span style="text-align: start;">The Last Judgement, Hans Memling (painted from 1467-1471)</span></div>
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<a href="http://4.bp.blogspot.com/-A083t_Eu29s/U0ewvHttcrI/AAAAAAAABvo/_kUqLryTVsw/s1600/800px-Das_J%C3%BCngste_Gericht_(Memling).jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-A083t_Eu29s/U0ewvHttcrI/AAAAAAAABvo/_kUqLryTVsw/s1600/800px-Das_J%C3%BCngste_Gericht_(Memling).jpeg" height="280" width="400" /></a></div>
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com6tag:blogger.com,1999:blog-5391347922504378410.post-65303846449255990272014-03-23T11:35:00.001+01:002014-03-23T11:36:57.203+01:00Prof. Georges Martyn on Law and Iconography<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOCWUlT1OmRsZ0ZCsHoRge1EiEtYSXeCA2VEQNj3bufwHdW1SW94MwlTqlvX-35VwkFuBize2l-p7MJg1DgqVh_PPhCmwzCOWotEb0ag5tum2NRyhuiwE7IY_kW6GANwa7MUuZwy9xErE/s1600/The_Judgment_of_Cambyses2_WGA.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOCWUlT1OmRsZ0ZCsHoRge1EiEtYSXeCA2VEQNj3bufwHdW1SW94MwlTqlvX-35VwkFuBize2l-p7MJg1DgqVh_PPhCmwzCOWotEb0ag5tum2NRyhuiwE7IY_kW6GANwa7MUuZwy9xErE/s1600/The_Judgment_of_Cambyses2_WGA.jpg" height="200" width="171" /></a></div>
<span style="font-family: Arial,Helvetica,sans-serif;">Dear Students,</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">next week classes will be held by Prof. Georges Martyn (Gent). </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;">The main theme around which the three lectures will be developed is <i>law and iconography</i>.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">How are law and iconography related?</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Here following you'll find some helpful introductory remarks on the law and iconography discourse (with a selection of suggested readings) - Buon lavoro!</span><br />
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--</style></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<style> </style></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<style> </style><span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">Law and Iconography</span></b></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">‘Law’ and ‘image(s)’ interact in many
ways. Traffic signs, for instance, are at the same time ‘rules’ and ‘images’.
Legislation on the protection of minors prohibits and penalizes the exhibition
of pornographic material, artists risk to be held civilly liable when offending
individuals or protected minorities by laughing at them in cartoons, etc. There
is actually a lot of ‘law on art’, and all of these rules can be seen as part and
parcel of the vast research field of ‘law and iconography’. However, subject of
the three lessons in Rome will not be ‘law on art’, but rather ‘art on law’. This
theme will be studied from a historical point of view. What will be focused on,
is the representation of law, justice, legislation, and other legal concepts…
Three themes will be treated.</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">The verticality of the law: how art is used to legitimize judicial power</span></b><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">. Looking at the ‘places of justice administration’, starting
under a tree in prehistoric times, passing by the medieval church entrances
(with their red painted western doors) and the Renaissance painting of divine
and historical <i style="mso-bidi-font-style: normal;">exempla iustitiae</i>,
over the ‘templar’ architecture of nineteenth century palaces of justice, to
the present day transparent office buildings of our contemporary courts, there
is a connecting thread: worldly men (and recently women) deciding cases over
their compatriots, try to legitimize their power by stressing the ‘higher’
origin of their competence. In the early middle ages, before Christianisation,
the biggest tree of the village served as a gathering place for all important
questions. The tree reaching to the sky, was replaced by the church and the
