tag:blogger.com,1999:blog-26303785656352013152024-03-14T00:36:31.099+01:00Law and the Humanities RomaTre 2011The blog of the 2011 "Law and the Humanities" course at the RomaTre University (Law Faculty) directed by Prof. Emanuele Conte. By Stefania GialdroniDr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.comBlogger35125tag:blogger.com,1999:blog-2630378565635201315.post-40195769452331827392011-06-01T12:56:00.003+02:002011-06-01T13:01:23.039+02:00EXAMSDear all,<br />as you can check on the university website, you can take the oral L&H (diritto e cultura) exam on the following dates:<br /><br />07th June 2011 at 9:00<br />20th June 2011 at 16:00<br />15th July 2011 at 15:00<br /><br />05th September 2011 at 10:30<br />26th September 2011 at 10:30 <br /><br /><br />You have to register like for all other exams. I will send you the grading of the written test via email tomorrow.<br /><br />See youDr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-16962703822031325262011-05-28T13:07:00.011+02:002011-05-28T13:40:24.944+02:00Last (but not least at all) class: M° De Filippi's Concert<a href="http://4.bp.blogspot.com/-HrTher0dc9Y/TeDenLpFD_I/AAAAAAAAAGA/Sl6CPegFvgs/s1600/_MG_4135.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="http://4.bp.blogspot.com/-HrTher0dc9Y/TeDenLpFD_I/AAAAAAAAAGA/Sl6CPegFvgs/s320/_MG_4135.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611729900424990706" /></a><br /><a href="http://1.bp.blogspot.com/-sCwQj4SLM1w/TeDeQsloLDI/AAAAAAAAAF4/1jTzCc6qpAA/s1600/_MG_4128.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="http://1.bp.blogspot.com/-sCwQj4SLM1w/TeDeQsloLDI/AAAAAAAAAF4/1jTzCc6qpAA/s320/_MG_4128.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611729514131893298" /></a><br /><a href="http://1.bp.blogspot.com/-kF30OX4iPc4/TeDd9l-ECgI/AAAAAAAAAFw/FgVl2XjfgGI/s1600/_MG_4125.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="http://1.bp.blogspot.com/-kF30OX4iPc4/TeDd9l-ECgI/AAAAAAAAAFw/FgVl2XjfgGI/s320/_MG_4125.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611729185937820162" /></a><br /><a href="http://2.bp.blogspot.com/-9r2zt0sPFZA/TeDdo0Ow6KI/AAAAAAAAAFo/5e0UBsDGy1Q/s1600/_MG_4118.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="http://2.bp.blogspot.com/-9r2zt0sPFZA/TeDdo0Ow6KI/AAAAAAAAAFo/5e0UBsDGy1Q/s320/_MG_4118.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611728828988713122" /></a><br /><a href="http://4.bp.blogspot.com/-pD1LnwZWOi4/TeDdO7m6edI/AAAAAAAAAFg/PfQqDNtwv7I/s1600/_MG_4115.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="http://4.bp.blogspot.com/-pD1LnwZWOi4/TeDdO7m6edI/AAAAAAAAAFg/PfQqDNtwv7I/s320/_MG_4115.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611728384292452818" /></a><br /><a href="http://3.bp.blogspot.com/-bYbT4aGvcXo/TeDc2xz9ffI/AAAAAAAAAFY/uiOxz1NK1Lg/s1600/_MG_4113.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 214px; height: 320px;" src="http://3.bp.blogspot.com/-bYbT4aGvcXo/TeDc2xz9ffI/AAAAAAAAAFY/uiOxz1NK1Lg/s320/_MG_4113.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611727969345961458" /></a><br /><a href="http://4.bp.blogspot.com/-H0uaxtR2ve0/TeDclqWT7uI/AAAAAAAAAFQ/eYc9cOhbChw/s1600/_MG_4108.JPG"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 320px; height: 214px;" src="http://4.bp.blogspot.com/-H0uaxtR2ve0/TeDclqWT7uI/AAAAAAAAAFQ/eYc9cOhbChw/s320/_MG_4108.JPG" border="0" alt=""id="BLOGGER_PHOTO_ID_5611727675284778722" /></a><br />Dear all,<br />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. <br />It was a pleasure to meet you all and I do hope you enjoyed the course as we did!Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com2tag:blogger.com,1999:blog-2630378565635201315.post-6833759961653569662011-05-25T16:26:00.002+02:002011-05-25T16:29:45.242+02:00Final written examDear all,<br />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!Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-24680142370648421402011-05-24T23:31:00.000+02:002011-05-24T23:33:04.162+02:00Bodin: concentrate just on few pages!http://books.google.it/books?id=-iA8AAAAcAAJ&printsec=frontcover&dq=intitle:republique+inauthor:bodin&hl=it&ei=H4zbTZerK4KE-waauvyqDw&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCsQ6AEwAA#v=onepage&q&f=false <br /><br />Pp. 1063 and 1064, 1097 and 1098, 1101 e 1102.Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-90895684057455499442011-05-24T10:13:00.002+02:002011-05-24T10:56:14.216+02:00Law and Music: List of ReadingsJean Bodin, <em>Les six livres de la République</em>, l. VI, Paris, 1577, pp. 1059-1102 [accessible on googlebooks].<br /><br />H. Patrick Glenn, <em>Legal Traditions of the World</em>, ch. 1: <em>A Theory of Tradition? The Changing Presence of the Past</em>, Oxford University Press, 2007 (2000) [accessible on google books]. <br /><br />H.E Stapleton and G. J. W., <em>Ancient and Modern Aspects of Pythagoreanism</em>, in “Osiris”, 13 (1958), pp. 12-53. [jstor]. <br /><br />Nikolaus Harnoncourt, <em>Baroque Music Today: Music as Speech. Ways to a new Understanding of Music</em>, Amadeus Press, 1988, pp. 39-49. <br /><br />Richard Boursy, <em>Review of: Palestrina and the German Romantic Imagination: Interpreting Historicism in Nineteenth-Century Music </em>by James Garrat, in “Notes” (2nd series), 60.3 (2004), pp. 666-668 [jstor].Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-61715741794693410682011-05-22T12:22:00.003+02:002011-05-22T12:42:52.014+02:00DR. ADOLFO GIULIANI AND M° LUIGI DE FILIPPI ON LAW AND MUSIC<div align="justify"><a href="http://3.bp.blogspot.com/-aA4pKU0M2CE/Tdjn4icCUCI/AAAAAAAAAFI/tRld5GpG3Yo/s1600/violino.bmp"><span style="font-size:130%;"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 320px; FLOAT: left; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5609488294393040930" border="0" alt="" src="http://3.bp.blogspot.com/-aA4pKU0M2CE/Tdjn4icCUCI/AAAAAAAAAFI/tRld5GpG3Yo/s320/violino.bmp" /></span></a><span style="font-size:130%;">Dear all,
<br />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!
