Thursday, September 03, 2015

Docencia en Law and Literature 2015/2016. Swarthmore College (Pensilvania. USA)



ENGL 009A. First-Year Seminar: Literature and Law

In this course we will explore the forms law and literature take as they work through similar concerns, determining how social systems should function and puzzling over the moments when they don't. When does fiction appropriate the law's penchant for articulating rights and defining relationships? And when does the legal imagination draw from literature? We will read works of tragedy, detection, confession and evasion as we sort through these questions, supplementing our conversation with critical legal theory, trauma studies, and case law.
Humanities.
Writing course.
1 credit.
Patnaik.
Offered Fall 2015
Offered Fall 2016
Catalog chapter: English Literature 
Department website: http://www.swarthmore.edu/english-literatura
 
 
 

Docencia en Law an Literature 2015/2016. University at Buffalo. The State University of New York (USA)




ENG 276 Literature and the Law

Lecture
Credits: 3
Semester(s): (No information on typically offered semesters)
Grading: Graded (A-F)
Examination of works of literature that revolve around representations of the relationships between law, community, religion, and the state, with attention to the relationship between legal interpretation and textual analysis. For example: Morani Kornberg-Weiss, Language and the Law In the study and practice of law, truth and justice rely on narration. Words, after all, are essential for lawyers, defendants, and juries. Rhetoric and argumentation help one make a case. This course invites students to explore the nature of law, ethics, and social justice through the prism of literature and language. We will consider the modes in which law and literature intersect and think about the function of narrative and storytelling, form and sequence, punishment, interpretation, ethics, and political and social order. Beginning with the question What is truth? we will examine its ramifications in various cultural, social, and historical moments. Texts are often ambiguous and contradictory, holding multiple truths and meanings. They change as readers change. These paradoxes will motivate us to ask: in what way is law similar to literature? How does each discipline define a text? How does each define justice? How does literature employ narrative as a form of regulation? How does the way in which a story is told affect what it means? Although most of the texts we will read clearly foreground the function of law and punishment, others engage us through a seemingly absent legal system.


 
 
 
 

Tuesday, September 01, 2015

Magna charta libertatum & New Era. Conmemoraciones y Exposición. Brooklyn Law School (Brooklyn, New York. USA)





From Runnymede to Philadelphia to Cyberspace:
The Enduring Legacy of Magna Carta

Thursday, September 17, 2015
Brooklyn Law School
8:30 a.m.–6:00 p.m.

 
Brooklyn Law School will mark the 800th anniversary of Magna Carta and Constitution Day in the United States with an extraordinary global gathering of renowned legal scholars, authors, artists, historians, public officials, librarians, and archivists from around the world for a wide-ranging discussion of the continuing impact of this seminal document on U.S. law, civil rights and liberties, art, the role of libraries and archives in the Digital Age, and law in order in Cyberspace.
 

PROGRAM OF EVENTS

(Programs will take place in the Jerome Prince Moot Court Room unless otherwise noted.)

8:30-9:00 a.m.

Breakfast                       Location: Student Lounge

9:00-9:15 a.m.

Welcome by Nicholas W. Allard, President and Joseph Crea Dean, Brooklyn Law School
Opening Remarks by Liz Medaglia, Immediate Past Chair, Standing Committee on the Law Library of Congress,
American Bar Association

9:15-10:00 a.m.

KeynoteMagna Carta: Tyranny, Treachery and Liberty
Derek Taylor, Historian, television journalist, and author of Magna Carta in 20 Places

10:15-11:45 a.m.

Panel—Secrets of the Archives: Why We Preserve Documents in the Digital Age*
Preserving physical documents can be costly and time-consuming. Why, then, do we do it, when we could simply scan documents and discard or abandon the originals? Panelists will discuss what, even in the digital age, we can learn from physical documents such as Magna Carta. The speakers will address how researchers use documents, both physical and digital; what information would be lost if we had only digitized documents; and how even digitization causes preservation problems as technology evolves.
Moderator: Janet Sinder, Director of the Library and Associate Professor of Law, Brooklyn Law School
Panelists:
Christopher Beauchamp, Associate Professor of Law, Brooklyn Law School
Fenella G. France, Acting Director & Chief, Preservation Research and Testing Division, Library of Congress
Christina Mulligan, Assistant Professor of Law, Brooklyn Law School
Julia Walworth, Research Fellow and Librarian, Merton College, Oxford University
Michael Widener, Rare Book Librarian and Lecturer in Legal Research, Lillian Goldman Law Library, Yale Law School
*A Brooklyn Book Festival Bookend Event

12:00-1:15 p.m.

