Wednesday, October 31, 2012

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









Metallica. And Justice For All (live)

Letra:

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

Tuesday, October 30, 2012

Art and Justice. South Africa



Bronwyn Law-Viljoen (ed.)
Art and Justice: The Art of the Constitutional Court of South Africa
Photography by Ben Law-Viljoen
David Krut Publishing, Parkwood, South Africa, 2008, 212 pp.
ISBN: 9780958497558


This magnificent new book, launched in October 2008, celebrates and documents the artworks integrated into and collected for the Constitutional Court of South Africa. The book pays tribute to the extraordinary vision of the architects and judges of the Court who sought to bring together, in the most inspiring, innovative and dignified way possible, art and the workings of justice, and to give a public soul to the new Court building. Working closely with the Constitutional Court Artworks Committee headed by Justices Yvonne Mokgoro and Albie Sachs, David Krut Publishing has prepared the book as a companion volume to Light on a Hill: Building the Constitutional Court of South Africa. Art and Justice: The Art of the Constitutional Court of South Africa is designed by Ellen Papciak-Rose and features photography by Ben Law-Viljoen.
Essential to the original design of the Constitutional Court by the Durban-based omm design workshop and their Johannesburg partner Urban Solutions, was the integration of art and architecture into the most important building of the new South Africa. To realise this aim, the architects sought designs from artists for elements of the building such as lights, security gates and sun screens. The architects also commissioned artists and craft collectives to design and make furnishings for the Court. The result of these important collaborations can be seen in the colour, vibrancy, warmth, and humanity of the building.
The inclusion of artwork in the structural and functional elements of the Court is enhanced by a growing collection of art on view to the public. The Constitutional Court collection started – with very few resources – before the Court moved into its current home and has taken shape around several key works by artists such as Dumile Feni, John Baloyi, William Kentridge, Judith Mason, Gerard Sekoto, Marlene Dumas, and others. The collection is noted for its exploration of figuration in contemporary South African art, a theme that is well adapted to the values that the Court seeks to uphold in its mandate to hear matters relating to human rights and the Constitution.
Art and Justice: The Art of the Constitutional Court of South Africa will serve as a record of the Court’s growing collection of paintings, prints, fibre art and sculptures, but more importantly it will pay tribute to an extraordinary vision: to bring together art and justice in a building that would welcome all citizens of the country.

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

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

La obra se acompaña de textos redactados por los arquitectos, otros a firma de los jueces del Tribunal Constitucional y de algunos de los varios artistas cuyas obras integran la colección
Recomiendo visitar la Constitutional Court Art Collection website: http://concourt.artvault.co.za/overview.php

J.C.G.

Monday, October 29, 2012

Argumentario



Pablo Raul Bonorino Ramírez
Argumentacón en debates
Universidade Vigo, Vigo, 2012, 149 pp.
ISBN 978-84-8158-573-5


La democracia se nutre de disenso y su funcionamiento requiere aceptar como una de las reglas fundamentales del juego que las discrepancias se deben dirimir empleando como única arma las palabras. Lan argumentación resulta indispensable para resolver las diferencias de opción sin emplear la fuerza. Los debates, intercambios argumentativos orales entre sujetos que defienden puntos de vista opuestos sobre la verdad de un enunciado, constituyen el mecanismo que históricamente se ha utilizado para decidir pacífica, ante cuál de las posiciones en conflicto debe ser aceptada. Este libro brinda herramientas para mej0orrar nuestras argumentaciones en el marco de un debate.
XXX---XXX
A través del Servizo de Publicacions de la Universidade de Vigo recibí hace algunas semanas este reciente libro del Prof. Bonorino, colega y no obstante amigo, que tuvo de gentileza de procurar que la enviaran. Sea agradecido su obsequio, y bienvenida la obra.
Quienes conocemos a su A. sabemos de sus afanes y numerosas iniciativas -'Derecho y cine', es una de ellas, como lo es su esfuerzo editorial en la revista InterXesiones- en materia de innovación docente. Argumentacón en debates es sin duda otra más de ellas. Como ventaja añadida está el no orientarse únicamente a lectores jurídicos. De hecho, el Dr. Bonorino ha organizado debates "jurídicos" entre alumnos de otras titulaciones. Esta ampliación de horizontes es ciertamente positiva.
Argumentacón en debates es una herramienta útil a ese propósito. Y es lo cierto, además, que ni abundan ni entre las pocas existentes me parecen todas igualmente eficaces. En alguna oportunidad he señalado la necesidad de disponer de esta clase de instrumentos docentes en nuestra literatura [vid. en este blog la entreda relacionada con Kodeks argumentacyjny dla prawników, , Kraków, 2003, 108 pp. (ISBN: 83-7333-261-8, del del prof. Jerzy Stelmach (http://iurisdictio-lexmalacitana.blogspot.com.es/2011/04/visita-academica-krakow-i-teoria-de-la.html)]. Así, pues, me declaro favorable a los catálogos argumentales útiles para juristas en formación, y para quienes orientan otras especialidades su estudio universitario, y que saben dispensar al lector de bizantinas disputaciones doctrinales -por lo demás, ya generalmente conocidas y también prudentemente "olvidadas"- para ofrecerle herramientas que le ayuden a averiguar cómo construir en concreto y hacerlo.
Es claro, quienes así son capaces de actuar a la manera de un matriciero de la Argumentación -construyendo elementos mecánicos precisos y bien ajustados- han atravesado el río de la teoría sin naufragar. El trabajo del Prof. Bonorino es una buena prueba de ello.
J.C.G.