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<br /><strong>ABSTRACT: </strong>
<br /></span><span style="font-family:TimesNewRoman;"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">Law and Music: Harmony, Time and History<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span></b></div><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">Dr Adolfo Giuliani — with the participation of Maestro Luigi De Filippi (Seminar 3)<o:p></o:p></span></span>
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<br /><span style="font-size:130%;"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >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.</span>
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<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">Seminar 1— Harmony (25 May)<o:p></o:p></span></span></b></p><span style="font-size:130%;"></span>
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<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><span style="font-size:130%;"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >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 </span><i><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >Systematiker</span></i><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >. 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.</span></span></p>
<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><span style="font-size:130%;"><span style="font-family:Cambria;"></span>
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<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><span style="font-size:130%;"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >Seminar 2 — Time (26 May)</span></b>
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<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">It is an obvious observation that legal phenomena are deeply embedded in a dimension of<o:p></o:p></span></span></p><span style="font-size:130%;"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >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.</span>
<br /><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >This phenomenon profoundly affected music, determining an upheaval in the perception and conceptualisation of time and rhythm.<o:p></o:p></span></span>
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<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">Seminar 3 — History, with the participation of M° Luigi De Filippi (27 May)<o:p></o:p></span></span></b></p><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">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.<o:p></o:p></span></span>
<br /><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">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.<o:p></o:p></span></span>
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<br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; mso-layout-grid-align: none" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">Adolfo Giuliani’s CV: <o:p></o:p></span></span></b></p><span style="font-size:130%;"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >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 </span><i><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >ius</span></i><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" > </span><i><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >commune </span></i><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >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).</span>
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<br /><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: FR; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="FR" >Luigi De Filippi’s CV: <o:p></o:p></span></b></span>
<br /><span style="font-size:130%;"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';color:black;" lang="EN-US" >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.</span>
<br /><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';color:black;" lang="EN-US" >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.<o:p></o:p></span></span>
<br /><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';color:black;" lang="EN-US" ><span style="font-size:130%;">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.<o:p></o:p></span></span>
<br /><span style="font-size:130%;"><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';color:black;" lang="EN-US" >Luigi has a keen interest in chamber music with period instruments: he is the violinist of the Voces Intimae piano </span><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" >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. <o:p></o:p></span></span>
<br /><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><span style="font-size:130%;">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.<o:p></o:p></span></span>
<br /><span style="mso-ascii-theme-font: major-latin;font-family:'Cambria', 'serif';font-size:130%;" ><a href="mailto:philippi@tiscali.it">philippi@tiscali.it</a></span><span style="mso-ansi-language: EN-US; mso-ascii-theme-font: major-latinfont-family:'Cambria', 'serif';" lang="EN-US" ><o:p></o:p></span>
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<br /></span></span><span style="font-family:TimesNewRoman;"></span>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com5tag:blogger.com,1999:blog-2630378565635201315.post-38721986257259037322011-05-16T13:05:00.003+02:002011-05-16T13:25:39.573+02:00KAIUS TUORI ON LAW AND ANTHROPOLOGY<a href="http://2.bp.blogspot.com/-XRLZR5f_c_E/TdEI97w_JbI/AAAAAAAAAE4/4sw7I168KVg/s1600/african-peasants.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 154px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5607272871161177522" border="0" alt="" src="http://2.bp.blogspot.com/-XRLZR5f_c_E/TdEI97w_JbI/AAAAAAAAAE4/4sw7I168KVg/s320/african-peasants.jpg" /></a><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Abstract<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span></b> <br /><div><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Legal anthropology attempts to give a different view of law. Through the examination of culture and </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">tradition, legal anthropology has studied both the traditional others, such as indigenous peoples, </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">as well as more familiar subjects such as Western lawyers. The lectures offer three viewpoints of </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">law and anthropology, the first historical, the second and third contemporary. The historical part </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">examines how lawyers and anthropologists struggled to study societies without law, whereas the </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">second illustrates the tensions between traditionalism and the modern human rights discourse. The </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">final installment discusses the rights of indigenous peoples through the issue of land tenure.<o:p></o:p></span></span></p><br /><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Class Schedule<o:p></o:p></span></span></b></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">1) Legal Anthropology: Disputes and Culture<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">2) Claiming Rights Against Tradition: Activism in and around Science<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">3) How the Natives Lost Their Land: Customary Land Tenure and Colonialism<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;"></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Each class consists of two parts: a) an introductory lecture, followed by a discussion, and b) a case </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">study involving the reading material and discussion. </span></span><br /></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><o:p><span style="font-family:Calibri;"></span></o:p></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Readings<o:p></o:p></span></span></b></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">1) Bronislaw Malinowski, ‘Primitive Law and Order’, Nature 117 (1926), pp. 9-16<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">2) Sally Engle Merry and Rachel E. Stern, ‘The Female Inheritance Movement in Hong Kong: </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Theorizing the Local/Global Interface’, Current Anthropology 46 (2005), 387-409.<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">3) Pauline Peters, ‘Challenges in Land Tenure and Land Reform in Africa: Anthropological </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Contributions’, World Development 37 (2009), pp. 1317–1325.<o:p></o:p></span></span></p><br /><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Kaius Tuori’s CV<o:p></o:p></span></span></b></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Dr. Kaius Tuori holds a doctorate in Law and a M.A. in History from his studies at the universities of </span></span><span style="font-family:Calibri;">Helsinki, Finland, and La Sapienza in Rome, Italy. <span style="mso-ansi-language: EN-US" lang="EN-US">His research interests include legal history, Roman </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">law, legal anthropology, and classical archaeology. In his work on intellectual history he has studied </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">how modern law affected the history of ancient Roman law during the nineteenth century and how </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">American Legal Realism influenced the study of early law during the mid-20th century. Currently he </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">is finishing a book project on the early history of legal anthropology. He is Senior Researcher at the </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Center of Excellence of Global Governance Research at the Erik Castrén Institute of International </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Law and Human Rights in Helsinki. His work has been published in the Journal of Legal Pluralism, </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Law, Culture and the Humanities, The Journal of Legal History, Revue Internationale des Droits de </span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">l'Antiquite and the Legal History Review.<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;"></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">His website is http://blogit.helsinki.fi/katuori<o:p></o:p></span></span></p></div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com15tag:blogger.com,1999:blog-2630378565635201315.post-21711467276347534132011-05-10T19:26:00.003+02:002011-05-10T19:28:54.873+02:00LESS READING!Dear all,<br />prof. Steinberg told me that you should read only the following canti to come prepared:<br />Wednesday: Inf. 8 and 9.<br />Thursday: Inf. 32 and Purg. 27.<br />Friday: Steinberg's short essay and Inf. 15 and Par 17.Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-11736125300602065042011-05-08T19:08:00.003+02:002011-05-08T19:33:20.520+02:00PROF. STEINBERG ON LAW AND DANTE<div align="justify"><a href="http://4.bp.blogspot.com/-TaIt69UC0I8/TcbTAp4hs8I/AAAAAAAAAEw/KrxrjfUZlwE/s1600/dante-alighieri-divina-commedia.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 283px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5604398794505565122" border="0" alt="" src="http://4.bp.blogspot.com/-TaIt69UC0I8/TcbTAp4hs8I/AAAAAAAAAEw/KrxrjfUZlwE/s320/dante-alighieri-divina-commedia.jpg" /></a>Dear all,<br /></div><br /><div align="justify">next week we will welcome our second guest coming from the United States. The topic will be law and a very peculiar kind of literture that you should know very well: Dante and his "Divina Commedia"! So please come prepared and don't miss the opportunity to deepen a masterpiece of the Italian literature from the very interesting point of view of an American expert of the topic.</div><br /><div align="justify">See you on Wednesday!</div><br /><div align="justify"><br /><strong>Abstract</strong></div><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">"Law and Exception in Dante’s Divine Comedy"<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span><br /><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Traditionally, when scholars encounter anomalies in Dante’s juridical otherworld, they search for doctrinal answers that safeguard and reconfirm the classifications of his penal order. The working hypothesis of this seminar instead posits that Dante creates an otherworld based on an elaborate network of laws, jurisdictions, and rulers in order to contemplate the significance of exceptions to this system. Dante wrote the Commedia, in order words, to probe the limits of the law. The workshop will be divided into three classes, each corresponding to a distinct key word. The first class will focus on the concept of privilegium and in particular on the singular privilege granted Dante to traverse the territory of the otherworld, immune from the laws of his own construct. The second class will explore the concept of arbitrium in Dante, especially the relationship that judicial discretion and poetic license in his thinking. The third class will turn to </span></span><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">the concept of infamia, and ask how Dante’s autobiographical legal disgrace affects the concept of justice in the poem as well as its own defamatory aesthetics. The readings are not extensive but will require close attention to detail.<o:p></o:p></span></span></p><br /><br /><strong>Readings</strong><br />Please try to read all the "canti" below. You can find them on the website <a href="http://www.danteonline.it/">http://www.danteonline.it/</a>, in Italian and English.<br /><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Lesson 1: Inferno, canti 8-9.<o:p></o:p></span></span><br /><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Lesson 2: Inferno, canti 13, 32; Purgatorio, canto 27. <o:p></o:p></span></span><br /><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Lesson 3: Inferno, canti 15-16; Paradiso, canto 17</span></span><br /><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">I will send you another (very short) reading via email. <o:p></o:p></span></span><br /><br /><strong>Prof. Steinberg's CV:</strong><br /><span style="mso-bidi-theme-font: minor-latin; mso-bidi-: EN-USfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;"><a href="http://rll.uchicago.edu/faculty/steinberg">http://rll.uchicago.edu/faculty/steinberg</a></span></span><br /><span style="mso-bidi-: minor-latin;font-family:Calibri;" ><span style="font-family:Calibri;"><a href="http://news.uchicago.edu/profile/justin-steinberg">http://news.uchicago.edu/profile/justin-steinberg</a><o:p></o:p></span></span>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com12tag:blogger.com,1999:blog-2630378565635201315.post-66869326136153382402011-05-01T18:41:00.003+02:002011-05-01T18:49:18.289+02:00ESTEBAN CONDE ON LAW AND CINEMA<a href="http://4.bp.blogspot.com/-lJPl6MK-w64/Tb2OhFw0xYI/AAAAAAAAAEo/wGdGls3ych8/s1600/magnani%2Bmiracolo.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 216px; FLOAT: right; HEIGHT: 140px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5601790210652554626" border="0" alt="" src="http://4.bp.blogspot.com/-lJPl6MK-w64/Tb2OhFw0xYI/AAAAAAAAAEo/wGdGls3ych8/s320/magnani%2Bmiracolo.jpg" /></a><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITfont-family:'Times New Roman';color:black;" lang="EN-US" ><span style="font-family:Calibri;">Dear all,<br />next week we will enjoy prof. Esteban Conde’s (University of Huelva) classes on “law and cinema”. After a brief introduction on this peculiar strand of the Law and the Humanities movement we will talk about the important issue of censorship.<br /><br /><b>ABSTRACT </b><br /></span></span><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><span style="font-family:Calibri;">The lectures will introduce the ‘law and cinema’ contemporary scholarship, trying to look critically (from a European perspective) at some of its premises and results.<br />Therefore we will focus on underline one of the possible intersections between law and films: that of ‘cinema in law’ (or law on cinema). This approach is by far much less attended (and maybe less ‘funny’, more ‘serious’) than the classical ‘law in cinema’ studies or the (amusing and even ‘worrying’) ‘law as cinema/cinema as law’ debates.<br />More specifically we will tackle some US Supreme Court decisions (and indecisions) to concisely describe the way in which censorship on films has been – constitutionally and legally - formulated in the twentieth century.<br />The account should serve as an example –and encouragement- for those students interested in the development of similar subjects, which are not necessarily involved with totalitarian regimes or tendencies.<br />And above all, it is a proposal –and a provocation- concerning the unavoidable (self)analysis about the (individual, social, juridical, economical) limits and burdens of freedom of speech. <?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span><br /><div><br /><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><b><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><span style="font-family:Calibri;">READINGS<br /></span></span></b><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><span style="font-family:Calibri;">A)<br />- The Yale Law Journal, Vol. 98, No.8, “Popular Legal Culture” (June 1989) (“Introduction”, pp. 1545-1558; Lawrence M. Friedman, “Law, Lawyers, and Popular Culture”, pp. 1579-1606) </span></span><br /><br /></p><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><span style="font-family:Calibri;">- Stefan Machura/Peter Robson (eds.), Journal of Law and Society, Vol. 28, No. 1, “Law and Film” (March 2001). </span></span><span style="mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" ><span style="font-family:Calibri;">The “Introduction”, pp.1-8, includes a selected bibliography (1986-1999)<br /><br />B) <o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><span style="font-family:Calibri;">- “Motion Pictures and the First Amendment”, The Yale Law Journal, Vol. 60, No. 4. (April 1951), pp. 696-719.<br />- John Wertheimer, “Mutual Film Reviewed: The Movies, Censorship, and Free Speech in Progressive America”, The American Journal of Legal History, Vol. 37, No. 2. (Apr., 1993), pp. 158-189. <o:p></o:p></span></span></p><br /><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><span style="font-family:Calibri;"><b><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" >Esteban Conde's CV:</span></b><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><o:p></o:p></span></b></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latin; mso-fareast-language: ITcolor:black;" lang="EN-US" ><span style="font-family:Calibri;">Esteban Conde (Barcelona, 1971), Legal Historian (Universities of Barcelona –Autónoma- and now Huelva), received his Ph.D. in Law in 2003. He has written two books (1998, 2006) about the main (and constructive) role played by ‘enlightened’ censorship in Spain, and several articles on police power (its metaphors, tradition and development at the end of the Ancien Régime).<br />Over the past five years, he has used some interdisciplinary approaches as a tool to teach legal history: literature and law, and more recently cinema and law. <b style="mso-bidi-font-weight: normal"><o:p></o:p></b></span></span></p></div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com22tag:blogger.com,1999:blog-2630378565635201315.post-30644432025831714132011-04-30T20:40:00.002+02:002011-04-30T20:45:29.052+02:00LAW AND MAGIC<div align="justify"><span style="font-family:georgia;">This collection of essays has been quoted by prof. Zeno-Zencovich:</span></div><br /><div align="justify"><span style="font-family:georgia;">C.A. Corcos (ed. by), "Law and Magic. A Collection of Essays", Carolina Acadmic Press, 2010. </span><a href="http://4.bp.blogspot.com/-TqoRscCFyPI/TbxYHhJ303I/AAAAAAAAAEg/SFs3G1h7Fv0/s1600/law%2Ban%2Bmagic.png"><span style="font-family:georgia;"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 186px; FLOAT: left; HEIGHT: 271px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5601448922724160370" border="0" alt="" src="http://4.bp.blogspot.com/-TqoRscCFyPI/TbxYHhJ303I/AAAAAAAAAEg/SFs3G1h7Fv0/s320/law%2Ban%2Bmagic.png" /></span></a><span style="font-family:georgia;"><br /></div></span><br /><div align="justify"><br /><br /></div><br /><p align="justify"><span style="mso-ansi-language: EN;font-size:7;" lang="EN" ><span style="font-size:130%;"><span style="font-family:georgia;">"The nearly two dozen studies in this collection explore the very rich ways in which the rule of law and the practice of magic enrich and inform each other. The authors bring both a U.S. and a comparative law perspective while examining areas such as law and religion, criminal law, intellectual property law, the law of evidence, and animal rights. Topics include alchemy in fifteenth-century England, a discussion of how a courtroom is like a magic show, stage hypnotism and the law, Scottish witchcraft trials in the eighteenth century, the question of whether stage magicians can look to intellectual property to protect their rights, tarot card readings and the First Amendment, and an analysis of whether a magician can be qualified as an expert witness under the Federal Rules of Evidence". <span style="color:#000000;">(<span style="mso-ansi-language: EN; mso-bidi-: minor-latin" lang="EN"><a href="http://www.cap-press.com/isbn/9781594603556">http://www.cap-press.com/isbn/9781594603556</a>)<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span></span></span></p><o:p></o:p></span>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-74025044606207806612011-04-30T20:07:00.002+02:002011-04-30T20:15:34.835+02:00FINAL EXAM: ALL INFORMATION<a href="http://1.bp.blogspot.com/-WKo79L5HWjk/TbxRi4xHLQI/AAAAAAAAAEY/nxWD9EgPP_8/s1600/esame.