Luncheon Program                                              Location: Subotnick Center
Remarks by Dr. Michael Pinto-Duschinsky, Senior Consultant on Constitutional Affairs to Policy Exchange
Are the Rule of Law and Constitutional Rights Compatible with Democracy?

At the very time when the 800th anniversary of Magna Carta is justifiably celebrated, the core principles it enshrines are not without serious theoretical and practical problems.

In the United States, apparently politicized decisions of the Supreme Court in cases relating to voting rights and to the funding of election campaigns have once again raised questions about the Court’s appropriate role.

In the United Kingdom, conflict between the House of Commons and judges of the powerful European Court of Human Rights in Strasbourg led in 2011 to the creation of a Commission on a Bill of Rights. Its basic task was to explore the boundaries between judicial and legislative authority. This issue is unresolved and threatens to create a crisis in the relationship between the UK, the Council of Europe, and the European Union.

1:30-2:30 p.m.

The Artist and the Law  
A conversation with Hew Locke, London-based sculptor and contemporary visual artist who created the piece The Jurors on permanent display at Runnymede to commemorate the 800th anniversary of Magna Carta
Nicholas W. Allard, President and Joseph Crea Dean, Brooklyn Law School
How would you create a public sculpture that speaks not just to the British public, but to international visitors, and would remain relevant for many decades? Hew Locke's The Jurors incorporates images, people and abstract symbols relating to ongoing struggles for freedom, rule of law and equal rights. Locke intended the work not as a parade of heroes or a memorial, but a prompt for discussion on the often conflicting ideas of justice, which have constantly shifted throughout history and across the globe.

2:45-4:15 p.m.

Building a Magna Carta for the Digital Era – Collaborative Drafting of a Citizens’ Charter for Cyberspace
In 1215, a few “noble” men drafted Magna Carta. In 1648, a few European “sovereigns” established the Peace of Westphalia creating a foundation for the system of modern nation-states. In 1776, a few well-educated white, male landowners drafted the US Declaration of Independence. In 1996, John Perry Barlow drafted A Declaration of Independence of Cyberspace. In 2015, 800 years after Magna Carta, we begin to harness our collective experience, knowledge, wisdom, and judgment to “hack" a Citizens’ Charter for Cyberspace. We will collaborate on the principles and language for such a Charter, and the creation of a living, breathing document for the next phase in human and planetary relations. In the spirit of the hackathon, this “verbal hackathon” attempts to harness the ethos of the white-hat hacker to focus on solutions and ways forward.
Moderator: Jonathan Askin, Founder/Director, Brooklyn Incubator & Policy Clinic; Innovation Catalyst, Center for Urban Entrepreneurship
Panelists:
Reed Hundt, CEO of the Coalition for Green Capital
Charlie Nesson, Weld Professor of Law at Harvard Law School and the founder of the Berkman Center for Internet & Society
Douglas Rushkoff, Professor of Media Theory and Digital Economics, Queens College/City University of New York
Jeff Pulver, Co-founder of Vonage and Zula
Daniel Berninger, Founder of VCXC – Voice Communication Exchange Committee
Dan Gillmor, Professor of Practice, Walter Cronkite School of Journalism and Mass Communication, Arizona State University
Harry Halpin, W3C Staff and Research Scientist at CSAIL/MIT
John Perry Barlow, lyricist & activist (via Skype)

4:30-6:00 p.m.

Lecture & Commentary: Magna Carta's American Adventure
Remarks by A.E. Dick Howard, White Burkett Miller Professor of Law and Public Affairs, University of Virginia School of Law
Magna Carta has left an indelible mark on American constitutionalism. At the core of this legacy is the idea of the rule of law. Magna Carta's assurance of proceedings according to the "law of the land," for example, is the direct ancestor of American ideas of due process of law.