El Índice y primer Capítulo ('El debate') puede consultarse en:
Una reciente entrevista con el autor acerca de esta obra podrá verse en:
http://duvi.uvigo.es/index.php?option=com_content&task=view&id=6492&Itemid=49

Sunday, October 28, 2012

Supernatural Law. Comic book series. Batton Lash


Batton Lash
The Monsters Meet on Court Street: And Other Tales of Supernatural Law
Exhibit A Press, San Diego, CA, 2012, 176 pp.
ISBN-13: 978-0981551913



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

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

XXX----XXX

Los monstruos a veces también se encuentran urgidos por la necesidad de utilizar los servicios de un abogado. La serie " Supernatural Law” trata de las aventuras de los abogados defensores Jeff Byrd y Alanna Wolff, de la firma Byrd y Wolff, cuya especialidad es la defensa de monstruos que pueden encontrarse en dificultades legales. Esto es resultado, a menudo, de una falta de comprensión hacia la naturaleza de esos monstruos de otras criaturas molestas, los "seres humanos".
La metáfora es incisiva en esta especie de 'novela gráfica'. Hasta los monstruos merecen ser defendidos, y yo añadiría que incluso cuando se trata de “causas perdidas”.
J.C.G.

Éste reseñado aquí es, en efecto, el sexto volumen de la serie " Supernatural Law" de Lash Batton y su equipo de dibujantes y editores.
Entre otros títulos también los siguientes:

Wolff & Byrd, Counselors of the Macabre: Supernatural Law
Exhibit A Press, 1992, 76 pp.
ISBN-13: 978-0963395405

This 76-page 12 x 9 trade paperback collects 14 stories from the weekly comic strip 'Wolff & Byrd, Counselors of the Macabre,' which has been appearing in the National Law Journal since 1983. The stories feature attorneys Alanna Wolff and Jeff Byrd, who specialize in a unique clientele: vampires, werewolves, and things that go bump in the night. This mix of humor and horror has created quite a national following for the strip. Among stories included in this collection are parodies of the 'Beauty and the Beast' TV series and 'Prairie Home Companion'; an excursion to visit a client in hell; and a case involving a cartoon cat accidentally brought to life.
Mr. Negativity: And Other Tales of Supernatural LawExhibit A Press, 2004, 176 pp.
ISBN-13: 978-0963395481
In 1979, Lash created the comic strip "Wolff & Byrd, Counselors of the Macabre," about two attorneys specializing in cases dealing with supernatural matters. Unlike Wolfram & Hart, the law firm with a similar clientele on the TV show Angel, Alanna Wolff and her partner, Jeff Byrd, have always been on the good guys' side, and their exploits are comedies. Over time, Wolff and Byrd have migrated from one comics venue to another, and now star in their own comic book, Supernatural Law, from which the stories were collected for this paperback. The stories aren't laugh-out-loud funny, but instead deal in quiet, gentle whimsy. The appealingly cartoony art maintains a light tone even in the more morbid scenes; the firm's secretary looks as if she grew up in Archie's Riverdale. Lash is overly fond of some of comics' and soap opera's kitschier clichés. His characterizations tend to be one-dimensional; Wolff and Byrd have little personality and function as the straight men to a supporting cast of eccentrics. What's most impressive about this book are the inventive concepts. In the title story, a man with an obsessively negative attitude visually transforms into a "photo-negative" version of himself. Lash parodies pop culture targets ranging from Stephen King and Harry Potter to other comics. The high point is a satire on Dave Sim's Cerebus comics, which should delight even readers unfamiliar with the target. After a full quarter century, it's remarkable that Wolff and Byrd's saga still demonstrates such imaginative vitality.
Practicing supernatural law isn't always safe. Just ask attorneys Alanna Wolff and Jeff Byrd, whose office is currently being renovated after a client's rampage. Such vicissitudes don't deter the pair, who now take on the case of Nagy D'Viti, a guy so pessimistic he literally radiates negative energy and whose constant whining even gets on their nerves until they realize he might be able to help them with another case. In "Trail of the Trial of the Mummy," Wolff and Byrd try to prevent an ancient mummy from being reawakened and unleashing its curse on its descendants. "Courting the Muse" brings a disgruntled muse--the tenth muse, the muse of potboilers--to the lawyers' doorstep, feeling she has been taken advantage of by the cute slacker who convinced her to write his novel for him. Little does he know, the joke is on him. Meanwhile, both Alanna and the firm's secretary, Mavis, are torn between two men. Clever, witty, and funny, Lash's tales delightfully evoke the humorous side of the supernatural.
Kristine Huntley
Copyright © American Library Association. All rights reserved



The Soddyssey, And Other Tales of Supernatural Law
Introduction by F. Paul Wilson
192 pp.
ISBN: 978-0-9815519-0-6
At last, the "missing" volume from the Supernatural Law series of trade paperbacks. This book collects issues 9-16 of the original Wolff & Byrd comic book series. Chronologically, it falls after Tales of Supernatural Law and before Sonovawitch! As with Tales, the stories in this collection have been "remastered," including complete relettering and retoning. The stories include: "The * Files" (parodying, of course, The X Files), "I'm Carrying Satan's Baby," "Strange Bedfellows," "I Married a Sniveling Blob of Jelly," "The Man Who Had His Own Personal Laugh Track," "Personal Injuries and Guardian Angels" (with Jack Benny as the guardian angel), "Triskaidekaphobia" (in which perennial client Sodd finally goes on trial), "Bad Blood" (a takeoff on Anne Rice), "The Statue of Limitations," "The Returns of Roger Rizzolli," "The Littlest Loup Garou," and the whole conclusion to the Sodd story, "Sodd, We Hardly Knew Ye."
Más información en:


