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"Aesthetics of Equality is a theoretical and compositional intervention into the problem of equality. While some of the analysis is concerned with contemporary issues, the book is a primarily a work of political theory and a guide to aesthetic methods, focused on how one can conceive equality issues critically through conceptual engagements with diverse artistic genres: literature, film, music, photography, and architecture. Beginning with the question, "what one can contribute to equality issues by being attentive to aesthetic form in a variety of artistic genres that challenge institutionalized accounts of history," the book proceeds to implement answer by extracting political problematics with analyses of the compositional structures of the textual objects of analysis in the chapter's diverse inquiries. While aesthetic strategies are a main concern in the investigation, it is also shaped by commitments to some substantive political concerns, particularly an attentiveness to persons and voices that tend to be civically invisible The assembled chapters demonstrate the way critical approaches to a variety of media genres make visible and audible the persons and groups that are excluded or disqualified from access to livable domestic space and civic participation. The subject matter is temporally extensive, ranging from ancient Israel and Egypt in the Old Testament's Genesis chapter through the early and later ethno-histories of California and Texas and geographically broad, with chapters on diverse cities: New York, Paris, Istanbul, Los Angeles, and fictional Texas and Mexican border cities"--

Art Style | Art & Culture International Magazine Abstract Staging processes and choreographies of contemporary dance and performance: do they have to be perceived as a mere passing of choreographic notations from a single choreographer to dancers who have to repeat them "mindlessly" (Laermans 2015, 196)? Or should these rather be discussed as a reciprocal situation providing aesthetic experiences for participants in a singular- plural mode? To put it differently: Might choreography have the capacity to create an environment for the refinement of a democratic grass-roots consciousness? In order to discuss these questions, I have adapted various scientific perspectives in my research (Julian, forthcoming, autumn 2021). The starting point of my studies lies in theatre studies based on comparative methods. Artistic practices are juxtaposed in order to highlight their specificity. In a second step––inspired by the discourse as developed in theatre studies (Tatari 2017; Ruhsam 2011) ––I discussed staging processes in conjunction with an ontological principle as conceptualised by the philosopher Jean-Luc Nancy (2000): the specificity of being-with makes it possible to theorise a range of infinite possibilities and differences that evolve by the mere execution of movement patterns. The third perspective is based on sociological methods that were adapted in order to embed the staging process in real-life conditions. My consideration here is that only by knowing imbalances that may exist in social life we understand the dynamics unfolding throughout a group that gathers in order to create a piece. The fourth perspective I apply in this article is based on a method called the aesthetic field as conceived by the philosopher Arnold Berleant (1970): having similarities to being-with makes it possible to cover not merely human interactions and social conditions but also interactions and permeations with a thing world, such as architectures, a stage design, costumes. Thus, the thing world can be seen as co-choreographing ...

"International law is a fundamentally modern phenomenon. Tracing its roots to nineteenth-century pronouncements on the 'law of nations,' the discipline took shape in the elaborate treaty structures of the post-First World War era and in the institutions and tribunals established after the Second World War. International law as scholars know and study it today is a product of modernism. In The Aesthetics of International Law, Ed Morgan engages in a literary parsing of international legal texts. In order to demonstrate how these types of legal narratives are imbued with modernist aesthetics, Morgan juxtaposes international legal documents and modern (as well as some immediately pre- and post-modern) literary texts. He demonstrates how the same intellectual currents that flow through the works of authors ranging from Edgar Allan Poe to James Joyce to Vladimir Nabokov are also present in legal doctrines ranging from the law of war to international commercial disputes to human rights. By providing a comparative, interdisciplinary account of this modern phenomenon, Morgan's work highlights the ways judges, lawyers, and state representatives artfully exploit the narratives of international law. It demonstrates that just as modernist literature developed complex narrative techniques as a way of dealing with the human condition, modern international law has developed parallel argumentative techniques as a way of dealing with international political conditions."--

Abstract: In the United States, it is widely accepted that 'policy,' meaning conflicting societal values and interests that can be weighed, plays an important role in private law reasoning. However, in many other polities, including France, England, Quebec and English Canada which this article scrutinizes, the role of policy in private law is either strenuously denied or reduced to an exceptional consideration of social concerns under residual doctrines like good faith, abuse of right or unconscionability. As a result, full-blown and routine invocations of policy are still considered to be an exotic American feature and to be absent from these systems. In this article, I refute this persisting view and show that such policy arguments are as a matter of fact relied on by authoritative actors in France, England, Quebec and English Canada. Taking interruption of contractual performance following breach as a case study, I rely on cases and treatises from these four jurisdictions to produce an integrated repertoire of policy arguments that have been invoked for a series of related contract law questions. I thus provide the basis for the application of American private law insights in legal systems where they have largely been ignored. I suggest that there are important political and aesthetic stakes to this jurisprudential transplantation, in that it allows for innovative forms of contestation of marketbased normative reasoning and of the traditional professional styles adopted by non- American jurists.