Quino, "Potentes, prepotentes, impotentes", Buenos Aires, 1989

Quino, "Potentes, prepotentes, impotentes", Buenos Aires, 1989

Jun 1, 2011


Dear all,
as you can check on the university website, you can take the oral L&H (diritto e cultura) exam on the following dates:

07th June 2011 at 9:00
20th June 2011 at 16:00
15th July 2011 at 15:00

05th September 2011 at 10:30
26th September 2011 at 10:30

You have to register like for all other exams. I will send you the grading of the written test via email tomorrow.

See you

May 28, 2011

Last (but not least at all) class: M° De Filippi's Concert

Dear all,
thanks to Corallina Lopez we have some extremely beautiful pictures of our last class on Law and Music. As you can see, there is also a picture showing prof. Conte, dr. Giuliani and M° De Filippi.
It was a pleasure to meet you all and I do hope you enjoyed the course as we did!

May 25, 2011

Final written exam

Dear all,
the final written exam will consist in two answers (two SHORT essays) that you have to write choosing among a list of at least 10 questions. There will be more or less 2 questions about each topic of the Law and the Humanities course from the beginning until Friday the 27th of May. THE EXAM WILL TAKE PLACE IN ROOM 6 AT 10:00!

May 24, 2011

Bodin: concentrate just on few pages!


Pp. 1063 and 1064, 1097 and 1098, 1101 e 1102.

Law and Music: List of Readings

Jean Bodin, Les six livres de la République, l. VI, Paris, 1577, pp. 1059-1102 [accessible on googlebooks].

H. Patrick Glenn, Legal Traditions of the World, ch. 1: A Theory of Tradition? The Changing Presence of the Past, Oxford University Press, 2007 (2000) [accessible on google books].

H.E Stapleton and G. J. W., Ancient and Modern Aspects of Pythagoreanism, in “Osiris”, 13 (1958), pp. 12-53. [jstor].

Nikolaus Harnoncourt, Baroque Music Today: Music as Speech. Ways to a new Understanding of Music, Amadeus Press, 1988, pp. 39-49.

Richard Boursy, Review of: Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music by James Garrat, in “Notes” (2nd series), 60.3 (2004), pp. 666-668 [jstor].

May 22, 2011


Dear all,
we are going to conclude our Law and the Humanities course with a great event: 3 lectures about Law and Music with the participation of a professional violinist, M° Luigi De Filippi, on the 27th of May. The last lecture is thus open to everyone: please inform all the people you think could be interested!

Law and Music: Harmony, Time and History
Dr Adolfo Giuliani — with the participation of Maestro Luigi De Filippi (Seminar 3)

What does music have to do with law? At first glance, very little. But as we take a particular perspective the two might open a fruitful field of investigation. To this end this seminar offers an exercise in comparison. Examined carefully law and music appear as two intellectual traditions with features which link them in a number of ways, and most importantly, present them as communicable and comparable. These features are harmony, time and history. Examined from this perspective, music might offer ways of answering some central questions raised within the legal tradition.

Seminar 1— Harmony (25 May)

A first feature of the western legal tradition is the internal coherence of its constructions, namely, the idea of a legal system. As it is well-known, some early examples are to be found in sixteenth century France, in the works of Duaren, Doneau, Bodin, and other authors later known as the Systematiker. This seminar shows that the idea of a system was borrowed from the vocabulary of music. It reached law through the standard teaching on liberal arts, which included commentaries on Boethius’ and Pythagoras’ music theory. But a complete understanding of this essential feature of western law requires an understanding of the musical chord and of its powerful symbolism.

Seminar 2 — Time (26 May)

It is an obvious observation that legal phenomena are deeply embedded in a dimension of

time. Precepts emerge, unfold and decay, subverted by new precepts, against the complicating dimension of time. But how time is perceived and conceptualised is greatly dependent on changes in the intellectual context. This seminar focuses on the great codifications between the eighteenth- and nineteenth-centuries, and shows that this phase must be placed in the context of a sharp and creative break with the past, a context marked by a radical change in time consciousness.
This phenomenon profoundly affected music, determining an upheaval in the perception and conceptualisation of time and rhythm.

Seminar 3 — History, with the participation of M° Luigi De Filippi (27 May)

Another important feature of a tradition is how it perceives its own past — its ‘pastness’. This seminar examines the rise of history-consciousness in nineteenth-century Germany, pausing on the project furthered in law by F. v. Savigny, and in music by A.F.J. Thibaut (who, interestingly, was also a jurist). This sense of ‘pastness’ profoundly affected both law and music, leading to the contemplation of pure and timeless structures of thought.
A profound concern with the ‘pastness’ affects today’s musical interpretation. In this seminar M° Luigi De Filippi, a highly respected violin virtuoso and an expert of historical performance, will illustrate some of the challenges today facing a historically-minded performance.