Saturday, October 27, 2012

Cantar a una DEMOCRACIA. Mayra Andrade, de 'Studio 105'




Mayra Andrade (La Habana, Cuba, 1985), se ha formado en las músicas de Senegal, Angola y Cabo Verde donde vivió. Reside en vive en Rio de Janeiro desde 2004.
http://www.mayra-andrade.com

Wednesday, October 24, 2012

On visual culture and Law. Scandinavia


Kjell Å Modéer - Martin Sunnqvist (eds.)
Legal stagings: the visualization, medialization and ritualization of law in language, literature, media, art and architecture
Museum Tusculanum, Copenhagen, 2012, viii, 302 pp. : ill.
ISBN: 9788763531610

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

Preface
I. Introduction

1. Visualization of a Nordic Legal Modernity: From August Strindberg to Lars von Trier
Kjell Å Modéer
2. Visualization of the Law
Peter Wahlgren
3. On-stage and Off-stage European and Global Legal Scenes
Hanne Petersen

II. Law and the Media

4. Media Industry, Economy and Value in Crisis: The Role of Contemporary Journalism in Relation to the Danish Cartoon Controversy
Khaled D. Ramadan
5. Freedom from Publicity or Right to Information?: Visual Cultures of the Courtroom
Lynda Nead

III. The Visuality of Law

6. Law as Visual Communication
Dag Michalsen
7. The Patron-Client Relations Visualized
Cecilie Schjatvet
8. The Menace of Venice, Or Reading and Performing the Law in/of The Merchant of Venice
Leif Dahlberg
9. Man and Dog: The Modernity of Law—Jurists, Violence, Poetries, and a Photograph
Rainer Maria Kiesow

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

10. Images of Finnish Justice
Pia Letto-Vanamo
11. Imagining the Judge: A Case Study of Judicial Portraiture
Leslie Moran
12. This Is Not a Courthouse
Eva Löfgren
13. Stage Justice
Lisbeth Fullu Skyberg
14. From Stone Circle to Transit Hall: Law and Art in the District Court Buildings in Ängelholm and Helsingborg
Martin Sunnqvist


Kjell Å Modéer is professor emeritus in at the University of Lund, Sweden.
Martin Sunnqvist teaches legal history at the University of Lund, Sweden.



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

Tuesday, October 23, 2012

Sobre imaginarios jurídicos



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

Abstract.

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


Fuente: vía Christine Corcos Law and Humanities blog. http://lawlit.blogspot.com.es/2012/10/images-and-law.html
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El texto, que ofrece un tratamiento de la imagen diferente a los habituales, es accessible –acceso libre y completo- dcsde http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2159996.
Lectura recomendable.
J.C.G.