In the years leading up to the Revolution, Americans drew upon Magna Carta to frame their arguments against British policies. Ideas drawn from English constitutionalism, including Magna Carta, helped Americans shape their state constitutions and the Federal Constitution, especially the Bill of Rights.
The story of American constitutionalism is one of both tradition and innovation. Just as Magna Carta proved adaptable to the crises of later times, so has American constitutionalism proved to be organic and evolving, and to which each generation brings its insights on personal liberty.
Commentary
Susan N. Herman, Centennial Professor of Law, Brooklyn Law School; President of the ACLU
I. Bennett Capers, Stanley A. August Professor of Law, Brooklyn Law School

 
 

Magna Carta (1215)

 
Brooklyn Law School to Host Magna Carta
Exhibit and Symposium
                
 

International traveling exhibit to commemorate 800th anniversary of Magna Carta will be open to public at the Law School and Brooklyn Borough Hall Sept. 14-28

Brooklyn Law School will serve as the official host when a traveling exhibit commemorating the 800th anniversary of Magna Carta comes to New York City from Sept. 14-28. The exhibit, “Magna Carta: Enduring Legacy 1215-2015,” is presented by the American Bar Association in partnership with the Library of Congress and its Law Library.
The exhibit will be open to the public on the first floor of Brooklyn Law School, 250 Joralemon Street, Brooklyn, Sept. 14-19. Public viewing hours are 9 a.m. to 6 p.m. Monday-Friday, and 10 a.m. to 4 p.m. on Saturday. The exhibit will then move to Brooklyn Borough Hall, where it will be open to the public from Sept. 21-28. School and community groups are especially welcomed to visit the exhibit.   
“Magna Carta, as it was repeatedly revised and interpreted over the centuries, was integral to the creation of the American system of laws and still informs our nation’s commitment to securing the rights and liberties of all,” said Brooklyn Law School President and Dean Nicholas Allard. “Brooklyn is known as the ‘borough of immigrants’ and the ‘borough of churches,” and has long been a gateway to the American Dream for people of all backgrounds. So it is particularly fitting to host this major exhibit here.” 
In conjunction with the exhibit, on Sept. 17 Brooklyn Law School will hold a special day-long symposium – From Runnymede to Philadelphia to Cyberspace: The Enduring Legacy of Magna Carta – a global gathering of renowned legal scholars, authors, artists, historians, public officials, librarians, and archivists from around the world who will explore the continuing impact of this seminal document on U.S. law, civil rights and liberties, art, the role of libraries and archives in the Digital Age, and law and order in Cyberspace. The event is open to the public by RSVP.        
Curated by the Library of Congress, the exhibit features 16 banners, 13 of which reflect impressive images of Magna Carta and precious manuscripts, books and other documents from the Library of Congress’ rare book collections. The exhibit also incorporates a video, produced by the Library of Congress, showing the law librarian and the exhibit curator handling selected materials depicted in the exhibit and explaining their significance. Since the exhibit was unveiled by the ABA Standing Committee on the Law Library of Congress in August 2014, it has traveled to more than a dozen cities throughout the U.S. and abroad, including Philadelphia, Chicago, and London. 
The principles found in Magna Carta, such as due process of law, played a fundamental role in establishing the supremacy of the law in constitutional, democratic societies, including concepts embraced by the Founding Fathers in the Bill of Rights. The importance of Magna Carta to American laws and freedoms was highlighted at the ABA Annual Meeting where Chief Justice of the United States John G. Roberts Jr. spoke of its significance. “When we talk about Magna Carta today, we’re not celebrating antiquated relics of a time long past,” he said. “Instead, we are referring to a small collection of provisions that express kernels of transcendent significance.”
Allard called some of the ideas expressed in Magna Carta the “genomes that can be found in the DNA of America, as embodied in the Declaration of Independence, the Constitution, and the Bill of Rights.”
For more information about ABA’s “Magna Carta: Enduring Legacy 1215-2015,” visit: http://ambar.org/mctravelingexhibit

Fuente: https://www.brooklaw.edu/newsandevents/news/2015/08-18-2015


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Brooklyn Bridge, Nocturne (1912)
Karl Struss (1886 - 1981)

Agradezco a mi buen amigo Mike Widener (Rare Book Librarian and Lecturer in Legal Research, Lillian Goldman Law Library, Yale Law School) la noticia de esta interesante actividad academica, a cuya difusión he podido así contribuir desde este modesto blog en el sur de Europa.
En España, ahora, vuelve a la discusión política la oportunidad de una modificación constitucional. Es un asunto que, como los 'ojos del Guadiana', se embosca y otra vez aparece, con cierta periodicidad en la geografía (algo monótona) de nuestra Política. Andará el tiempo ... y veremos. Nadie, sin embargo, se conmueva por el trance. No llegará el 'trasvase' constitucional a río.
Se requerirían buenos constructores de puentes, que no diviso. A un lado y otro sólo contemplo  quienes en ingeniería política hacen agosto de 'consenso estratégico'. El 'consenso metodológico' desaguó por un ojo, y no ha vuelto a ver la luz.
Y es que aquí aún permanecemos en la Era del Barroco Analógico.
 