religious legitimating of the judges’ competence was represented by
Crucifixions and Last Judgments in the late middle ages. Again, the source of
power was sought ‘above’, in heaven. Even after the French and American revolutions,
the palaces of justice still resembled temples of worship. Although today,
legitimising representations are far more scarce, we do still use expressions
like: ‘Be you ever so high, the law is always above you’ (Thomas Fuller-Lord
Denning). The verticality is still present today, be it for instance in the
symbol of Lady Justice’s sword, ...and even in her blindfold (blind to the
temporal world, she should only listen to the voice of God, the voice of
fairness and truth), but in earlier times we found it also in justice trees,
pillories, belfries, etc. </span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraph" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="NL" style="font-variant: small-caps;">Readings: </span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="EN-GB" style="font-variant: small-caps; mso-ansi-language: EN-GB;">A.L. Nettel</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">, “The power of image and the image
of power: the case of law”, <i style="mso-bidi-font-style: normal;">Word and
Image</i>, 21, 2005, 527-539 (</span><span lang="NL"><a href="http://biblio.juridicas.unam.mx/libros/4/1650/30.pdf"><span lang="EN-GB" style="mso-ansi-language: EN-GB;">http://biblio.juridicas.unam.mx/libros/4/1650/30.pdf</span></a></span><span lang="EN-GB" style="mso-ansi-language: EN-GB;">).</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraph" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="NL" style="font-variant: small-caps;">G. Martyn</span><span lang="EN-US" style="mso-ansi-language: EN-US;">, </span><span lang="NL">“Inspiring Images for
Judges. Late Medieval Court Room Decorations in the Southern Netherlands”, in
A. <span style="font-variant: small-caps;">Kérchy</span>, A. <span style="font-variant: small-caps;">Kiss &</span> G. <span style="font-variant: small-caps;">Szönyi</span> (eds.), <i style="mso-bidi-font-style: normal;">The
Iconology of Law and Order (Legal and Cosmic)</i>, in <i style="mso-bidi-font-style: normal;">Papers in English & American Studies</i>, XXI, Szeged (Hungary),
Jatepress, 2012,<i style="mso-bidi-font-style: normal;"> </i>41-53 (<a href="https://www.academia.edu/4514582/124_Inspiring_Images_PRINTING_PROOF_not_for_distribution_WRONG_PAGES_should_be_41_to_53">https://www.academia.edu/4514582/124_Inspiring_Images_PRINTING_PROOF_not_for_distribution_WRONG_PAGES_should_be_41_to_53</a>).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">Signs, symbols, gestures and tools: legally telling details in
(religious and profane) art.</span></b><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;"> Lady
Justice’s blindfold, sword and scales, an ‘iconographic construction’ of the
Renaissance, are still understood today as symbols of justice and law. Many
other symbols and signs, however, but also objects and (portrayed) gestures, in
our contemporary eyes, do no longer spread the message they sent to spectators
in earlier centuries. It is an interesting quest for jurists and legal
historians to go and visit museums, using ‘legal (historical) spectacles’. Artistic
iconography was undoubtedly influenced by law. Left and right, for instance,
have an important legal meaning; the overall (religious) influence of the
antithesis ‘good and bad’ was paramount; colours of cloths can tell us about
the goodness or badness of the persons wearing them; a branch of a tree can
tell us that the man holding it is a judicial officer; the use of a glove can
refer to marriage, etc. Very few paintings or other works of art explicitly
deal with law and justice as such, but quite often, juridical elements are
present, be it very often as hazardous details. A classical example is the
depiction of the Gospel’s scene of Jesus being brought before Pontius Pilate.