La Justicia como relato, por Arnaldo Godoy


A Justiça como relato, uma leitura de José Calvo

Por Arnaldo Sampaio de Moraes Godoy

José Calvo Gonzalez é pensador fecundo do selo Direito e Literatura. Professor da Universidade de Málaga, na Espanha, Calvo concebe a Justiça também como um relato. Meticuloso, erudito, irreverente, observador dos variados pormenores que compõem o substrato da experiência cultural, Calvo fundamenta suas reflexões em ângulos inesperados e inusitados. Parece que devorou todos os autores.
E se a Justiça é relato, narrativa, revela-se por miríade de fórmulas, que transitam da expressão escrita para a energia gestual. A premissa substancializa o parágrafo de abertura de um de seus mais iluminados ensaios, ao mesmo tempo enigmático e claríssimo, paradoxo insinuado já no título, Justiça e Semionarrativa: Imagem, Gesto e Relato, ao qual o professor espanhol acrescentou tratar-se de uma preliminar a uma história que não abre capítulo.
Calvo inventariou quantidade exuberante de gestos, indicando meneios cartesianos, lânguidos, involuntários, tiques, espasmódicos, distintos, vulgares, tímidos, titubeantes, ambíguos, decididos, firmes, solventes, arrogantes, humildes, indolentes, irascíveis, persuasivos, não convincentes, dissuasórios, elevados, sublimes, baixos, miseráveis, patéticos, pusilânimes, graves, serenos, entre outros (cf. CALVO, 2002, p. 13).
O excerto literariamente lembra-nos as taxonomias de Jorge Luís Borges; do ponto de vista antropológico remete-nos à história de nossos gestos, do potiguar Luís da Câmara Cascudo.
A partir desse levantamento de gestos Calvo confessa-se atraído por gestos com fisionomia intelectual (cf. cit., p. 14). Gestos também qualificam etiquetas litúrgicas e ritualismos processuais (cf. cit., p. 15). A narrativa jurídica em sua dimensão pragmática é multiplicação de gestos, e também de momices. O martelo do magistrado que apela pelo silêncio, o dedo em riste do acusador, o olhar reverente do réu.
O espaço judicial comporta a troca de gestos, e de expressões, providenciando sonoplastia, decorando e animando o embate em busca de verdade comprometida tão somente com a resolução de um problema. A Justiça gesticula, movimenta-se, mimetiza-se em nichos de segurança imaginária. Para Calvo, nenhuma representação gestual da Justiça é natureza morta (cf, cit., p. 17).
Creio que é justamente essa verdade pretendida pela tradição ocidental que busca racionalidade e certezas, onde há somente incertezas e desatinos, que provoca em Calvo a admiração pela composição de gestos. É que gestos narram, aproximam-se e convergem para outros modelos expositivos e narratórios.
Calvo problematiza certezas inexistentes, lembrando-nos o dilema que opõe a hermenêutica às técnicas estruturalistas de desconstrução. Recorre ao mote não acredite no contista, mas no conto, acrescentando aporia demolidora, que indaga, afinal, por que se deve acreditar em qualquer um dos dois, conto e contista (cf. cit., p. 25). E acrescenta Calvo que a confiança não é a nota mais relevante da hermenêutica... (cf. cit., p. 27).
Calvo divide com Walter Benjamin uma dúvida que acompanha nossa cultura; questiona o que conta a estória, bem como o que é que ela conta (cf. cit., p. 26). Em língua portuguesa a questão ganha demãos esfíngicas na medida em que apartamos estória de história, narrativa ficcional de fala memorial, embora bem saibamos que esta última é muitas vezes aquela primeira, e que ficção e história se confundem, à luz de uma historiografia da suspeição. Ambos, estória e história, atormentaram Walter Benjamin, o filósofo da melancolia.
A percepção de Calvo afasta-se da dúvida do frankfurtiano que não foi para o exílio, na medida em que o professor espanhol sugere aproximações entre entornos de verdade, bem como de construção e de outorgas de sentido (cf. cit., p. 26). Para Calvo, em versão livre minha, “(...) contar uma estória faz de seu relato o ato mediante o qual tem lugar uma experiência cognitiva, a compreensão do sentido. Por conseguinte, em uma narração o que conta do ato do relato é compreender o sentido da estória contada no relato do narrador, como da estória contada na narração do relato” (cit., p. 29).
Calvo identifica a justiça também com o relato, como já dito, assumindo todos os problemas que narrativa e compreensão dos relatos possam provocar. A Justiça seria relato que não perdeu a capacidade de enlaçar uma continuidade narrativa, de prosseguir contando sua estória (...) (cit., p. 30).
O autor aqui estudado declara convicção firme que dá conta de que Justiça é relato que exprime destino sem desenlace, e que cativa com a sedução do conto nunca acabar. Há coincidências com a chave das 1001 noites.
No texto de Calvo alguns eixos temáticos de Homero são recapitulados. Lembra-se, indiretamente, e subliminarmente, do pomo da discórdia, da vingança de Éris, a deusa da discórdia, do afetuoso Paris, de Príamo, do infeliz Menelau e, por fim, de Helena, a mais bela entre as mortais, favorita de Afrodite (cf. cit., p. 31).
Concomitantemente, o professor espanhol comenta quadro de Alberto Dürer, a Justiça, qualificando experiência estética vivida ao longo do movimento contrarreformista (cf. cit., p. 34). Experiências estéticas reverenciam, refletem ou abominam experiências políticas, e disso faz prova o amplo conjunto iconográfico do classicismo, recorrente na afirmação de valores greco-romanos, retomados e redimensionados por euforia de consagração do ideário burguês.
Calvo provoca-nos com a referência à associação da espada e da balança na confecção da imagem da justiça (cf. cit., p. 39). Refere-se a um poder simbólico; explicitamente, “não há dúvidas que uma das principais funções do poder simbólico consiste basicamente em sua capacidade para conotar e denotar, isto é, associar ou evocar e indicar e referenciar, sistemas de símbolos que constelam em renovados universos de sentido, socializados através de imagens e de gestos reconhecíveis” (cit, p. 40).
A Justiça é relato que se manifesta por meio de intensa gesticulação, formal ou imaginária. Multiplica símbolos que firmam instâncias identificadoras do poder. Menos conteúdo metafísico do que experiência concreta sentida no cotidiano, a Justiça, na leitura de Calvo, é indicativa de experiência captada pela sedução das narrativas.
De tal modo, concluo com o professor da Universidade de Málaga, “se, como penso, a Justiça é assunto central da utopia civilizatória do direito, é sem dúvida correto, também que para sustentar a vertigem da realidade a Justiça unicamente tem o espelho dos relatos. Por isso, apenas quando a Justiça, de que possuímos apenas sombras e miragens (Cícero) se reconcilie com as revelações desse enfrentamento especulativo começa a ser possível não tanto superar os limites daqueles, quanto completá-los e estabelecê-los" (cit., p.45).

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



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



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

Sunday, October 21, 2012

James Baldwin and Malcolm X Discussion - April 25, 1961

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


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



D. Quentin Miller
A criminal power : James Baldwin and the law
Ohio State University Press, Columbus, 2012, ix+187 pp.
ISBN: 9780814211755



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



Contents

Introduction
No room of one's own
Other countries, hidden laws
A criminal power
Return to exile
The fire reignited
Bibliographical references (pp. 178-182)


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



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

Saturday, October 20, 2012

Music & Law. Hip-Hop Law


Smits, Jan M.-Ernst, Andrei- Iseger, Steven and Riaz, Nida
If You Shoot My Dog, I Ma Kill Yo’ Cat: An Enquiry into the Principles of Hip-Hop Law



Abstract

This article investigates how the law is perceived in hip-hop music. Lawyers solve concrete legal problems on basis of certain presuppositions about morality, legality and justice that are not always shared by non-lawyers. This is why a thriving part of academic scholarship deals with what we can learn about laymen’s perceptions of law from studying novels (law and literature) or other types of popular culture. This article offers an inventory and analysis of how the law is perceived in a representative sample of hip-hop lyrics from 5 US artists (Eminem, 50 Cent, Dr. Dre, Ludacris and Jay-Z) and 6 UK artists (Ms Dynamite, Dizzee Rascal, Plan B, Tinie Tempah, Professor Green and N-Dubz). After a methodological part, the article identifies four principles of hip-hop law. First, criminal justice is based on the age-old adage of an eye for an eye, reflecting the desire to retaliate proportionately. Second, self-justice and self-government reign supreme in a hip-hop version of the law: instead of waiting for a presumably inaccurate community response, it is allowed to take the law into one’s own hands. Third, there is an overriding obligation to respect others within the hip-hop community: any form of ‘dissing’ will be severely punished. Finally, the law is seen as an instrument to be used to one’s advantage where possible, and to be ignored if not useful. All four principles can be related to a view of the law as a way to survive in the urban jungle.
Keywords

Law and literature, law and popular culture, music, hip-hop, punishment, respect, evolution.