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 226px; FLOAT: left; HEIGHT: 160px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5601441696337833218" border="0" alt="" src="http://1.bp.blogspot.com/-WKo79L5HWjk/TbxRi4xHLQI/AAAAAAAAAEY/nxWD9EgPP_8/s320/esame.jpg" /></a> Dear all,<br /><br /><br /><div>the final exam will take place on Monday, <strong>the 30th of May, in room 7 at 10:00 </strong>am. You will have to answer 2 questions on the 2 topics you liked best. There will be a list of questions (1 or 2 on each topic) among which you will have to choose the ones you prefer to answer. See you next week with prof. Conde's classes!</div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-30814294255475304042011-04-28T12:24:00.003+02:002011-04-28T12:37:09.346+02:00VINCENZO ZENO-ZENCOVICH ON LAW AND/AS SUPERSTITION<a href="http://2.bp.blogspot.com/-xjIVcmLYtb8/TblCcjhEwZI/AAAAAAAAAEQ/beQN0dVnIWo/s1600/Plutarch_at_delphi.jpg"><img id="BLOGGER_PHOTO_ID_5600580669949657490" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 140px; CURSOR: hand; HEIGHT: 320px" alt="" src="http://2.bp.blogspot.com/-xjIVcmLYtb8/TblCcjhEwZI/AAAAAAAAAEQ/beQN0dVnIWo/s320/Plutarch_at_delphi.jpg" border="0" /></a><br /><br /><div align="right"><span style="font-size:78%;">Plutarch (46-127 A.D.), who wrote an essay on superstition </span></div>Dear all,<br />tomorrow prof. Zeno-Zencovich, who teaches comparative law in our faculty, will introduce us to the fascinating topic of the connections between law and superstition. You can find a little abstract below:<br /><br /><br /><strong>Abstract: </strong><br /><br /><br /><div align="justify">Law is considered the opposite - intellectually and culturally - of superstition. Over the ages lawyers have fought - and are still fighting -to free society from superstitions, which often are at the origin of violence, crimes, discriminations. But this battle is far from being won, and, on the contrary, superstition creeps into the practices of lawyers and the law is often used as a form of modern superstition. The class intends to analyse the following aspects: </div><br /><br /><br /><br /><div align="justify">1) The law and rule-making process as a product of superstitionary beliefs. </div><br /><br /><br /><br /><div align="justify">2) Superstitionary use of scientific evidence by lawyers. </div><br /><br /><br /><br /><div align="justify">3) Justice and superstition. </div><br /><br /><br /><br /><div align="justify">4) The rules of superstition.</div><br /><br /><br /><br /><div align="justify"><strong>Prof. Zeno-Zencovich CV:</strong><br /></div><br /><div align="justify"><a href="http://www.giur.uniroma3.it/modules.php?name=Content&pa=showpage&pid=89">http://www.giur.uniroma3.it/modules.php?name=Content&pa=showpage&pid=89</a> </div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com14tag:blogger.com,1999:blog-2630378565635201315.post-27731978870485975942011-04-25T18:49:00.003+02:002011-04-25T18:53:45.412+02:00Your ID card<a href="http://4.bp.blogspot.com/-3BwtlcBxNGI/TbWm-uPCaqI/AAAAAAAAAEI/lwSlA2pPOis/s1600/CI.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 106px; FLOAT: right; HEIGHT: 174px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5599565308198283938" border="0" alt="" src="http://4.bp.blogspot.com/-3BwtlcBxNGI/TbWm-uPCaqI/AAAAAAAAAEI/lwSlA2pPOis/s320/CI.jpg" /></a>Dear all,<br /><br /><div>please don't forget to bring a document (ID card, passport, etc.) in case they will check your identity before entering the Court of Cassation!</div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-43680519287623048172011-04-25T12:47:00.003+02:002011-04-25T12:58:01.752+02:00April 28th 2011: Midterm Exam<div align="justify"><a href="http://3.bp.blogspot.com/-tKvWN9M-Uic/TbVTgL1L_KI/AAAAAAAAAEA/FiGk8ee3GAI/s1600/vignetta%2Besame.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 169px; FLOAT: right; HEIGHT: 190px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5599473524101872802" border="0" alt="" src="http://3.bp.blogspot.com/-tKvWN9M-Uic/TbVTgL1L_KI/AAAAAAAAAEA/FiGk8ee3GAI/s320/vignetta%2Besame.jpg" /></a>Dear all,<br /></div><br /><div align="justify">the date of the midterm exam is finally approaching. You have to bring only a pen: I will provide you with sheets. You won't be allowed to use the vocabulary! You will have to BRIEFLY answer some questions about the classes you had until now. The questions will be quite general but it is obvious that you have to read the articles and your notes before the 28th. You dont need to register.<br /></div>See you in room 4 at 10:00 am.Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-47213457161247430812011-04-25T12:25:00.005+02:002011-04-25T12:37:15.724+02:00Court of Cassation: Here we are!<div align="justify"><a href="http://2.bp.blogspot.com/-VegLkWxdSRA/TbVNhuGwtWI/AAAAAAAAAD4/O8L-3R3qpwA/s1600/piazza%2Bdei%2Btribunali.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 246px; FLOAT: left; HEIGHT: 158px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5599466953412490594" border="0" alt="" src="http://2.bp.blogspot.com/-VegLkWxdSRA/TbVNhuGwtWI/AAAAAAAAAD4/O8L-3R3qpwA/s320/piazza%2Bdei%2Btribunali.jpg" /></a> <span style="LINE-HEIGHT: 115%"><span style="font-family:Calibri;">Dear all,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span><br /><span style="LINE-HEIGHT: 115%; mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">I hope you are enjoying this last day of the Easter Holydays! This is the final list of the students that are going to visit our Supreme Court. As you know, we’ll meet at 9:45 at the entrance in Piazza dei Tribunali. See you there!</span></span><br /><span style="LINE-HEIGHT: 115%; mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;"><o:p><br /><br /></div><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpFirst"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="mso-list: Ignore">1.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US;color:#222222;" lang="EN-US" >Antonelli Roberta</span><br /><br /></p><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="mso-list: Ignore">2.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US;color:#222222;" lang="EN-US" >Avvisati Maria Lisa</span><br /><br /></p><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="mso-list: Ignore">3.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US;color:#222222;" lang="EN-US" >Baliva Giulia</span><br /></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 0pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">4.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US;color:#222222;" lang="EN-US" >Corsetti Cla</span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >udio<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">5.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >D’Alessio Paolo<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">6.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >De Prosperis Sara<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">7.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Di Florio Cristina<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">8.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Di Giacomantonio Moira<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 0pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">9.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Di Lorenzi Giordano<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">10.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Di Silvestro Monica<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">11.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Ercoli Francesco<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 0pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">12.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Esti Dante<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">13.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Favilli Valentina<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">14.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Gialdroni Stefania<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">15.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Gulli Federica<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">16.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Ingrosso Francesca<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 0pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">17.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Lopez Corallina<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">18.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Margarita Enrica<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">19.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Morigi Silvia<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">20.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Natalini Francesca<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">21.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Papi Luigi<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 0pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">22.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" ><span style="mso-spacerun: yes"></span>Picone Lisa<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">23.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Pucci Francesca<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">24.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Roberto Michela<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">25.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Roggenkamper Daniel<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 2.85pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">26.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" >Tammert Christian <o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 0pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpMiddle"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">27.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" ><span style="mso-spacerun: yes"></span>Tosto Luca<o:p></o:p></span></p><br /><br /><p style="LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 2.85pt 0cm 10pt 36pt; BACKGROUND: white; mso-list: l0 level1 lfo1; mso-add-space: auto" class="MsoListParagraphCxSpLast"><span style="mso-fareast-language: IT;color:#222222;" ><span style="mso-list: Ignore">28.<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US;color:#222222;" lang="EN-US" >Vuerich Giordana </span><span style="mso-bidi-: minor-latin;font-family:Calibri;color:#222222;" ><o:p></o:p></span></p><br /><p style="TEXT-ALIGN: justify; MARGIN: 0cm 0cm 10pt" class="MsoNormal"></o:p></span></span></p>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com5tag:blogger.com,1999:blog-2630378565635201315.post-36079351724058207112011-04-20T17:41:00.004+02:002011-04-20T18:01:40.899+02:00Court of Cassation: Last List<div style="text-align: justify;">Dear all,<br />the Secretary of the Court of Cassation has authorized our visit! We'll meet our guide at the entrance in <span style="font-weight: bold;">Piazza dei Tribunali</span> (the side of the building in front of the river) <span style="font-weight: bold;">at 10:00 </span>am on April the 26th. <span style="font-weight: bold;">Please come 15 minutes earlier</span>! We will have also the opportunity to visit the important Court's Library.