Although this story is to be situated in the first century, many artists show
Pilate as a medieval, early modern or modern judge. This way, we get to know
the robes of the judges, their bench, their symbols... We can probably ‘trust’
these representations more – as they are just unimportant details slipping in
without thinking about them – than, for instance, the many representations of
torture and execution, represented in paintings, drawings and statuary of
saints and martyrs. If we compare these representations to marginal drawings by
court clerks, for instance, we should conclude that a lot of artistic
exaggeration was used for religious purposes.</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="NL" style="font-variant: small-caps;">Readings: </span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="EN-GB" style="font-variant: small-caps; mso-ansi-language: EN-GB;">I. Bennett</span><span lang="EN-GB" style="mso-ansi-language: FR;"> </span><span lang="EN-GB" style="font-variant: small-caps; mso-ansi-language: EN-GB;">Capers</span><span lang="FR" style="mso-ansi-language: FR;">, "Blind Justice", <i style="mso-bidi-font-style: normal;">Yale Journal of Law & the Humanities</i>,
24.1, 2012, 179-189 (</span><span lang="NL"><a href="http://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=1382&context=yjlh"><span lang="FR" style="mso-ansi-language: FR;">http://digitalcommons.law.yale.edu/cgi/viewcontent.cgi?article=1382&context=yjlh</span></a></span><span lang="FR" style="mso-ansi-language: FR;">).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraphCxSpLast" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="FR" style="font-variant: small-caps; mso-ansi-language: FR;">N. Illman Meyers,</span><span lang="FR" style="mso-ansi-language: FR;"> "Painting the law", <i style="mso-bidi-font-style: normal;">Cardozo arts and entertainment law journal</i>,
14, 1996, 397-406 (</span><span lang="NL"><a href="http://www.cardozoaelj.com/wp-content/uploads/2013/04/meyers.pdf"><span lang="FR" style="mso-ansi-language: FR;">http://www.cardozoaelj.com/wp-content/uploads/2013/04/meyers.pdf</span></a></span><span lang="FR" style="mso-ansi-language: FR;">).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">Jurists exalted and fooled: </span></b><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">For centuries artistic creation was all about religion..., all or almost
all, only the king and the higher nobility being able to command portraits. It
is striking that jurists were the first non-nobles and non-religious to have
their portraits painted. This tells a lot about the social positions jurists
were able to rise to, being professors, councillors, judges and advocates. But
pretty soon, the juridical guild was also criticised, in songs and stories, but
also in pictorial art. We see them represented as vultures, foxes, wolves and
monkeys. Especially their hunger for money is portrayed. </span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">Images indeed can be used to both
exalt and fool the men of law.</span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0cm; text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraphCxSpFirst" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;"><span lang="NL" style="font-variant: small-caps;">Readings: </span></i><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><br />
<div class="MsoListParagraphCxSpMiddle" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="EN-US" style="font-variant: small-caps; mso-ansi-language: EN-US;">R.J. Schoeck</span><span lang="EN-US" style="mso-ansi-language: EN-US;">, “The aesthetics of the law”, <i style="mso-bidi-font-style: normal;">American Journal Juris</i>, 28, 1983, 46-63
(</span><span lang="NL"><a href="http://heinonline.org/HOL/Page?handle=hein.journals/ajj28&div=6&collection=journals&set_as_cursor=3&men_tab=srchresults#50"><span lang="EN-US" style="mso-ansi-language: EN-US;">http://heinonline.org/HOL/Page?handle=hein.journals/ajj28&div=6&collection=journals&set_as_cursor=3&men_tab=srchresults#50</span></a></span><span lang="EN-US" style="mso-ansi-language: EN-US;">).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
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</span><br />
<div class="MsoListParagraphCxSpLast" style="margin-bottom: .0001pt; margin-bottom: 0cm; margin-left: 53.25pt; margin-right: 0cm; margin-top: 0cm; mso-add-space: auto; mso-list: l0 level1 lfo1; text-align: justify; text-indent: -18.0pt;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-list: Ignore;">·<span style="-moz-font-feature-settings: normal; -moz-font-language-override: normal; font-size-adjust: none; font-size: 7pt; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></span><span lang="EN-US" style="mso-ansi-language: EN-US;">P. <span style="font-variant: small-caps;">Goodrich</span>,
“Visiocracy: On the futures of the fingerpost”, <i style="mso-bidi-font-style: normal;">Critical Inquiry</i>, 39.3, 2013, 498-531 (</span><span lang="NL"><a href="http://www.jstor.org/discover/10.1086/670043?uid=28383&uid=3737592&uid=2134&uid=2&uid=70&uid=3&uid=67&uid=5911848&uid=28382&uid=62&sid=21103460510623"><span lang="EN-US" style="mso-ansi-language: EN-US;">http://www.jstor.org/discover/10.1086/670043?uid=28383&uid=3737592&uid=2134&uid=2&uid=70&uid=3&uid=67&uid=5911848&uid=28382&uid=62&sid=21103460510623</span></a></span><span lang="EN-US" style="mso-ansi-language: EN-US;">).</span><span lang="EN-GB" style="mso-ansi-language: EN-GB;"></span></span></div>
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</span><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Prof. Martyn's CV:</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">Biography</span></b><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">:<b style="mso-bidi-font-weight: normal;"> </b>Georges Martyn (born in Avelgem, Belgium, 1966) studied Law
(1984-89) and Medieval Studies (1989-91) in Kortrijk and Leuven (Belgium) and
obtained a Ph.D. degree in Law at the Catholic University of Leuven in 1996,
with a dissertation on private law legislation in the early modern Netherlands.