Jan M. Smitis. Maastricht University Faculty of Law - Maastricht European Private Law Institute (M-EPLI); University of Helsinki - Center of Excellence in Foundations of European Law and Polity.

Download This Paper: http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2158178&referer=http%3A%2F%2Fworks.bepress.com%2Fjan_smits%2F62%2F

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Interesante y sugestiva incursión jurídica en la cultura popular y las músicas más contemporáneas. De esto se trata justamente. Así pues, vale más este tipo intentos que seguir con una idea "desafinada" de 'Ciencia jurídica', y que más pronto que tarde nos manden irnos a todos "con la música a otra parte".
En este blog y a lo largo del presente año y el anterior he recogido experiencias docentes y resultados de investigación relacionados con Dylan (New Yor, Italia) y el Rock and Roll (Francia, Brasil). Me alegra sumar esta nueva referencia.
El trabajo se publicará en 2013 en la revista Ars Aequi, si bien ya se encuentra accesible en la red..
J.C.G.



Thursday, October 18, 2012

Comic & Law. The law of superheroes



James Daily & Ryan Davidson
The Law of Superheroes
Gotham Books, New York, 2012, 320 pp.
ISBN-13: 978-1592407262

An intriguing and entertaining look at how America’s legal system would work using the world of comic books.
The dynamic duo behind the popular website Law And The Multiverse.com breaks down even the most advanced legal concepts for every self-proclaimed nerd.
James Daily and Ryan Davidson—attorneys by day and comic enthusiasts all of the time—have clearly found their vocation, exploring the hypothetical legal ramifications of comic book tropes, characters, and powers down to the most deliciously trivial detail.
The Law of Superheroes asks and answers crucial speculative questions about everything from constitutional law and criminal procedure to taxation, intellectual property, and torts, including:
Could Superman sue if someone exposed his true identity as Clark Kent?
Are members of the Legion of Doom vulnerable to prosecution under RICO?
Do the heirs of a superhero who comes back from the dead get to keep their inherited property after their loved one is resurrected?
Does it constitute “cruel and unusual punishment” to sentence an immortal like Apocalypse to life in prison without the possibility of parole?
Engaging, accessible, and teaching readers about the law through fun hypotheticals, The Law of Superheroes is a must-have for legal experts, comic nerds, and anyone who will ever be called upon to practice law in the comic multiverse.


James Daily is an attorney with the Stanford University Hoover Institution Project on Commercializing Innovation. He lives in St. Louis, Missouri.

Ryan Davidson is currently an associate at Hunt Suedhoff Kalamaros LLP, where he practices general insurance litigation. He lives in Fort Wayne, Indiana.

Wednesday, October 17, 2012

Sobre la Imprenta del Siglo de Oro, con ocasión de El Quijote


Fernando Bouza Álvarez
DÁSELE LICENCIA Y PRIVILEGIO
Don Quijote y la aprobación
de libros en el Siglo de Oro
Editorial Akal (Col. Caprichos), Madrid, 2012, 255 pp., 25 lám.
ISBN: 9788446032281

Todo empezó con un simple memorial de petición para imprimir un libro firmado por Miguel de Cervantes que fue elevado al Consejo Real de Castilla a través de la secretaría de Juan Gallo y del que el alto tribunal de gobierno empezó a ocuparse el 20 de julio de 1604. El consejero Gil Ramírez de Arellano fue quien recibió la encomienda de concederle, o no, lo que pedía y, en consecuencia, quien decidió que Antonio de Herrera realizase su censura, firmada por el cronista el 11 de septiembre y ahora por fortuna recuperada. El seguimiento de los distintos pasos por los que el manuscrito titulado entonces El Ingenioso Hidalgo de la Mancha se convirtió en las aventuras impresas de Don Quijote de la Mancha entre julio y diciembre de 1604 permite adentrarse en el proceso de aprobación de textos que era preceptivo para la impresión de un libro en el Siglo de Oro. Autores y censores, libreros e impresores, encomenderos y secretarios revelan las prácticas cotidianas en la concesión o denegación de licencias de impresión y en la fijación de la tasa que hacían una realidad concreta de la compleja normativa en estas materias acumulada desde tiempos de los Reyes Católicos. Su análisis permite conocer mejor la tramitación de la censura previa en España, mostrando cómo la existencia de evidentes intereses mercantiles en torno al libro o la rivalidad entre quienes eran autores y, al tiempo, censores ayudaron a la construcción de la moderna república de las letras hispana.