<br />Some of you have registred only during the last days (Giordano Di Lorenzi, Luca Tosto, Corallina Lopez, Dante Esti, Lisa Picone and Claudio Corsetti). I hope that they will be admitted but I have to wait for the reply of the Court's Secretary. I'll let you know during the next days on the blog. I'm very happy that you enjoyed prof. Watt's classes and I am looking forward to hearing directly your comments. See you soon!<br /><br />This is the list of students that asked to participate (Moira, sorry for the mistake of the previous list) :<br /></div><br /><p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">1. Antonelli Roberta</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">2. Avvisati Maria Luisa</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">3. Baliva Giulia</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">4. D’Alessio Paolo</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">5. De Prosperis Sara</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">6. Di Florio Cristina</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">7. Di Giacomantonio Moira</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">8. Di Silvestro Monica</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">9. Ercoli Francesco</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">10. Favilli Valentina</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">11. Gialdroni Stefania</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">12. Gulli Federica</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">13. Ingrosso Francesca</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">14. Margarita Enrica</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">15. Morigi Silvia</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">16. Natalini Francesca</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">17. Papi Luigi</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">18. Pucci Federica</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%"> <span style="font-family:Georgia, serif;">19. Roberto Michela</span></p> <p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%;"> <span style="font-family:Georgia, serif;">20. Roggenkamper Daniel</span></p><p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%;"><span style="font-family:Georgia, serif;">21. Tammert Christian <span lang="en-US"><br /></span></span></p><p style="margin-top: 0.1cm; margin-bottom: 0.1cm; line-height: 100%;"><span style="font-family:Georgia, serif;"><span lang="en-US">22. Vuerich Giordana </span></span></p><br />NEW ENTRIES<span style="font-family:Georgia, serif;"><span lang="en-US"><br />23. Corsetti Claudio</span></span><br />24. Di Lorenzi Giordano<span style="font-family:Georgia, serif;"><span lang="en-US"><br />25. Esti Dante</span></span><span style="font-family:Georgia, serif;"><span lang="en-US"><br />26. Lopez Corallina</span></span><span style="font-family:Georgia, serif;"><span lang="en-US"><br />27. Picone Lisa</span></span><span style="font-family:Georgia, serif;"><span lang="en-US"><br />28. Tosto Luca</span></span>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com4tag:blogger.com,1999:blog-2630378565635201315.post-61254510263419063632011-04-18T14:17:00.003+02:002011-04-18T14:19:50.727+02:00Visit to the Court of Cassation: List of participantsDear all, this is the list of participants to the visit of the Court of Cassation. If you still want to join in, please leave your FULL name as a comment to this post. I am still waiting for the reply of the Court's secretary, so...incrociamo le dita! I'll let you know during the next days. <br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpFirst"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">1.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Antonelli Roberta</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">2.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Avvisati Maria Luisa</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">3.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Baliva Giulia</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">4.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">D’Alessio Paolo</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">5.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">De Prosperis Sara</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">6.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Di Florio Cristina</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">7.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Di Giacomantonio Giulia</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">8.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Di Silvestro Monica</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">9.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Ercoli Francesco</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">10.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Favilli Valentina</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">11.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Gialdroni Stefania</span><a name="comments"></a><a name="c5643379933821347816"></a></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">12.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Gulli Federica</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">13.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Ingrosso Francesca</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">14.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Margarita Enrica</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">15.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Morigi Silvia</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">16.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Natalini Francesca</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">17.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Papi Luigi</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">18.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Pucci Federica</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">19.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Roberto Michela</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">20.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Roggenkamper Daniel</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpMiddle"><span style="mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin"><span style="mso-list: Ignore"><span style="font-family:Calibri;">21.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="font-family:Calibri;">Tammert Christian</span></p><br /><p style="TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 10pt 36pt; mso-list: l0 level1 lfo1" class="MsoListParagraphCxSpLast"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin" lang="EN-US"><span style="mso-list: Ignore"><span style="font-family:Calibri;">22.</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US" lang="EN-US"><span style="font-family:Calibri;">Vuerich Giordana<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span></p>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com8tag:blogger.com,1999:blog-2630378565635201315.post-21538751843269254282011-04-10T20:51:00.005+02:002011-04-10T22:57:17.423+02:00GARY WATT ON LAW & ARCHITECTURE, ICONOGRAPHY AND THEATRE<div align="justify"><a href="http://1.bp.blogspot.com/-S70pLoNBc5E/TaIVwqYGSrI/AAAAAAAAADw/4CLPFjMkIrU/s1600/daumier%2Bdue%2Bavvocati.jpg"><span style="font-family:arial;font-size:130%;"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 226px; FLOAT: left; HEIGHT: 278px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5594057612900846258" border="0" alt="" src="http://1.bp.blogspot.com/-S70pLoNBc5E/TaIVwqYGSrI/AAAAAAAAADw/4CLPFjMkIrU/s320/daumier%2Bdue%2Bavvocati.jpg" /></span></a><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">Dear all,</span> </div><br /><div align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">please read carefully the very detailed description of next week's lectures: this will be a very interesting as well as engaging week!</span></div><br /><div align="justify"></div><br /><div align="justify"><span style="font-family:arial;"></span></div><br /><div align="justify"></div><br /><p style="TEXT-ALIGN: center; LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><b><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;"></span></b></p><br /><div align="justify"><strong><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">Seminar One: </span></strong></div><br /><div align="justify"><strong><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">Wednesday April 13<sup>th</sup> 2011 13: 45 - 15:45</span> </div></strong><br /><p style="TEXT-ALIGN: center; LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;"><o:p><strong></strong></o:p></span></p><br /><div align="justify"><span style="font-family:arial;"><span style="font-size:130%;"><strong>“Foundations: architectural and horticultural metaphors of law and society</strong>”<o:p></o:p> </span></span></div><br /><div align="justify"><span style="font-family:Arial;"></span></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">“A lawyer without history or literature is a mechanic, a mere working mason; if he possesses some knowledge of these, he may venture to call himself an architect”. Sir Walter Scott, Guy Mannering (1815) <o:p></o:p></span></span></i></p><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;"></span><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span style="font-family:arial;">“In that jurisdiction precedes law, in that it marks the point of entry into the juridical sphere and speech, it has to be visible in advance of utterance and hence must be a property of communal space, of the architecture of the institution, of context and vestment that can be apprehended prior to any discursive intervention in the name of legality.” Peter Goodrich, “Visive Powers: Colours, Trees and Genres of Jurisdiction” (2008) 2(2) Law and Humanities 213–231, 214.