J.C.G.
 

Sunday, August 30, 2015

Arte, Literatura & Cine: Odilion Redon, Edgar A. Poe & Guy Maddin


Odilon Redon (1840–1916). 'Oeil Balloon' (Ojo Globo) (1878), Serie. 'Edgar A. Poe' 
 
 
 
Publicado por G. Fischbacher Imprimeur ( Imp. Lemercier & Cie, Paris,1882) como
 'L'oeil, comme un ballon se dirige vers l'INFINI'
Lithographie, sur Chine appliqué sur vélin
"L'oeil désorbité, laissant au loin la terre désolée et nue,
remonte vers le ciel ainsi qu'un ballon, emportant dans sa nacelle une tête humaine"

Odilon Redon (1914). Ávido lector de Shakespeare, Por y Flaubert 


ODILON REDON:  THE EYE LIKE A STRANGE BALLOON (1996)        
Dirección de Guy Maddin

Saturday, August 29, 2015

Barthes y la pantalla diferida



Philip Watts
Le Cinema de Roland Bartes
Suivi d’um entretien avec Jacques Rancière 
Trad. de Sophie Queuniet
Introduction de Dudley Andrew, Yves Citton, Vincent Debaene & Sam Di Iorio
De l'incidence éditeur, Paris, 2015, 200 pp.
ISBN : 978-2-918-193-30-2

C’est un lieu commun qu’il a entretenu lui-même : Roland Barthes n’aimait guère le cinéma. Ce livre – le premier consacré à la question – ne nie pas cette résistance, mais il en montre les ambivalences et les enjeux plus profonds. Il met aussi en lumière un ensemble d’écrits souvent méconnus : Greta Garbo, Claude Chabrol, Marlon Brando, le genre du péplum ou celui du film de gangster, le cinémascope, Sergueï Eisenstein, André Téchiné, Michelangelo Antonioni… tous ont fait l’objet de réflexions et d’analyses qui montrent que pour Barthes, le cinéma constituait un terrain d’expérimentation privilégié. Philip Watts analyse finement comment sa pensée s’est reconfigurée en rebondissant sur des objets à la fois artistiques et populaires. En cinq chapitres chronologiques, faits de retournements et d’insistances, Le Cinéma de Roland Barthes propose à la fois une relecture de Barthes depuis la question du cinéma, une riche enquête historique sur les études cinématographiques, d’André Bazin à Jacques Rancière, ainsi qu’une réflexion très actuelle sur les articulations possibles entre politique et esthétique.
L’essai de Philip Watts est suivi d’un entretien avec Jacques Rancière. Le philosophe y revient sur sa propre relation à Roland Barthes et sur le rapport de ce dernier au cinéma.

 
La Table des matières

Introduction des éditeurs  
Introduction

Chapitre Premier – Un spectacle dégradé
L’interprète et le sensualiste – La coupe romaine – Un cinéma de la guerre froide – Démystification, 1957 – « Le visage de Garbo » – « Rafraîchir la perception du monde » – Barthes et la Nouvelle Vague

Chapitre Deux – Barthes et Bazin
Continent perdu– De l’ontologie à la rhétorique et vice versa – La Chambre claire

Chapitre Trois – Une autre Révolution
Le fétichiste – Eisenstein, 1970 – Du gauchisme à l’affect

Chapitre Quatre – En sortant du cinéma
La science de la filmologie – La théorie du dispositif – Une longue conversation avec Christian Metz – En sortant de la théorie

Chapitre Cinq – L’imagination mélodramatique
Les Sœurs Brontë – Le tournant mélodramatique de la Nouvelle Vague – L’imagination mélodramatique de Michel Foucault – Barthes et Foucault – Barthes et Truffaut : la photographie mélodramatique

Conclusion – De Barthes à Rancière ?