Adolfo Giuliani’s CV:

Dr Adolfo Giuliani (MSc London School of Economics, MPhil Cambridge, PhD Cambridge) is a legal historian working on sixteenth- and seventeenth-century civil law. He has published essays on aspects of private law, interpretation and proof, and is currently working on a book on late ius commune presumptions and on a legal history manual for Hart, Oxford. Before pursuing an academic career Dr Giuliani was a professional musician. Following formal studies at the Conservatoire he won a British Council scholarship to study violin with Emanuel Hurwitz (Royal Academy of Music, London) and Analysis of Music at the King's College, London. Further studies followed with Norbert Brainin (Amadeus Quartet). He has performed in opera, symphonic and chamber orchestras and ensembles. Interested in sparking a debate on violin teaching and interpretation, for a number of years he published a scholarly journal under the aegis of Lord Yehudi Menuhin and M° Piero Farulli (Scuola di Musica di Fiesole).

Luigi De Filippi’s CV:

A violinist and conductor, Luigi De Filippi studied violin, piano and composition in Rome, showing an early interest in jazz and contemporary music. He subsequently appeared as concertmaster in such orchestras as the Rome Opera House, La Fenice Theatre in Venice, the London Mozart Players , the Flanders Orchestra in Antwerp. In London he made his debut as conductor with the London Mozart Players , and he appeared as soloist – conductor at the Queen Elizabeth Hall, the Royal Festival Hall and the Barbican Centre in London, the Concertgebouw in Amsterdam, the Palau de la Musica in Barcelona.
In 2007 he soloed in the Auckland Festival (New Zealand). He has conducted Antonio Salieri’s opera “Prima la musica, poi le parole” at the Minoritenkirche in Vienna, the very church for which Salieri wrote all his sacred music.

De Filippi has taken part in the first ever recording of music of the philosopher Friedrich Nietzsche, for the label Edipan; he has revived “The Cady”, a 1778 opera by Thomas Linley, a friend of Mozart, conducting the London Mozart Players ; conducting his own group, the Da Ponte Ensemble on period instruments, he has recorded for the label Bongiovanni a baroque opera of 1629, Giacinto Cornachioli’s La Diana Schernita . For the Italian label Warner – Fonit he has recorded a selection of orchestral music of Francesco Saverio Mercadante, conducting the Philharmonia Mediterranea . Luigi has also appeared in television and radio broadcasts, appearing in six programmes on contemporary music for the Italian Television, and in BBC Radio 3 and RAI Radio 3, with live performances and interviews. A CD of Delphin Alard’s Fantasias for violin and chamber orchestra based on some operas of Giuseppe Verdi, recorded with the Orchestra dell’Impresario , has been released in 2008 by the Italian label Gold & Lebet ; a second issue featuring five Donizetti based Fantasias will soon be out.
Luigi has a keen interest in chamber music with period instruments: he is the violinist of the Voces Intimae piano trio (www.vocesintimae.it), now much in demand for concert appearances and recordings. They have made three CDs with the Italian label Symphonia , all on period instruments, with the trios of Franz Schubert and Felix Mendelssohn Bartoldy, and a selection of 19th century Fantasias based on the operas of Vincenzo Bellini.
Intimae’ s double CD of the complete trios of Johann Nepomuk Hummel, issued by Warner Classics, has won much praise all over the world, and has been elected “CD of the year” for 2006 by BBC Radio 3. Voces Intimae has recently made its USA debut, with concerts, master classes and radio recordings and interviews.

May 16, 2011



Legal anthropology attempts to give a different view of law. Through the examination of culture and tradition, legal anthropology has studied both the traditional others, such as indigenous peoples, as well as more familiar subjects such as Western lawyers. The lectures offer three viewpoints of law and anthropology, the first historical, the second and third contemporary. The historical part examines how lawyers and anthropologists struggled to study societies without law, whereas the second illustrates the tensions between traditionalism and the modern human rights discourse. The final installment discusses the rights of indigenous peoples through the issue of land tenure.

Class Schedule

1) Legal Anthropology: Disputes and Culture

2) Claiming Rights Against Tradition: Activism in and around Science

3) How the Natives Lost Their Land: Customary Land Tenure and Colonialism

Each class consists of two parts: a) an introductory lecture, followed by a discussion, and b) a case study involving the reading material and discussion.


1) Bronislaw Malinowski, ‘Primitive Law and Order’, Nature 117 (1926), pp. 9-16

2) Sally Engle Merry and Rachel E. Stern, ‘The Female Inheritance Movement in Hong Kong: Theorizing the Local/Global Interface’, Current Anthropology 46 (2005), 387-409.

3) Pauline Peters, ‘Challenges in Land Tenure and Land Reform in Africa: Anthropological Contributions’, World Development 37 (2009), pp. 1317–1325.

Kaius Tuori’s CV

Dr. Kaius Tuori holds a doctorate in Law and a M.A. in History from his studies at the universities of Helsinki, Finland, and La Sapienza in Rome, Italy. His research interests include legal history, Roman law, legal anthropology, and classical archaeology. In his work on intellectual history he has studied how modern law affected the history of ancient Roman law during the nineteenth century and how American Legal Realism influenced the study of early law during the mid-20th century. Currently he is finishing a book project on the early history of legal anthropology. He is Senior Researcher at the Center of Excellence of Global Governance Research at the Erik Castrén Institute of International Law and Human Rights in Helsinki. His work has been published in the Journal of Legal Pluralism, Law, Culture and the Humanities, The Journal of Legal History, Revue Internationale des Droits de l'Antiquite and the Legal History Review.

His website is http://blogit.helsinki.fi/katuori