</span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span style="font-family:arial;"></span></span></i></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span style="font-family:arial;"><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">“Civilisations cannot be built mechanistically – there must be art as well as science. Where the stones of law are stubborn we must turn to the art of equity. If law is the mason’s art of producing rectilinear stones from the bedrock of nature, equity is the sculptor’s art of revealing the human form from within the rectilinear stone. As the great American jurist, Judge Learned Hand, once said: ‘the work of a judge is an art…[i]t is what a poet does, it is what a sculptor does’” G Watt, <span style="mso-bidi-font-style: italic">Equity Stirring: The Story of Justice Beyond the Law</span> (2009) “law matters because of death and time and our care for others. Like architecture or language, it is part of the work of cultures which seeks to reach across time, and beyond life” - Desmond Manderson, <span style="mso-bidi-font-style: italic">‘Desert Island Discs</span> (Ten reveries on pedagogy in law and the humanities)’ (2008) 2(2) Law and Humanities 255–270, 270.</span></i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"> </span></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span style="font-family:arial;"><b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Preparation:</span></i></b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"> </span></i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Identify an architectural or horticultural metaphor employed in the legal language of Italy or elsewhere – and come prepared to discuss it. (For a general introduction to the dominance of metaphors in US legal language, read Bernard J. Hibbitts, “Making Sense of Metaphors: Visuality, Aurality, and the Reconfiguration of American Legal Discourse”, 16 Cardozo L. Rev. 229 (1994) (accessible at http://faculty.law.pitt.edu/hibbitts/meta_con.htm))</span></span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><br style="mso-special-character: line-break"><br style="mso-special-character: line-break"></p><br /><div align="justify"></span><span style="font-family:arial;"><b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Seminar Outline: </span></i></b><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">We will consider the significance to legal language of the architectural metaphors, including the metaphors of “the rule” and “the level ground”. We will also critically examine the following two quotes which use architectural metaphors to explain “equity”: “The formall cause of Equity is the matching and levelling of facts falling out, and the circumstances thereof, with the rules of the Law, as buildings are framed to carpenters lines and squares...Not unfitly is Equity termed the rule of manners: for as by a rule the faults of a building are so discovered, so doth equity judge aright, both of the written law, and also of all mens actions and behaviours: and therefore such as are ministers of Justice, apply and frame their judgments, after the square and rule of good and legal, that is to say, of God’s Law, and the Lawes of Nature”<o:p></o:p></span></span> <span style="font-family:arial;"></span></div><br /><p style="LINE-HEIGHT: 18pt; TEXT-INDENT: 36pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">- William West, Symboleography (1593) “When the law speaks universally, then, and a case arises on it which is not covered by the universal statement, then it is right, where the legislator fails us and has erred by oversimplicity, to correct the omission-to say what the legislator himself would have said had he been present, and would have put into his law if he had known. Hence the equitable is just, and better than one kind of justice-not better than absolute justice but better than the error that arises from the absoluteness of the statement. And this is the nature of the equitable, a correction of law where it is defective owing to its universality. In fact this is the reason why all things are not determined by law, that about some things it is impossible to lay down a law, so that a decree is needed. For when the thing is indefinite the rule also is indefinite, like the leaden rule used in making the Lesbian moulding; the rule adapts itself to the shape of the stone and is not rigid, and so too the decree is adapted to the facts.”<o:p></o:p></span></span></p><span style="font-family:arial;"></span><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 54pt; BACKGROUND: white; mso-list: l2 level1 lfo3" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB" style="font-family:'Trebuchet MS';"><span style="mso-list: Ignore">-<span style="FONT: 100% 'Times New Roman'"> </span></span></span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Aristotle, The Nichomachean Ethics, Book V chapter 10</span></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 54pt; BACKGROUND: white; mso-list: l2 level1 lfo3" class="MsoNormal" align="justify"><span style="font-family:arial;"></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">In addition, we will consider the significance of the “horticultural” metaphor for law.<br style="mso-special-character: line-break"></p><br /><p></span></p><br /><p></p><br /><p></p><br /><p></p><br /><div align="justify"></span><span style="font-family:arial;"></span><strong><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">Seminar Two:</span></strong></div><br /><div align="justify"><strong><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">Thursday 14<sup>th</sup> April 2011 10:00 - 11:45</span></span></strong></div><br /><div align="justify"><strong><span style="font-size:130%;"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">“Honoré Daumier and the Moving Image of Law” </span></span></strong></div><br /><div align="justify"><strong><span style="font-family:Trebuchet MS;font-size:130%;"></span></strong></div><br /><div align="justify"><span lang="EN-GB"></span><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">“a painter so mighty, that no terms can exaggerate the greatness of his importance”. - Julius Meier-Graefe (Florence Simmonds, trans.)<br style="mso-special-character: line-break"></div></span></i><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">“Dictus et Amphion, Thebanae conditor arcis, Saxa movere sono testudinis, et prece blanda Ducere quo vellet. Fuit haec sapientia quondam, Publica privatis secernere, sacra profanis…leges incidere lingo”. <o:p></o:p></span></span></i></p><br /><div align="justify"></div><br /><div align="justify"><span style="font-family:arial;"><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Horace, <span style="mso-bidi-font-style: italic">De Arte Poetica</span></span></i> </span></div><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><i style="mso-bidi-font-style: normal"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">[Amphion too, the builder of the Theban wall, was said to give the stones motion with the sound of his lyre, and to lead them -whithersoever he would, by engaging persuasion. This was deemed wisdom of yore, to distinguish the public from private weal, things sacred from things profane…to engrave laws on tables of wood.</span></i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><br style="mso-special-character: line-break"></p></span><span style="font-family:arial;"></span><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;">This seminar, based on an annotated slideshow of the life and art of Honoré Daumier (1808-1879), is an exploration of the artist’s remarkable power to reveal human motivations and to move his viewers through images which for the most part were lithographic caricatures and therefore quite literally “set in stone”.<span style="mso-spacerun: yes"> </span>Focusing on his representation of the legal profession, we discover that Daumier’s project was to present the theatrical show of law – complete with chiaroscuro lighting, costume, stage, props, gestural rhetoric and, most significant of all, a director’s insight into what motivates the actors. </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><span style="font-family:arial;"></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal" align="justify"><b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:red;">Preparation:</span></i></b></p><br /><ul><br /><li><br /><div align="justify"><span style="mso-fareast-: EN-GB;font-family:'Trebuchet MS', 'sans-serif';" lang="EN-GB" ><span style="font-family:arial;">Access <i style="mso-bidi-font-style: normal">Daumier lithographs: the human comedy</i> on Google Books (see page 4 on chiaroscuro).</span></span> </div></li><br /><li style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><br /><div align="justify"><span style="mso-fareast-: EN-GB;font-family:'Trebuchet MS', 'sans-serif';" lang="EN-GB" ><span style="font-family:arial;">Look up the subject of “lawyers” at </span><a href="http://dcoll.brandeis.edu/handle/10192/5/browse?type=subject"><span style="font-family:arial;color:red;"><a href="http://dcoll.brandeis.edu/handle/10192/5/browse?type=subject">http://dcoll.brandeis.edu/handle/10192/5/browse?type=subject</span></a></span></a></div></li></ul><br /><ul><br /><li style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><br /><div align="justify"><span style="mso-fareast-: EN-GB;font-family:'Trebuchet MS', 'sans-serif';" lang="EN-GB" ><span style="font-family:arial;">Bring a picture (by any artist) demonstrating chiaroscuro and be prepared to discuss its symbolic significance to the law.</span></span> </div></li><br /><li style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><br /><div align="justify"><span style="mso-fareast-: EN-GB;font-family:'Trebuchet MS', 'sans-serif';" lang="EN-GB" ><span style="font-family:arial;">Read the extract from the editorial to (2008) 3(1) Law and Humanities (set out below).<o:p></o:p></span></span></div></li></ul><br /><div align="justify"><span style="font-family:arial;"><b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Seminar Outline: </span></i></b><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">We will discuss the significance of the chiaroscuro images you have found, and some others that I will bring to the seminar. Are you familiar with the phrases “black letter law” and “bright line rule”? Is anything in nature black and white? Is the law? Be prepared to produce your own chiaroscuro study of the law – materials will be supplied!