Entretien avec Jacques Rancière sur Roland Barthes et le cinéma  
Annexe : Roland Barthes, Présentation des Inconnus de la terre de M. Ruspoli (1962) 

Bibliographie
Index 

 
Philip Watts a enseigné la littérature et le cinéma dans les universités de Pittsburgh et de Columbia, à New York, où il a dirigé le Département de français et de philologie romane. Outre de nombreux articles sur la littérature française du XXe siècle, la littérature maghrébine et le cinéma, il est l’auteur de Allegories of the Purge: How Literature Responded to the Postwar Trials of Writers and Intellectuals in France (Stanford 1999) et le co-éditeur de Jacques Rancière : History, Politics, Aesthetics (Duke 2009).


Friday, August 28, 2015

Literatura norteamericana de los derechos civiles.



The Cambridge Companion to American Civil Rights Literature
Julie Buckner Armstrong (ed.)
Cambridge University Press, Cambridge, 2015, 234 pp.
ISBN: 9781107635647

The Cambridge Companion to American Civil Rights Literature brings together leading scholars to examine the significant traditions, genres, and themes of civil rights literature. While civil rights scholarship has typically focused on documentary rather than creative writing, and political rather than cultural history, this Companion addresses the gap and provides university students with a vast introduction to an impressive range of authors, including Richard Wright, Lorraine Hansberry, Gwendolyn Brooks, James Baldwin, Amiri Baraka, and Toni Morrison. Accessible to undergraduates and academics alike, this Companion surveys the critical landscape of a rapidly-growing field and lays the foundation for future studies.

           

1. The civil rights movement and the literature of social protest, Zoe Trodd
2. The dilemma of narrating, Jim Crow Brian Norman
3. The Black Arts movement, GerShun Avilez
4. Drama and performance from civil rights to Black Arts, Nilgün Anadolu-Okur
5. Civil rights movement fiction, Julie Buckner Armstrong
6. The white Southern novel and the civil rights movement, Christopher Metress
7. Civil rights fictional film, Sharon Monteith
8. Civil rights movement poetry, Jeffrey Lamar Coleman
9. Gender, sex, and civil rights, Robert J. Patterson
10. Twenty-first-century literature: post-black? Post-civil rights?, Barbara McCaskill.

 

Julie Armstrong, University of Southern Florida
Julie Buckner Armstrong is Professor of English at the University of South Florida, St Petersburg. She is the author of Mary Turner and the Memory of Lynching and editor of The Civil Rights Reader: American Literature from Jim Crow to Reconciliation. Armstrong has also contributed to such journals as the African American Review, Mississippi Quarterly, MELUS, Southern Quarterly, the Flannery O'Connor Review and Georgia Historical Quarterly.

Seminario en Cine y Derecho. Universidad Autónoma Latinoamericana. (Medellín. Colombia)


Thursday, August 27, 2015

El Tiempo, Caballero andante. Antonio Banderas y el cervantismo

El Tiempo, Caballero andante
 
 

He oído la intervención de Antonio Banderas durante la entrega de los Premios Platino del cine iberoamericano. Suscribo sus críticas al retrógrado discurso de Donald Trump.
No tanto, sin embargo, sus menciones cervantinas.
 
 
Las citas ofrecidas, como en líenas intersecantes, son oportunas y bien llevadas al destino, pero mal traídas de su procedencia.
Reponiéndolas a su lugar, quedan así:
"... y como no estás experimentado en las cosas del mundo, todas las cosas que tienen algo de dificultad te parecen imposibles; pero andará el tiempo", va escrito en El Quijote, Segunda parte, cap. XXIII.
[Continia(mos) sin leer a Cervantes. Los anglosajones, por fortuna, remedian esa ausencia].
"... se dará tiempo al tiempo, que suele dar dulce salida a muchas amargas dificultades", es de La Gitanilla
[Naturalmente, las Novelas ejemplates, son aún más desconocidas para los lectores de España].
 
J.C.G.
 

Del arte sufriente. Supplicio et maxima coertione.