ÍNDICE:

I. El expediente de aprobación del Quijote en las escribanías de cámara del Consejo de Castilla.
II. De los cómos del Consejo: prácticas de aprobación de libros en tiempos del Quijote.
1. Memoriales de petición, Qué, quién, cuándo, cómo, por qué
2. Encomiendas de aprobación y la figura de los encomenderos
3. Aprobaciones y censores
4. Posibilidades de revocación y nuevos memoriales de tasa
5. No ha lugar. Las obras no aprobadas por el Consejo en tiempos del Quijote
III. Escrutinio de censuras y república de las letras desde el Consejo Real de Castilla. A modo de breve conclusión.
Apéndice documental. Textos e imágenes
Bibliografía
Indice onomástico (personas y obras anónimas)



* *X X X* *

Un recorrido a través del proceso de aprobación de textos para la impresión de un libro –emblemáticamente aquí El Ingenioso Hidalgo de la Mancha– en el Siglo de Oro donde se cobran significativo protagonismo además del autor otros muchos agentes que como censores, libreros, impresores, encomenderos, secretarios y oficiantes en el apolíneo templo del Parmaso literiario, y de no obstante dionisíacas envidias y antipatías , quienes forman en conjunto el universo de la República de las Letras y la Imprenta española de la de la época. Lectura muy recomendable.

J.C.G.



Tuesday, October 16, 2012

Derecho y Cine. Bartolomé de las Casas vs. Ginés de Sepúlveda. El Nuevo Mundo y los Derechos humanos.



CONTROVERSE DE VALLADOLID
Réalisation : Jean-Daniel Verhaeghe
Scénario : Jean-Claude Carrière
Pays d’origine : France
Genre : Drame
Durée : 90 minutes
Date de diffusion : 2 mai 1992 (sur France 2)

Jean-Pierre Marielle : Bartolomé de Las Casas
Jean-Louis Trintignant : Juan Ginés de Sepúlveda
Jean Carmet : le légat du Pape
Jean-Michel Dupuis : le colon
Claude Laugier : Frère Gregorio
Pascal Elso : Frère Emiliano

Resumen:
La Junta de Valladolid es la denominación habitual del célebre debate que tuvo lugar en 1550 y 1551 en el Colegio de San Gregorio de Valladolid, dentro de la llamada polémica de los naturales (indígenas americanos o indios), y que enfrentó dos formas antagónicas de concebir la conquista de América, interpretadas románticamente como la de los defensores y la de los enemigos de los indios: la primera, representada por Bartolomé de las Casas, considerado hoy pionero de la lucha por los derechos humanos; y la segunda, por Juan Ginés de Sepúlveda, que defendía el derecho y la conveniencia del dominio de los españoles sobre los indígenas, a quienes además concibe como naturalmente inferiores. No hubo una resolución final.

Sobre neorrealismo jurídico. Università degli Studi di Padova

Sunday, October 14, 2012

Images of Justice. Judge Pierre Cavellat and the Drawings of courtroom scenes


Ruth Herz
The Art of Justice: The Judge's Perspective
Hart Publishing, Oxford, 2012, 128 pp.
ISBN-13: 978-1849461276


This book presents a unique and intriguing collection of drawings of courtroom scenes. Entering the courtroom wearing his robe, Judge Pierre Cavellat literally had a secret up his sleeve. Hidden in it were pens and pencils which he used to sketch the scenes he observed from his bench during a trial. Throughout a 40 year judicial career in one of France's more important regional appellate courts, Cavellat produced hundreds of revealing drawings and paintings of court scenes, depicting the proceedings, as well as the main actors: the prosecutors, defense counsels, his fellow judges, the defendants, witnesses, policemen, the general public, as well as the courtroom itself and its architecture. The resulting vivid and uncensored impressions give an unprecedented insight into how a judge perceives his profession and the institution of justice as a whole. Given the scarcity of written autobiographies by judges, as well as their reticence to expose their inner feelings and thinking, the images reveal, in a candid and immediate fashion, the deeply hidden emotions, ambiguities, and fantasies of a judge going about his work. The author, a judge herself, interprets the images through the lens of her own judicial experience, exploring how judges think and act and how their thinking is constructed through their education, professional training, gender, and class. In doing so, she exposes how personal background, history, and experience play an additional, sometimes conflicting, role in 'judgecraft.' While relevant to both practitioners and students of law, this book should also have an appeal to a wider public that seeks an insight into the world of the court.

Ruth Herz studied law at the Universities of Geneva and Munich, doctorate of law from Cologne University. Former judge at the Court of Cologne (1974-2006). She taught Criminology at the University of Toronto, and at the Hebrew University in Jerusalem. From 2006-10 she was an Associate Researcher at the Centre for Criminology of the University of Oxford, and visiting fellow at Princeton University. She introduced the 'victim offender mediation and reparation' as an alternative sanction for juvenile offenders to the German legal system for which she received the Medal of Merit of the State in 1998. From 2001-2005 she played the part of the judge in a daily court series on German television. Is currently a visiting professor at Birkbeck College, University of London (2006-2010).


XXX---XXX

Se trata, sin duda, de un testimonio ciertamente interesante acerca de la visión del proceso ´’desde dentro’ a partir de la percepción del mismo desde una posición privilegiada, esto es, la de un juez. Sugestiva, asimismo, la interpretación que de las imágenes nos ofrece la autora, igualmente implicada durante una parte importante de su actividad profesionales en las tareas jurisdiccionales.
J.C.G.