He has been an ‘<i style="mso-bidi-font-style: normal;">advocaat</i>’
(barrister/lawyer) between 1992 and 2008 at the bar of Kortrijk, is now
honorary member of the Ghent bar, and is a substitute justice of the peace in
Kortrijk since 1999. He is full professor at the University of Ghent
(Department of Jurisprudence and Legal History) since 1999 and leads the
Institute of Legal History (</span><span lang="NL"><a href="http://www.rechtsgeschiedenis.be/"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">www.rechtsgeschiedenis.be</span></a></span><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">) since 2010. He teaches ‘History of Politics and
Public Law’, ‘General Introduction to Belgian Law’ and ‘Legal Methodology’. His
publications deal with the history of private law and legal institutions in the
Netherlands in the early modern era, the reception of Roman law, the legal
professions, the evolution of the sources of the law in the nineteenth and
twentieth centuries and legal iconography. He was appointed by royal decree a
member of the Belgian Royal Commission for the Edition of the Old Law (</span><span lang="NL"><a href="http://justitie.belgium.be/nl/informatie/bibliotheek/koninklijke_commissie_uitgave_belgische_oude_wetten_en_verordeningen/"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">http://justitie.belgium.be/nl/informatie/bibliotheek/koninklijke_commissie_uitgave_belgische_oude_wetten_en_verordeningen/</span></a></span><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">), he is the Flemish editor-in-chief of the
Belgian-Dutch legal history review<i style="mso-bidi-font-style: normal;"> Pro
Memorie </i>(</span><span lang="NL"><a href="http://www.verloren.nl/pro-memorie"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">http://www.verloren.nl/pro-memorie</span></a></span><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">) and co-editor of the series <i style="mso-bidi-font-style: normal;">Studies in the History of Law and Justice </i>(</span><span lang="NL"><a href="http://www.springer.com/series/11794"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">http://www.springer.com/series/11794</span></a></span><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">). Bibliography on the Ghent University website (</span><span lang="NL"><a href="https://biblio.ugent.be/person/801001322489"><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">https://biblio.ugent.be/person/801001322489</span></a></span><span lang="EN-GB" style="font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-GB; mso-bidi-font-size: 11.0pt;">) and Academia.edu. </span></span></div>
Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com7tag:blogger.com,1999:blog-5391347922504378410.post-70811718016898470062014-03-20T10:36:00.001+01:002014-03-20T10:37:37.472+01:00A new series of lectures on Law and Literature, in Paris!This semester a series of meetings on law and literature will take place in Paris at the Centre "Yan Thomas" - EHESS (<a href="http://cenj.ehess.fr/">http://cenj.ehess.fr/</a>).<br />
<br />
The title of the seminar is:<br />
<br />
<i>Droit et littérature. La norme entre commandement et récit </i><br />
<br />
It is organized by Emanuele Coccia and Michele Spanò.<br />
<br />
All information about the calendar and a detailed description of the topic <a href="http://cenj.ehess.fr/index.php?255">here</a>.<br />
<br />
<br />Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com2tag:blogger.com,1999:blog-5391347922504378410.post-86903266649488433062014-03-18T12:07:00.001+01:002014-03-18T12:13:50.415+01:00Prof. Paolo Napoli on Law and Philosophy - with a focus on Charisma<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWlK21XCk_TF6iQ6cAp0PKYhc-edIsiVl5buDmgB8ThKqKY-xlkoUqSD2y17vfGiDVjNc22igaYtHOobVWYishrSY-b_6WV9KAYul3P-pl-87FXg60zqPTf3TMLKnD-V56oj-p1PEZUQM/s1600/st_paul_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWlK21XCk_TF6iQ6cAp0PKYhc-edIsiVl5buDmgB8ThKqKY-xlkoUqSD2y17vfGiDVjNc22igaYtHOobVWYishrSY-b_6WV9KAYul3P-pl-87FXg60zqPTf3TMLKnD-V56oj-p1PEZUQM/s1600/st_paul_1.jpg" /></a></div>
Dear All!<br />
<br />
Here is a short abstract of this week's classes, provided by Prof. Paolo Napoli (don't get confused with names because of the picture here on the left...):<br />