Death, Torture and the Broken Body in European Art, 1300-1650
John R. Decker (ed.)
Ashgate, Burlington. 2015, xv, 264 pp. 77 ill.
ISBN: 9781472433671

Bodies mangled, limbs broken, skin flayed, blood spilled: from paintings to prints to small sculptures, the art of the late Middle Ages and early modern period gave rise to disturbing scenes of violence. Many of these torture scenes recall Christ’s Passion and its aftermath, but the martyrdoms of saints, stories of justice visited on the wicked, and broadsheet reports of the atrocities of war provided fertile ground for scenes of the body’s desecration. Contributors to this volume interpret pain, suffering, and the desecration of the human form not simply as the passing fancies of a cadre of proto-sadists, but also as serving larger social functions within European society.
Taking advantage of the frameworks established by scholars such as Samuel Edgerton, Mitchell Merback, and Elaine Scarry (to name but a few), Death, Torture and the Broken Body in European Art, 1300-1650 provides an intriguing set of lenses through which to view such imagery and locate it within its wider social, political, and devotional contexts. Though the art works discussed are centuries old, the topics of the essays resonate today as twenty-first-century Western society is still absorbed in thorny debates about the ethics and consequences of the use of force, coercion (including torture), and execution, and about whether it is ever fully acceptable to write social norms on the bodies of those who will not conform.

 
JOHN R. DECKER: Introduction: Spectacular unmaking: creative destruction, destructive creativity.

Part 1 Holy Violence, the Creation of Martyrs

ASSAF PINKUS: Guido da Siena and the four modes of violence.
MITZI KIRKLAND-IVES: The suffering Christ and visual mnemonics in Netherlandish devotions.
SOETKIN VANHAUWAERT: A chopped-off head on a golden plate: Jan Mostaert’s Head of Saint John the Baptist on a Plate Surrounded by Angels.
KELLEY MAGILL: Reviving martyrdom: interpretations of the catacombs in Cesare Baronio’s patronage.
NATALIA KHOMENKO: The authorizations of torture: John Bale writing Anne Askew.

Part 2 Social Violence, the Creation of Civic Identities

RENZO BALDASSO: Killing and dying at The Death of Decius Mus.
HEATHER MADAR: Dracula, the Turks and the rhetoric of impaling in 15th- and 16th-century Germany.
ALLIE TERRY-FRITSCH: Execution by image: visual spectacularism and iconoclasm in late medieval and early modern Europe.
MAUREEN WARREN: A shameful spectacle: Claes Jansz Visscher’s 1623 news prints of executed Dutch ‘Arminians’.
JOHN R. DECKER: Conclusion: closing thoughts.

Bibliography
Index

John R. Decker is Associate Professor of Art History at Georgia State University, USA, and author of The Technology of Salvation and the Art of Geertgen tot Sint Jans (Ashgate, 2009). Mitzi Kirkland-Ives is Associate Professor of Art and Design at Missouri State University, USA.

Wednesday, August 26, 2015

Kafka y la 'Sagrada Familia' de Gaudi. De la melancolía

 
En la fachada de la Baílica i Temple Expiatori de la Sagrada Familia,
de Antoni Gaudí i Cornet (1852-1926)
 
 
¿Habrá sido Gaudí lector de Kafka? No, puedo responder. Ambos, desde luego, se hermanan en el hecho de la obra inconclusa.
Pero, ese inquietante rostro en la 'Sagrada Familia' -otro Castillo- bien podría ser el de Franz Kafka. En realidad, la figura pertenece al conjunto del escultórico de Josep Maria Subirachs i Sitjar en la fachada de 'La Pasión', y más en concreto a la escena del prendimiento.
Si se la observa desde otros ángulos, o en su conjunto, las semejanzas se alejan y desvanecen, es cierto. Es la perspectiva.


Pero, ésta -no obstante- también sugiere otras confluencias. Así, la remisión mental al 'Sócrates' de Leonidas Drosis frente a la Academia Nacional de Atenas, y luego a 'El pensador' de Rodin, y al 'Lorenzo de Medici' de Michelangelo Buonarroti, acaban componiendo 'La Melancolía' de Durero. Y, de ahí, llegar -como a lo largo de una muralla china- hasta al praguense.
Kafka, quizá -seguramente- el último melancólico europeo. Con él, Hamlet y Quijote. También, sin duda, el dócil agere del Bartleby en su inercia de melancólica displicencia a la pasiva negación.

 
Hamlet (1948), dirigida y protagonizada por Laurence Olivier (1907-1989)
 

Gustave Doré (1833-1888), Quixote, Primera parte cap. XLVII


J.C.G.