Saturday, October 13, 2012

Iconografía del Proceso Université Toulouse I Capitole




Les symboles du procès sont nombreux et porteurs d’une signification précise en lien avec les règles qui régissent les procédures et le rôle joué par les acteurs du procès. La balance, le bandeau, le glaive, la robe ou la perruque, nous paraissent inséparables du rituel judiciaire, et pourtant ces symboles ont une histoire et ne sont pas toujours identiques selon les époques ou les lieux. Parfois, ils semblent même absents. Il reste qu’une justice sans décorum, une justice qui ne se met pas en scène, qui ne donne pas à voir sa puissance, est inconcevable, car l’acte de juger n’est pas anodin. D’aucuns voient parfois dans ces symboles l’héritage d’une époque révolue où juger était conçu comme une prérogative d’essence divine. Ils y voient un attachement trop fétichiste à des emblèmes qui ne seraient que l’expression d’un sentiment de supériorité sur le justiciable. L’hermine du juge, en effet, n’est-elle pas aussi douce qu’inaccessible? Par ailleurs, aujourd’hui, la justice managériale et le process judiciaire ont tendance à reléguer au second plan les symboles du procès. D’autres, au contraire, insistent sur l’importance des symboles qui sont bien plus que des signes extérieurs ou des ornements : ils expriment la gravité du moment judiciaire. Au-delà de leur simple apparence, les symboles judiciaires sont consubstantiels au procès et à ses grands principes tels que l’impartialité du juge, les droits de la défense, le principe du contradictoire et la publicité.


L’étude du procès à travers ses symboles s’enrichit de celle des symboles à travers leurs représentations. De la justice aux yeux bandés de Dürer au tribunal de grande instance de Nantes conçu par l’architecte Jean Nouvel, les artistes ont donné leur vision de la justice et ont façonné le procès à travers leurs multiples regards. Parfois à un tel point que notre propre vision du procès, sauf à en avoir été acteur, n’est pas directe : elle est issue de ses représentations, notamment littéraires ou cinématographiques. Le cinéma et la littérature ne s’intéressent d’ailleurs pas exclusivement aux symboles du procès, mais décrivent plus largement le fonctionnement et le quotidien de la justice. Par le prisme d’histoires singulières, la justice se montre alors à découvert et nous dévoile une part de son étrangeté. D’autres représentations permettent aux symboles du procès d’acquérir une pleine existence grâce aux œuvres; les symboles font corps à la fois avec l’œuvre d’art et l’œuvre de justice : ainsi en est-il du Palais de justice.

Journée d'études organisée par Wanda Mastor et Lionel Miniato.

Lieu : Université Toulouse I Capitole, Manufacture des Tabacs, Amphithéâtre Gui Isaac, 21 allée de Brienne, 31000, Toulouse.
Contact : ifr@univ-tlse1.fr

Au programme de cette journée d'étude, notamment, une communication de Magalie Flores-Lonjou et Lionel Miniato sur Le procès dans le cinéma français.
Programme complet et inscription : http://ifrdroit.ut-capitole.fr/colloque-les-figures-du-proces-au-dela-des-frontieres-le-18-octobre-2012-359162.kjsp?RH=1319193100055

Fuente: http://lesmistons.typepad.com/blog/2012/10/les-figures-du-proc%C3%A8s-au-del%C3%A0-des-fronti%C3%A8res-toulouse-18-octobre-2012.html
Le blog Droit et cinéma : regards croisés



Wednesday, October 10, 2012

DÍA INTERNACIONAL CONTRA LA PENA DE MUERTE, HOY 10 DE OCTUBRE


'Y no hay remedio' (realizado entre 1810 y 1815, publicado en 1863), de la serie Los desastres de la guerra, de Francisco de Goya (1746-1828)

Elementos para una Teoría 'Especial' de la Dictadura


El Dictador. Discurso final


El Gran Dictador. Discurso Final

Rilke y Ronda, 100 años


REINER MARIA RILKE (1875-1926)
Rilke llegó a Ronda el 9 de diciembre de 1912 y se instaló en el Hotel Reina Victoria

Tuesday, October 09, 2012

La lectura: un tranvía llamado deseo







En Rua XV de Novembro, ciudad de Curitiba (Paraná. Brasil)

PSICOANÁLISIS PARA JUECES. "Jurisdição e Psicanálise". Escola Nacional da Magistratura (ENM) e o Núcleo de Psicanálise da Universidade Federal do Paraná (UFPR)


A Escola Nacional da Magistratura (ENM) e o Núcleo de Psicanálise da Universidade Federal do Paraná (UFPR) realizarão, de 7 a 9 de novembro de 2012, em Fortaleza, o curso Jurisdição e Psicanálise, com carga horária de 20 horas/aulas.


As inscrições vão até 2 de outubro. Estão sendo ofertadas 50 vagas para magistrados associados à Associação dos Magistrados do Brasil (AMB).

O objetivo do curso é debater o exercício da atividade jurisdicional sob a inflexão da psicanálise.

PARA SE INSCREVER

Acesse a página de inscrição do curso no site da ENM (www.enm.org.br), verifique os requisitos, escolha o curso e preencha o formulário contendo as seguintes informações: nome, endereço e telefone; informar se está em atividade ou é aposentado; cargo ou segmento da Magistratura que atua; área de atuação (vara ou tribunal); tempo de Magistratura; associado à AMB; idiomas que domina (com certificação); obras e trabalhos publicados; já fez outros cursos pela ENM?; informar sua vinculação com escola de Magistratura; e anexar currículo resumido.

O Magistrado selecionado para qualquer um dos cursos oferecidos pela ENM que não apresentar prévio e justo motivo referente à eventual desistência, ficará excluído dos processos seletivos durante um período de cinco anos.

