Nachleben der Antike, Time, and Restitution: Notes for a Nocturnal Jurisprudence of the Image

IF 0.8 Q2 LAW
Igor Stramignoni
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引用次数: 0

Abstract

Justice is usually represented as a feminine figure holding a pair of scales and a sword. The history of that image is relatively recent and has attracted a great deal of attention. However, a different appreciation of it may come from a “nocturnal” jurisprudence seeking to foreground its presence and effects in the transmission of modern culture and so also of law. In this essay, I take my cue from Aby Warburg and the Pathosformeln that, he suggested, can be glimpsed through certain material objects inherited from the past—specifically, Dürer’s The Death of Orpheus and other related visual art. I then consider what Giorgio Agamben calls ‘the image of the image’ emphasising the timely quality of those images and I ask, with Georges Didi-Huberman, whether it might not be high time to “return” that which those images ostensibly show. The associations established in this essay between those different insights may help to recognise the extent to which the innumerable images to do with justice found at the four corners of the world can make the cognitive and emotional experience of those encountering them a rather more complex and potentially problematic affair than it may be at first supposed. What, on closer inspection, can those images give us to see? Are the ancient configurations they sometimes transmit not made up of crystals of historical memory carrying dormant energies that could be suddenly reignited in unpredictable ways? Should the task ahead not be, in some cases, one of restitution—the inapparent gift that turns the “blotted-out” into something striking that can be then handed over and known? These, I argue, are some of the questions a “nocturnal” jurisprudence of the image can be about.

Abstract Image

Nachleben der Antike, Time, and Restitution:夜间图像法理学笔记
正义通常表现为一个手持天平和宝剑的女性形象。这一形象的历史相对较近,并吸引了大量关注。然而,"夜行 "法学可能会对这一形象有不同的理解,因为 "夜行 "法学试图强调这一形象在现代文化乃至法律传播中的存在和影响。在这篇文章中,我从阿比-沃伯格(Aby Warburg)和他所提出的 "病理变化"(Pathosformeln)中汲取灵感,他认为可以通过某些从过去继承下来的物质对象(特别是丢勒的《奥菲斯之死》和其他相关的视觉艺术)来窥探病理变化。然后,我考虑了乔治-阿甘本(Giorgio Agamben)所说的 "图像的图像",强调了这些图像的及时性,并与乔治-迪迪-胡伯曼(Georges Didi-Huberman)一起提出了一个问题:现在是否应该 "归还 "这些图像表面上所展示的东西。本文在这些不同的见解之间建立的联系可能有助于认识到,在世界的各个角落发现的无数与正义有关的图像在多大程度上会使那些与它们相遇的人的认知和情感体验变得比最初想象的要复杂得多,并有可能产生问题。仔细观察,这些图像能让我们看到什么?它们有时传递的古老构图难道不是历史记忆的结晶吗?在某些情况下,今后的任务难道不应该是恢复原状--将 "被抹去的 "东西变成醒目的、可以传递和了解的东西的不明显的礼物吗?我认为,这些都是 "夜间 "图像法学可能涉及的一些问题。
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来源期刊
CiteScore
2.30
自引率
25.00%
发文量
19
期刊介绍: Law and Critique is the prime international critical legal theory journal. It has been published for 20 years and is associated with the Critical Legal Conference. Law and Critique covers all aspects of legal theory, jurisprudence and substantive law that are approached from a critical perspective. Law and Critique has introduced into legal scholarship a variety of schools of thought, such as postmodernism; feminism; queer theory; critical race theory; literary approaches to law; psychoanalysis; law and the humanities; law and aesthetics and post-colonialism. Postmodern jurisprudence, law and aesthetics and law and psychoanalysis were pioneered in Law and Critique which remains the most authoritative international source for these schools of thought. Law and Critique is keen to translate and incorporate non-English critical legal thought. More specifically, Law and Critique encourages the submission of articles in the areas of critical legal theory and history, law and literature, law and psychoanalysis, feminist legal theory, critical race theory, law and post-colonialism; postmodern jurisprudence, law and aesthetics; legal phenomenology; and law and autopoiesis. Past special issues include: ''Critical Legal Education''; ''The Gender of Law''; ''Law and Postmodernism''; ''Law and Literature''; ''Law and Post-colonialism'', ''Law and Theatre''; ''Jean-Luc Nancy and Law''; ''Agamben and Law''. Law and Critique is ranked amongst the top 20 per cent of law journals by the Australian Research Council.
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