La guerra de los Marvel




Marvel Comics’ Civil War and the age of terror : critical essays on the comic saga
Kevin Michael Scott (ed.)
Foreword by Robert G. Weiner
Afterword by Marc DiPaolo
McFarland & Company, Inc., Publishers, Jefferson, North Carolina, 2015, 232 pp.
ISBN: 9780786496891

Marvel Comics has an established tradition of addressing relevant real-life issues facing the American public. With the publication of "Civil War" (2006-2007), a seven-issue crossover storyline spanning the Marvel universe, they focused on contemporary anxieties such as terrorism and threats to privacy and other civil liberties. This collection of new essays explores the "Civil War" series and its many tie-in titles from the perspectives of history, political science, sociology, psychology, literary criticism, law, philosophy and education. The contributors provide a close reading of the series' main theme--the appropriate balance between freedom and security--and discuss how that balance affects citizenship, race, gender and identity construction in 21st-century America.

 

Kevin Michael Scott is an associate professor and Coordinator of English Education at Albany State University in Georgia. He lives in Leesburg, Georgia

Tuesday, August 25, 2015

Ubi est Palmira?


El histórico templo de Baal Shamin, ubicado en las ruinas de la ciudad siria de Palmira, fue destruido por yihadistas del grupo radical Estado Islámico. Emplearon gran cantidad de explosivos para devastar lo que el estrago de un tiempo inmemorial no había logrado.

Ahora los niños a quienes sus maestros hablen de aquella ciudad oirán de sus labios Ubi est Palmira?

Al explosionar la dinamita produce un estruendo extraordinario. Su eco retumba en los tímpanos por algún tiempo, y quedamos ensordecidos. En ese lapso se apaga el nombre de Palmira. Poco después la audición retorna.

Los yihadistas, vocacionalmente realistas, no conocen las virtudes del nominalismo.

Nosotros, modernos, podemos cantarlas en la voz de los poetas antiguos. Yo le sustraigo un verso a Bernard de Cluny (o de Morval, o Morlas, o Morlaix; todos son su nombre) en De Contempu Mundi, y modulo su pronunciación.

Canto el hexámetro al final del primer volumen del poema (952). Canto con alta voz que sobrepuja el resonante temblor de la pólvora al reventar.

Canto a Palmira ahora –que está atardeciendo– y en amaneceres adelante.
Canto a la victoria de su nombre: 







Stat Palmira pristina nomine, nomina nuda tenemus

Monday, August 24, 2015

Brasil. Derecho y Literatura (además de música, tv, moda, arte)




Temas avançados de direito e arte
Rodolfo Pamplona Filho, Nelson Cerqueira e Claiz Maria Pereira
Gunça dos Santos (orgs.)
Editora Magister Ltda., Porto Alegre, 2014, 226 p.
ISBN 978-85-85275-43-3

 

Sumário

Capítulo I

Sociedade, ética e progresso: uma análise jurídico-metodológica do
romance Gabriela, de Jorge Amado
Andréa Santana Leone de Souza
Mateus Barbosa Gomes Abreu

1. Introdução
2. O escritor Jorge Amado e o seu contexto sociopolítico ao escrever
3. Um breve resumo sobre o livro
4. Do escritor aos personagens: aproximações filosóficas
5. Da metodologia à aplicação do direito: a anulação do casamento de
Gabriela
6. ConcIusão
Referências

Capítulo II

O Pequeno Príncipe e o direito: um diálogo inspirador 25
Andrea Biasin Dias
Andresa Silva de Amorim

1. Introdução
2. O livro
3. O Principezinho e o direito
4. Pequenos planetas, grandes lições jurídicas
5. ConcIusão
Referências

Capítulo III

Direito, gênero e arte - a música como instrumento de reflexão
acerca das categorias de gênero presentes no direito
Carolina Grant

1. Introdução: a relação entre direito e arte
2. A música como objeto cultural passível de representar os valores
sociais mais sedimentados
3. Direito. musica e gênero
4. Gênero no direito: o gênero visto pelos tribunais
5. Conclusão: algumas provocações finais
Referências

Capítulo IV

A construção científica a partir do caos: um diálogo metodológico
entre direito e arte a partir de House
Christilla de Oliveira Mascarenhas
Mateus Barbosa Gomes Abreu

1. Introdução
2. Construindo ciência a partir do caos: um breve resumo do seriado
House e do episódio objeto de estudo
3. A metodologia em House e a filosofia
4. A metodologia em House aplicada ao direito: a responsabilidade civil
5. Considerações finais
Referências

Capítulo V

Outras palavras: inventário jurídico-artístico da obra de
Caetano VeIosa
Daniel Nicary do Prada