</span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"> </span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><u>Gary Watt on law, architecture and the art of chiaroscuro in the work of Honoré Daumier, from the Editorial to 3(1) Law and Humanities (2008):</u> </span></span><span style="font-family:arial;"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">“Daumier’s wor</span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">k exhibits a complete mastery of composition, line, tone and – when used, which was relatively seldom – colour. A distinctive feature of much of his work is the bold use of chiaroscuro (or clair-obscur), which is the use of dark shadow and bright light to produce dramatic tonal contrast. This feature is the foundation for many of his greatest oil paintings - including Le Lutteur (1852-53); Les Deux Avocats (1855-7); L’Homme à la corde (1858-60); La Laveuse (1860-1) and Crispin et Scapin (1863-5) – and, of course, it is an almost universal feature of his caricatures, which were for the most part executed exclusively in black-and-white monochrome – or as we might term it nowadays, “greyscale”. One can attribute Daumier’s fascination with lawyers to many sources – including the fact that he was employed (at the age of twelve or thirteen) to act as a runner for a notary or bailiff in Paris and the fact that, around the same time, his father is said to have been a frequent visitor to the courts on account of his troubled business affairs – but whatever captured his artistic imagination, it was surely the singular contrast between lawyers’ white collars and black robes that captivated his artistic eye. In the introduction to the English language publication of Les Gens de Justice, Julien Cain notes that “Daumier saw this ‘magic lantern of black figures’ performed before his very eyes” (Les Gens de Justice (New York: Tudor Publishing, 1959) page 13). As for the deeply sardonic critique of lawyers that emerges through his work, that may be attributable to his republican – essentially revolutionary – political outlook, and to the fact that he was imprisoned in his early twenties for his caricature Gargantua (1831). This caricature depicts the last king to rule in France - Louis-Philippe I, so-called “King of the French” – seated on a commode throne continually “issuing” favours whilst being continually fed by the bourgeoisie.... Daumier deserves his place in the pantheon of Law and Humanities, because he exemplifies the central aim of the whole project – which is to cast external scholarly or artistic illumination upon law and lawyers. But do Daumier’s caricatures cast too bright a light? Is his clair too brilliant, with the result that his obscur is too dark, too cynical? We do not think so. If there is an extremism to Daumier’s caricatures, it is attributable to a great extent to the somewhat journalist context in which those works appeared. There was also the need to ensure that the work was attractive to the editors and to the paying public. Surprising as it may seem to us, Daumier sometimes struggled to have certain pieces accepted – even, and perhaps especially, towards the end of his career. Despite this, the passionate humanity of the man is clear from his caricatures – his depiction of the lawyer leaving court with a tearful widow and her “orphan” child achieves pity and avoids sentimentality. </span><span style="mso-ansi-language: FR;font-family:'Trebuchet MS', 'sans-serif';" lang="FR" >The picture is so well drawn, the legend accompanying it in Les Gens de Justice is otiose: “Vous avez perdu votre procès c'est vrai ..... mais vous avez du éprouver bien du plaisir à m’entendre plaider”. </span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">This caricature appears as plate number 35 in Les Gens de Justice (see Stone number 1371: www.daumier.org), and to conclude we will briefly consider the plate that immediately follows it. Plate 36 (Stone number 1372: www.daumier.org) depicts the grand staircase leading up to the Palais de Justice, which still stands at the heart of Paris on the Île de la Cité. Walking down the staircase are two lawyers, a few steps apart, each nursing a bundle of documents under his left arm. Each lawyer is looking straight ahead in full-frontal profile; faces devoid of passion, almost without expression – most un-Daumier-like. Their black robes drop straight, their white official scarves – an elongated version of what English barristers call “tabs” - hang from their collars rigidly perpendicular, as if starched. </span><span style="mso-ansi-language: FR;font-family:'Trebuchet MS', 'sans-serif';" lang="FR" >The plate carries the legend “Grand escalier du Palais de justice. </span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Vue de faces”. The humour is as understated as was the pathos of the previous plate. The reference is architectural: here, in the language of architects, is a “front profile of the grand staircase”, and here – in the shape of lawyers – are two cold and rigid men of stone. The fact that the plate is itself a lithograph– and was therefore set in stone – adds a further dimension to the metaphor...Plate 36 was apparently based on an earlier wood engraving (1836), which is a pleasing metaphor for the way in which the law begins in nature before it is set in stone, but the evolution of the work does not end there. Daumier revisited the image around 1865 in the form of a mixed media work (charcoal, soft pencil, ink, watercolour and gouache on paper). </span><span style="mso-ansi-language: FR;font-family:'Trebuchet MS', 'sans-serif';" lang="FR" >The later version is entitled Le Grand escalier du Palais de justice. </span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">The pronoun “le” has been added, and the concluding clause “Vue de faces” has been removed. Accordingly, there is, on this occasion, no attempt to repeat the architectural joke. The composition of the picture broadly corresponds to the earlier lithograph, but there are significant differences. There is only one lawyer walking down the stairs, but that is not especially significant. What is significant is the fact that the lawyer is clearly moving – his hat is soft and sitting somewhat askew, his robes are flowing, his white scarf is ruffled and shifting and his feet can be seen stepping down the stairs, whereas before we did not see them. And there, on his chest, near his heart, is the smallest square of red – the ribbon of la Légion d’honneur. Apart from this small patch of red, the picture is grey or thinly washed in pale pink and yellow. There is hope in this image. The stone cold lawyer has moved. The colourless lawyer has a spark of passion in his heart. His face is still aloof but he is moving, and he is walking down from his lofty place, and he might just be walking towards humanity”.<o:p></o:p></span></span> </div><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 12pt; BACKGROUND: white" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><o:p></o:p></span><b><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><o:p></o:p></span></b></span></p><br /><div align="justify"><strong><span style="font-size:130%;"><span style="font-family:arial;"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Seminar Three:</span></span></span></strong></div><br /><div align="justify"><strong><span style="font-size:130%;"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">Friday 15<sup>th</sup> April 2011 10:00 - 11:45<o:p></o:p></span></span> </span></strong></div><br /><div align="justify"><strong><span style="font-size:130%;"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><span style="font-family:arial;">"Law, Performance and the Sign of Blood"<o:p></o:p></span></span> <span style="font-family:arial;"></span></span></div></strong><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 12pt; BACKGROUND: white" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:black;"><o:p></o:p></span></p><br /><div align="justify"><b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';color:red;">Preparation:</span></i></b> </div><br /><ul type="disc"><br /><li style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 10pt; BACKGROUND: white; mso-list: l0 level1 lfo2; mso-margin-top-alt: auto" class="MsoNormal"><br /><div align="justify"><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Please bring a quotation from any theatrical drama (in any language and of any era) in which the physical stain of blood is linked to a legal theme.</span></div></li><br /><li style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 10pt; BACKGROUND: white; mso-list: l0 level1 lfo2; mso-margin-top-alt: auto" class="MsoNormal"><br /><div align="justify"><span style="mso-fareast-: EN-GB;font-family:'Trebuchet MS', 'sans-serif';" lang="EN-GB" ><span style="font-family:arial;">Read Act 3 scene 2 of Shakespeare’s <i style="mso-bidi-font-style: normal">Julius Caesar</i> – especially Antony’s funeral oration in the Roman forum. (</span><a href="http://shakespeare.mit.edu/julius_caesar/julius_caesar.3.2.html"><span style="font-family:arial;color:#0000ff;">http://shakespeare.mit.edu/julius_caesar/julius_caesar.3.2.html</span></a><span style="font-family:arial;">) </span></span><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';"><br style="mso-special-character: line-break"><br style="mso-special-character: line-break"></div></li></ul></span><span style="mso-fareast-: EN-GB;font-family:'Trebuchet MS', 'sans-serif';" lang="EN-GB" ><o:p></o:p></span><span style="font-family:arial;"></span><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 18pt; MARGIN: 0cm 0cm 10pt; BACKGROUND: white; mso-margin-top-alt: auto; mso-margin-bottom-alt: auto" class="MsoNormal" align="justify"><span style="font-family:arial;"><b><i><span lang="EN-GB" style="font-family:'Trebuchet MS', 'sans-serif';">Seminar Outline:</span></i></b></span> </p><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:arial;">We will consider how blood is used in theatre to signify legal crisis, especially where the conflict is between the law of state and the laws of nature and the divine. We will demonstrate this through attention to Shakespeare’s <i style="mso-bidi-font-style: normal">Julius Caesar</i> and Sophocles’ <i style="mso-bidi-font-style: normal">Antigone</i>. In Shakespeare’s play, Brutus appears, at first, to believe in a law of blood that is deeper than the law of the State, but his appeal to Roman blood is actually devoted to the political idea of Rome rather than to any personal notion of kinship. He is the dramatic descendant of King Creon in Sophocles’ <i style="mso-bidi-font-style: normal">Antigone</i>, who placed the laws of the <i style="mso-bidi-font-style: normal">polis</i> (the “city-State”) above any bond of familial blood. Brutus confirms that he would prefer to avoid bloodshed if there were any way to slay the <i style="mso-bidi-font-style: normal">spirit</i> of Caesar, but alas “In the spirit of man there is no blood” and “Caesar must bleed<u> </u>for it!” (2.1.168-171). Brutus calls the conspirators to “dismember” Caesar; to cut him down to size. He acknowledges that he is plotting a performance for which there must be blood - for the issue of blood is inevitable where laws of family and friendship are made to conform to the laws of State; as Brutus acknowledges (in retrospect): “Did not great Julius bleed for Justice’s sake?” (4.3.21). In his oration at Caesar’s funeral, Mark Antony appropriates Brutus’ rhetoric of blood and turns it against him. At the climax of his speech, just before he reveals Caesar’s bloody corpse, he surveys Caesar’s bloody clothing wound by wound:</span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="font-family:arial;"></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">“Look, in this place ran Cassius’ dagger through:</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">See what a rent the envious Casca made:</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">Through this, the well-belovèd Brutus stabbed,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">And