<br />
You may wonder why in a seminar about Law and Philosphy we should deal
with the subject of "charisma". In fact, we have to understand charisma
as a kind of normativity and, according to it, philosophy is just an
attitude, a way to place oneself in the condition to reflect upon the
relation between law and other kinds of social regulation. Philosophy is
not a deposit of concepts and values which structure the theoretical
basis of law. It's rather a way of problematising the "between" linking
law and comparative normativities. "Charisma" is an ancient notion which
was rediscovered by juridical, political and sociological thought at
the end of 19th century. Since then, we have conceived "charisma" as a
personified set of exceptional and supernatural qualities. How can we
get rid of this current representation which seems to forget that
charisma is primarily a normative function and not an personal
substance?<br />
<br />
<br />
Prof. Paolo Napoli's CV:<br />
<br />
Prof. Paolo Napoli is currently Directeur d'études at the Ecole des<br />
Hautes Etudes en Sciences Sociales - EHESS, in Paris (since 2010),<br />
where he directs the Centre d'étude des normes juridiques "Yan Thomas"<br />
- CENJ. In 1987 he graduated at the Faculty of Law of the University<br />
La Sapienza (Rome), with a degree thesis on power and law in Michel<br />
Foucault's works. He afterwards began his research on the notion of<br />
police during the modern era in Italy (CNR), France (EHESS), Germany<br />
(Max Planck Institut für Europäische Rechtsgeschichte Frankfurt am<br />
Main) and USA (Berkley). In 1997 he received his first Ph.D in Legal<br />
philosophy at the University of Bologna and in 2002 he received a<br />
second Ph.D. in Law and Social Sciences at the EHESS (Title of the PhD<br />
thesis: La police en France à l'âge moderne (XVIII-XIX siècle).<br />
Histoire d'un mode de normativité.<br />
He is the author of many articles and two books:<br />
- Naissance de la police moderne. Pouvoir, normes, société, La<br />
Découverte, Paris 2003.<br />
- Le arti del vero. Storia, diritto e politica in Michel Foucault, La<br />
città del sole, Napoli 2002.<br />
See also: <a href="http://lodel.ehess.fr/cenj/document.php?id=71" target="_blank">http://lodel.ehess.fr/cenj/<wbr></wbr>document.php?id=71</a>Dr. Angela Condellohttp://www.blogger.com/profile/09745305006203763134noreply@blogger.com13tag:blogger.com,1999:blog-5391347922504378410.post-90851672627461276452014-03-14T12:34:00.002+01:002014-03-14T12:34:42.988+01:00Summum ius, summa iniuria? <div dir="ltr" style="text-align: left;" trbidi="on">
Dear students,<br />
<br />
<a href="http://4.bp.blogspot.com/-DplkWoJPb6Q/UyLnzvnCnoI/AAAAAAAABqw/fJGBD_zJwZ0/s1600/Unknown.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://4.bp.blogspot.com/-DplkWoJPb6Q/UyLnzvnCnoI/AAAAAAAABqw/fJGBD_zJwZ0/s1600/Unknown.jpeg" /></a>with reference to the discussion we have started this morning, I would like to ask you to continue it here. You can write answers to all the following questions or just one.<br />
<br />
You can also have a look at this: <a href="http://www.youtube.com/watch?v=bCFxajzP2E0">http://www.youtube.com/watch?v=bCFxajzP2E0</a><br />
<br />
1) What could be the "dangers" of equity?<br />
2) Can you give examples of the use of equity (in any historical period and in any place)?<br />
3) What is the purpose of law?<br />
4) What is the aim of a trial today in your country? </div>
Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com11Via Ostiense, 161, 00154 Roma, Italia41.8624517 12.47903750000000416.3404172 -28.829556499999995 67.3844862 53.7876315tag:blogger.com,1999:blog-5391347922504378410.post-52629447341047250502014-03-08T16:40:00.000+01:002014-03-08T16:40:22.014+01:00EMANUELE CONTE ON LAW & HISTORY AND STEFANIA GIALDRONI ON LAW & LITERATURE<div dir="ltr" style="text-align: left;" trbidi="on">