1. Introdução
2. It's a long way: relações entre arte e direito 79
3. Língua: estudos linguísticos e literários sobre a obra musical de
Caetano VeIoso
4. Oração ao tempo: estética. existência, identidade, finitude e verdade
na obra do artista
5. Fora da ordem: temas jurídicos na obra de Caetano Veloso
5.1. Limite s da Iiberdade
5.2. VioIência e criminaIidade
5.3. Auto ri tarismo e democracia
5.4. FamíIia e a fetividade
5.5. Tribunais e argumentação
6. ConcIusões
7. Referências

Capítulo VI

Contribuições dionisíacas para o direito e a arte - um diálogo
com Nietzsche
Ezilda Melo

Prólogo
1. Eis um homem artístico
2. O apolíneo e o dionisíaco em Nietzsche
3. A hermenêutica mitológica e o olhar do jurista
4. Nietzsche, a tragédia e a arte do jurista
5. Um desfecho intersdisciplinar: direito é arte
6. Livros bons lidos
7. Anexo? Poesias para Nietzsche 17

Capítulo VII

Um jantar com Oswald de Andrade e Paul Feyerabend: seria o
direito uma refeição viável?
João Paulo Lordelo Guimarães Tavares
Técio Spínola Gomes

1. Introdução
2. Apresentação dos convidados
2.1. Oswald de Andrade e o Manifesto Antropófago
2.2. Paul Karl Feyerabend contra o Método
3. Entre apresentações e aperitivos: uma proposta de aproximação
entre os autores
4. O prato principal: a metodologia da pesquisa no direito entre a
ciência e a arte
5. O cafezinho, a conta e as conclusões
Referências

Capítulo VlII

Direito, moda e arte: os sintomas de uma crise (paradigmática) no
fenômeno jurídico
João Vitor de Souza Alves
Vitor Soliano

1. Introdução
2. Direito, moda e arte: uma abordagem transdisciplinar
2.1. O sentido de arte
2.2. O sentido de moda
2.3. Direito, moda e arte: algumas aproximações
2.3.1. Moda e arte
2.3.2. Direito e arte
2.3.3. Direito, moda e arte
3. Os paradigmas e as revoluções cientificas
3.1. Ciência normal e a formação dos paradigmas
3.2. A crise no interior de um paradigma
3.3. As revoluções científicas
4. Os sintomas da crise (paradigmática) no fenômeno jurídico
5. O direito e a ditadura da moda: uma análise hermenêutica entre a
produção e a reprodução
5.1. O direito e a ditadura da moda: da produção à reprodução
5.2. O direito e a moda sob uma nova circularidade: da reprodução
à produção
6. Conclusões
Referências

Capitulo IX

Direito e música: uma interpretação
Leandro Santos de Aragão

1. Introdução
2. A ópera, a fidelidade do intérprete ao compositor e a satisfação do
público
3. Tribunais e mudanças interpretativas
4. As vidas da música e do direito dependem das práticas sociais
5. A importância do público para a música e para o direito
6. Semelhantes argumentos para justificar interpretações musicais e jurídicas
7. Crítica e conclusão
Referências

Capitulo X

A dimensão do tempo na música e o sentido hermenêutica
da improvisação
Míriam Coutinho de Faria Alves

1. Considerações iniciais: a música e as formas do tempo 180
2. A escuta do outro
3. Os prelúdios do direito e o sentido hermenêutica da improvisação
4. Conclusão
Referências

Capítulo Xl

As "crianças ladronas" de Jorge: considerações sobre a
criminologia e o direito penal juvenil na história dos capitães
do ama do baiano
Paulo Freire d’Alguiar

1. Partida
2. "Ali estavam mais ou menos cinquenta crianças, sem pai, sem mãe,
sem mestre": fundamentos para uma leitura através da teoria das
subculturas criminais
3. "O reformatório o endireitará": a resposta do Estado e a função da pena
4. Chegada
Referências

Capítulo XII

Entre os véus de Themis e os paradoxos de Janus: a razão e o caos
no discurso jurídico, pela lente de Albert Camus
Ricardo Aronne

1. Partilhando a partida
2. A mobília do quarto de dormir
3. Em busca dos móveis no porão
4. Redeco ra nd o a sala de visitas
5. Brevíssimo referencial bibliográfico inicia!
6. Como que por epílogo