Qualquer dúvida, encaminhe e-mail para inscricao@enm.org.br

PROGRAMA
07.11.12 (Quarta-feira)


18h – Abertura

19h – “Sobre o lugar do juiz: sujeito ético e responsável”

Agostinho Ramalho Marques Neto (Psicanalista, ex-Professor da Faculdade de Direito da UFMA)

08.11.12 (Quinta-feira)

9h – “Profanações”

Jeanine Nicolazzi Philippi (Profª Drª da Graduação e Pós-graduação da UFSC)

10h30 – “Julgamento: de onde partir, para onde ir (alguns rumos)”

Cyro Marcos da Silva (Psicanalista, ex-Juiz de Direito no ES, ex-Professor da UFJF)

12h – Intervalo para almoço

14h – “Julgar sim, enxovalhar não”

Jacinto Nelson de Miranda Coutinho (Advogado, Prof. Dr. Titular da Graduação e Pós-graduação da UFPR)

09.11.12 (Sexta-feira)

9h – “O juiz, a audiência: do universal ao singular”

Fernanda Otoni de Barros (Psicanalista, Membro da EBP/AMP, Doutora em Ciência Humanas: Sociologia e Política)

12h – Intervalo para almoço
15h – “Julgar por metas e responsabilidade”

Alexandre Morais da Rosa (Juiz de Direito em SC, Prof. Dr. da Graduação da UFSC e da Pós-graduação da Univali)

Saturday, October 06, 2012

Ficción cinematográfica y mass media




Luis Mínguez Santos
Periodistas de cine: el cuarto poder en el séptimo arte
T&B Editores, Madrid, 2012, 224 pp.
ISBN: 9788415405436



Tan sólo por detrás de policías y delincuentes de toda ralea, y tal vez únicamente en competencia con abogados y militares, los periodistas se han convertido en uno de los colectivos profesionales más retratados por el cine. Desde que el mismísimo Charlie Chaplin debutara en las pantallas encarnando a un tramposo aprendiz de gacetillero, su presencia no ha parado de incrementarse hasta convertirse en casi un subgénero cinematográfico.
Periodistas, reporteros gráficos o profesionales del mundo de la televisión se han convertido en personajes de ficción especialmente atractivos para vehicular tramas de intriga, denuncia o aventuras, y acercarse a través de ellos al complejo y cambiante mundo de hoy.
De James Stewart a Russell Crowe, de Clark Gable a Al Pacino; de Jane Fonda a Jennifer López, buena parte de los grandes astros de la pantalla han encarnado alguna vez a un profesional de los medios de comunicación. Algunos, como Robert Redford, Humphrey Bogart o Glenn Close, lo han hecho más de una vez.

Luis Mínguez Santos es Director editorial de "El Libro de su Vida" (www.librodesuvida.com), Periodista, editor de informativos, subdirector del área de Sociedad y redactor en Telemadrid, especializado en información jurídica.

▀▄▀▄▀▄▀▄▀▄▀▄▀▄▀▄
El ensayo, que contiene referencias de unos 220 filmes relacionados con la aparición de periodistas, reporteros gráficos o profesionales del mundo de la televisión convertidos en personajes de ficción para la gran pantalla, e incluye además un pliego central de 16 h. con 29 fotografías en blanco y negro.

J.C.G.

Thursday, October 04, 2012

Colóquio de Direito e Literatura en Passo Fundo. Presentación de trabajos


A lo largo de esta tarde será expuestos los trabajos presentados por alumnos de Maestría y Doctorado. Fueron seleccionados 18 textos, que se repartirán en cuatro mesas de trabajo. El elevado número y su variada y rica temática hacen prueba del interés que el Colóquio de Passo Fundo ha suscitado en los medios universitarios brasileños. Esto es algo enormemente gratificante cuando se colabora a la difusión e implantación académica de los estudios sobre Derecho y Literatura.


Los trabajos se centran en autores u obras de la literatura europea y brasileña ofreciendo un rico panorama de temas y perspectivas. Además de los clásicos Antígona, Shakespeare, Kafka o Melville, pueden hallarse otros como Dostoievski, Camus, Miller, Coetzee, Márai, Sciascia o Drummond. La atención a la literatura nacional está presente en las tradicionales referencias a Machado de Assis (Dom Casmurro), y a escritores más contemporáneos como Clarice Lispector (Paixão segundo G.H.), o Casio Fernando Abreu (Aqueles Dois). Los topoi de análisis temático igualmente sugestivos: autoridad, culpa, discurso jurídico, decisión, propiedad, orden público, jurisprudencia de intereses, conciencia judicial, aprendizaje sistémico del derecho, etc.

Ha llamado mi atención particularmente uno de los textos al que he tenido directo y previo acceso. Se trata del elaborado por Luís Rosenfield (Pontificia Universidade Católica do Rio Grande do Sul), y que lleva por título “O papel das letras na democracia: apontamentos sobre direito, literatura e cultura a partir de Fahrenheit 451, de Ray Bradbury”.


En la adaptación cinematográfica (1966) es inolvidable la personalísima dirección de François Roland Truffaut (1932-1984), y la interpretación de Oskar Werner, Julie Christie, y también de Cyril Cusack.  
 


Huellas de Ray Bradbury (1920-2012) en Fahrenheit 451 (1953) se continúan en Andrei Tarkovski con Solaris (1971), en Jean-Luc Godard con Alphaville (1965) y en el 2001: A space Odyssey, de Stanley Kubrick (1968). La salvadora idea de los “hombres-libro” tiene asimismo un interesantísimo trasunto narratológico en los “hombres-relato” Tzvetan Todorov (“Les hommes-recit”, en Poétique de la Prose, Senil, Paris, 1971, pp. 78-91).

Mi enhorabuena a todos los participantes por su ilusión y esfuerzo.
J.C.G.