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Dear students,</span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">next week the classes will be held by prof. Conte on Wednesday and by me (Stefania Gialdroni) on Thursday and Friday. The first class will be devoted to the (strict) relationship between Law and History while the other two classes will be dedicated to the analysis of Shakespeare's "Merchant of Venice", a very classical topic of the Law in Literature strand. The readings will be provided as soon as possible as we are still writing the definitive version of the mailing list. In the meanwhile, you can find the following article on J-Stor, available online if you are using the RomaTre wifi (<a href="http://host.uniroma3.it/biblioteche/page.php?page=banche_da30">http://host.uniroma3.it/biblioteche/page.php?page=banche_da30</a>). </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">D.J Kornstein, <i>Fie Upon Your Law!</i> in "Cardozo Studies in Law and Literature", 5.1 (1993): A Symposium Issue on "The Merchant of Venice", 35-56. </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Emanuele Conte: Law & History </b></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b><br /></b></span></div>
<div style="text-align: justify;">
<a href="http://2.bp.blogspot.com/-behT8NR2aQk/Uxss5SkgxFI/AAAAAAAABps/xOY_PoD3o5k/s1600/durkheim-weber-e-marx.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Arial, Helvetica, sans-serif;"><img border="0" src="http://2.bp.blogspot.com/-behT8NR2aQk/Uxss5SkgxFI/AAAAAAAABps/xOY_PoD3o5k/s1600/durkheim-weber-e-marx.jpg" /></span></a><span style="font-family: Arial, Helvetica, sans-serif;"><b>Suggested reading:</b></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">J.Q. Whitman, <i>Bring back the Glory</i>!, in "Rechtsgeschichte, 4 (2004), 74-81. </span></div>
<div>
<span style="font-family: Arial, Helvetica, sans-serif;"><br /></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;"><b>Prof. Conte's CV</b></span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">Professor of Legal History a the Università degli Studi di RomaTre and Directuer d'études at the EHESS in Paris. </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">He graduated cum laude in 1983 at the University La Sapienza in Rome, and received his Ph.D in Medieval Legal History from the University of Milan. He has done rsearch at the Max-Planck Institut fuer Europaeische Rechtsgeschichte in Frankfurt am Main and the University of California at Berkley. </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">He has held visiting professorships at the Universitat Autonoma de Barcelona (Spain), the EHESS in Paris, the University of Toulouse I (France), the University of Paris X Nanterre and the Ecole Normale Superieure Lettres et Sciences Humaines, Lyon (France). He has been visiting fellow at Berkley University (USA) and Cambridge University - UK (Peterhouse). </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">He serves as a member of the board of direction of many academic journals and series in Italy, France, Spain and the UK. </span></div>
<div style="text-align: justify;">
<span style="font-family: Arial, Helvetica, sans-serif;">He has given many papers and lectures in Italy, Germany, France, UK, USA, Switzerland, Finland, Denmark, Argentina and Spain. His books and other publications focus mainly on medieval and modern legal history, on philology of legal texts and on the relationship between history and law in the 19th and 20th century. See also: <a href="https://www.blogger.com/Professor%20of%20Legal%20History%20at%20the%20Universit%C3%A0%20degli%20Studi%20di%20Roma%20Tre%20and%20Directeur%20d'etudes%20at%20the%20Ecole%20des%20Hautes%20Etudes%20en%20Sciences%20Sociales%20(Paris).%20He%20graduated%20cum%20laude%20in%201983%20at%20the%20University%20La%20Sapienza%20of%20Rome,%20and%20received%20his%20Ph.D.%20in%20Medieval%20Legal%20History%20at%20the%20University%20of%20Milan.%20He%20has%20done%20research%20at%20the%20Max-Planck-Institut%20f%C3%BCr%20Europ%C3%A4ische%20Rechtsgeschichte%20Frankfurt%20am%20Main,%20and%20at%20the%20University%20of%20California%20at%20Berkeley.%20He%20has%20held%20visiting%20professorships%20at%20Universitat%20Autonoma%20de%20Barcelona%20(Spain),%20the%20Ecole%20des%20Hautes%20Etudes%20en%20Sciences%20Sociales,%20Paris%20(France),%20the%20University%20of%20Paris%20II%20Panth%C3%A9on%20(France),%20the%20University%20of%20Toulouse%20I%20(France),%20the%20University%20of%20Paris%20X%20Nanterre%20and%20the%20Ecole%20Normale%20Superieure%20Lettres%20et%20Sciences%20Humaines,%20Lyon.%20He%20has%20been%20visiting%20fellow%20at%20Berkeley%20University%20(US)%20and%20Cambridge%20University%20(Peterhouse).%20He%20serves%20as%20a%20member%20of%20the%20board%20of%20direction%20of%20many%20academic%20journals%20and%20series%20in%20Italy,%20France,%20Spain,%20the%20UK.%20%20He%20has%20given%20many%20papers%20and%20lectures%20in%20Italy,%20Germany,%20France,%20United%20Kingdom,%20USA,%20Switzerland,%20Finland,%20Denmark,%20Argentina%20and%20Spain.%20His%20books%20and%20other%20publications%20focus%20mainly%20on%20medieval%20and%20early%20modern%20legal%20history,%20on%20philology%20of%20legal%20texts%20and%20on%20the%20relationship%20between%20history%20and%20law%20in%20the%2019th%20ant%2020th%20century.%20See%20also:%20http://lodel.ehess.fr/cenj/docannexe.php?id=324" target="_blank">http://lodel.ehess.fr/necj/docannexe.php?id=324 </a></span></div>
<div style="text-align: justify;">
<br /></div>
<div style="text-align: justify;">
<b style="text-align: left;"><span style="font-family: Arial, Helvetica, sans-serif;">Stefania Gialdroni: Shakespeare in Law</span></b></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #222222; text-align: start;"><b>Brief Outline:</b></span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">The lessons will focus on the following questions:</span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">1) What was the role of Jewes in 16th-17th century Europe? What does it mean to be part of a minority?</span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">2) What is usury? How was it regulated?</span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">3) What was the relationship between law and equity in Shakespeare's England? What does equity mean? </span><br style="color: #222222; text-align: start;" /><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;"><b>Suggested readings: </b></span></span></div>
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<span style="font-family: Arial, Helvetica, sans-serif;"><span style="background-color: white; color: #222222; text-align: start;">D.J Kornstein, Fie Upon Your Law! in "Cardozo Studies in Law and Literature", 5.1 (1993): A Symposium Issue on "The Merchant of Venice", 35-56.</span><br style="color: #222222; text-align: start;" /><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">[Not compulsory!]: S. Gialdroni, La clausola penale tra finzione e realtà. Il caso limite di Shylock alla prova del diritto veneziano, del diritto comune e del common law, in "La pena convenzionale nella prospettiva storico comparatistica", Napoli: Jovene, 2013, 19-49. </span><br style="color: #222222; text-align: start;" /><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;"><b>Dr. Gialdronis' CV:</b></span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">Stefania Gialdroni is a temporary instructor in Legal History at the University of RomaTre, Law Department. She received her PhD in 2009 from the University of Milano-Bicocca and the EHESS in Paris ("co-tutelle"). In 2006 she entered the Marie Curie Program "Doctorate in European Legal Cultures". In the framework of this PhD, she spent one year at the London School of Economics and two years at the EHESS in Paris. She was awarded several scholarships from the MPIER in Frankfurt am Main where she also attended the International Max-Planck Research School for Comparative Legal History for one year. </span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">She has been teaching the course "Human Rights in Historical Perspective" at Arcadia University - Rome Center since 2011 and worked as a tutor in Legal Histor at the online University UniNettuno (2011-2012).</span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">She published articles, essays and a book (East India Company. Una storia giuridica (1600-1708), Bologna: Il Mulino, 2011) on the history of commercial law and on Law and Literature. </span><br style="color: #222222; text-align: start;" /><span style="background-color: white; color: #222222; text-align: start;">She has been assisting prof. Conte in the organization of the "Law and the Humanities" course at the RomaTre University since it was first created in 2008. </span></span></div>
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Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com7