as he plucked his cursèd steel away,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">Mark how the blood of Caesar followed it,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">As rushing out of doors, to be resolved</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">If Brutus so unkindly knocked or no,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">For Brutus, as you know, was Caesar’s angel, -</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span style="mso-bidi-font-weight: bold" lang="EN-GB">Judge, O you gods, how dearly Caesar loved him. -</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="mso-bidi-font-weight: bold;font-family:arial;" lang="EN-GB" >This was the most unkindest cut of all.” (3.2.171-180)</span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span lang="EN-GB" style="font-family:arial;">Antony appeals to higher laws than the law of the State. He appeals to the law of blood and the law of the gods. The appeal to the gods is obvious. The appeal to the law of blood is more subtle. Antony accuses Brutus of putting ephemeral matters of State before a kindred duty to Caesar, who was like a father to him. The repeated reference to Brutus’ “unkindness” is designed to emphasise his disobedience to the law of kindred blood. The description “most unkindest” is effective as an impassioned tortologous double-superlative, but it makes most sense if we understand “unkindest” to mean “not the sort of thing that should occur between kin”. Sophocles’ Antigone likewise considers the perpetual and unalterable laws of life, death and blood to be more fundamental than temporary laws of State and to be more fundamental, even, than laws governing the legal status of marriage:</span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="font-family:arial;"></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">“Had I had children or their father dead, </span></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">I’d let them moulder. I should not have chosen</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">In such a case to cross the State’s decree.</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">What is the law that lies behind these words?</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">One husband gone, I might have found another,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">or a child from a new man in first child's place,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">but with my parents hid away in death,</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:arial;"><span lang="EN-GB">no brother, ever, could spring up for me.</span> </span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span lang="EN-GB"><span style="font-family:arial;">Such was the law by which I honoured you.” (900-920)</span></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:Arial;"></span></p><br /><div align="justify"></div><br /><p style="LINE-HEIGHT: 150%; MARGIN: 0cm 0cm 0pt 36pt" class="MsoNormal" align="justify"><span style="font-family:Arial;"><strong>Prof. Watt's CV:</strong></span><span lang="EN-GB"><span style="font-family:arial;"><o:p> </p><br /><p style="TEXT-ALIGN: justify; MARGIN: 0cm 0cm 10pt" class="MsoNormal" align="justify"><span style="LINE-HEIGHT: 115%;color:black;" lang="EN-US" >Gary Watt (b. 1969) is a graduate of New College, Oxford University, and a qualified Solicitor (non-practising). He is currently an Associate Professor and Reader in Law at the University of Warwick, having joined Warwick Law School in 1999. Since 2005 he has also been a visiting professor in comparative common law at the Université René Descartes (Paris 5) and since 2004 he has been one of the editors of the Mortgage group in the Project for a Common Core of European Private Law based at the Università di Trento. Gary is a passionate advocate for scholarship and teaching in the various fields of law and humanities and is one of the two founding editors of Law and Humanities (Oxford, Hart publishing) - the first UK-based journal dedicated to the examination of law by the lights of humanities’ disciplines. He is the co-editor of Shakespeare and the Law (Oxford, Hart publishing, 2008) and the author of numerous books, chapters and articles, including Trusts and Equity (Oxford, Oxford University Press, 2003) (currently in 3rd edition, 2008) and a forthcoming book on law and literature: Equity Stirring: The Story of Justice Beyond Law (Oxford, Hart publishing, 2009). He has also co-written for BBC Radio 3's Between the Ears strand with ‘Prix Italia’ winner Antony Pitts. Gary’s enthusiasm for his subjects (and for teaching them) has led to invitations to deliver lectures and seminars in places as diverse as Hong Kong, the US, Italy, Berlin, Paris, Amsterdam, and the Royal Shakespeare Company in Stratford-upon-Avon, England. Gary was named UK “Law Teacher of the Year” in 2009.</span><span style="mso-ansi-language: EN-US" lang="EN-US"><o:p></o:p></span></p></o:p></span></span>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com16tag:blogger.com,1999:blog-2630378565635201315.post-86320121422962116702011-04-07T17:24:00.002+02:002011-04-07T17:35:36.725+02:00VISIT TO THE COURT OF CASSATION<a href="http://3.bp.blogspot.com/-KCSHlb4BeuY/TZ3ZVPODwZI/AAAAAAAAADo/xp6mit3CnR0/s1600/Cartello_stradale_street_sign_Italy.JPG"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 240px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5592865271150002578" border="0" alt="" src="http://3.bp.blogspot.com/-KCSHlb4BeuY/TZ3ZVPODwZI/AAAAAAAAADo/xp6mit3CnR0/s320/Cartello_stradale_street_sign_Italy.JPG" /></a>Dear all, <br /><div>unfortunately we can't visit the Court of Cassation on the 27th . Now I have to ask you which date you prefer...they proposed me the 26th of April (Tuesday). In this case we could decide to organize the mid-term exam on the 27th OR on the 28th. I have to discuss with prof. Conte about this. What do you think about this option (26th)? If you agree, then write your name as a comment to this post.</div><br /><div></div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com22tag:blogger.com,1999:blog-2630378565635201315.post-67456962177634599872011-04-07T17:18:00.002+02:002011-04-07T17:22:27.482+02:00TOMORROW: ROOM 4, "Edificio Tommaseo"Dear all, the last lesson taught by prof. Martyn will take place in room 4 (1st floor) of the "other" building of our faculty (Edificio Tommaseo), Via Ostiense 139, at 10:00 as usual. I am really sorry but hopefully next week everything will work again in "our" room 4. See you thereDr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com0tag:blogger.com,1999:blog-2630378565635201315.post-3566202656242563712011-04-06T16:59:00.001+02:002011-04-06T17:00:43.151+02:00TOMORROW: ROOM 6!Dear students, the lesson of tomorrow (7th April) will take place in room 6 due to technical problems in room 4. See you there at 10:00!Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com1tag:blogger.com,1999:blog-2630378565635201315.post-25580959237420400392011-04-03T11:11:00.005+02:002011-04-03T11:23:28.009+02:00THREE IMAGES TO GUESS ABOUT<a href="http://1.bp.blogspot.com/-Q0Lf3fPKBdg/TZg8BI-mrFI/AAAAAAAAADg/HTvL79FIuLY/s1600/Guess_legal_iconography_3.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 233px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5591284927668071506" border="0" alt="" src="http://1.bp.blogspot.com/-Q0Lf3fPKBdg/TZg8BI-mrFI/AAAAAAAAADg/HTvL79FIuLY/s320/Guess_legal_iconography_3.jpg" /></a> <br /><div><a href="http://1.bp.blogspot.com/-yFYWNc0YlJ4/TZg68zf_ThI/AAAAAAAAADY/M1JMtA3p10Q/s1600/Guess_legal_iconography_2.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 258px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5591283753671413266" border="0" alt="" src="http://1.bp.blogspot.com/-yFYWNc0YlJ4/TZg68zf_ThI/AAAAAAAAADY/M1JMtA3p10Q/s320/Guess_legal_iconography_2.jpg" /></a> <br /><div><a href="http://1.bp.blogspot.com/-BVNSpwpm5hc/TZg6QgicNuI/AAAAAAAAADQ/87VwfyfGy3Q/s1600/Guess_legal_iconography_1.jpg"><img style="MARGIN: 0px 0px 10px 10px; WIDTH: 320px; FLOAT: right; HEIGHT: 274px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5591282992667178722" border="0" alt="" src="http://1.bp.blogspot.com/-BVNSpwpm5hc/TZg6QgicNuI/AAAAAAAAADQ/87VwfyfGy3Q/s320/Guess_legal_iconography_1.jpg" /></a> <br /><div>Dear students,</div><br /><div>prof. Martyn asked me to put on the blog these 3 images: you should try to interpret them and comment on the blog or during the classes. Let's try, don't be shy!</div></div></div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com41tag:blogger.com,1999:blog-2630378565635201315.post-87862557846979140632011-04-03T11:04:00.002+02:002011-04-03T11:10:22.927+02:00GEORGES MARTYN ON "LAW AND ICONOGRAPHY"<a href="http://1.bp.blogspot.com/-OuI6p4vGG6o/TZg5PdH5fLI/AAAAAAAAADI/5CX-Rkco6co/s1600/duerer%2Bship%2Bof%2Bfools.jpg"><img style="MARGIN: 0px 10px 10px 0px; WIDTH: 236px; FLOAT: left; HEIGHT: 320px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5591281875059047602" border="0" alt="" src="http://1.bp.blogspot.com/-OuI6p4vGG6o/TZg5PdH5fLI/AAAAAAAAADI/5CX-Rkco6co/s320/duerer%2Bship%2Bof%2Bfools.jpg" /></a> <br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">General Outline<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span></b></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Wednesday April, 7: General introduction to the theme ‘Law and Iconography’<o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Thursday April, 8: The representation of ‘justice’ and ‘law’ in court rooms through the ages<o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Friday April, 9: The image of judge, advocate and proctor: exaltation and criticism…<o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><o:p><span style="font-family:Calibri;"></span></o:p></span></b></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Readings <o:p></o:p></span></span></b></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">1) As general introduction to the ‘law and arts/iconography’ theme: <o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Christine HAIGHT FARLEY, <i style="mso-bidi-font-style: normal">Imagining the law</i>, in: A. SARAT, M. ANDERSON & C.O. FRANK (eds.), <i style="mso-bidi-font-style: normal">Law and the Humanities. An introduction</i>, Cambridge, University Press, 2010, 292-312.<o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><o:p><span style="font-family:Calibri;"></span></o:p></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">2) For some medieval examples: <o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">Susan L’ENGLE, <i style="mso-bidi-font-style: normal">Legal iconography</i>, in: L’ENGLE, S. and GIBBS, R. (eds.), <i style="mso-bidi-font-style: normal">Illuminating the Law. Legal Manuscripts in Cambridge Collections</i> (Cambridge, Fitzwilliam Museum 3 November – 16 December 2001), London, 2001.<o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US;font-family:'Times New Roman', 'serif';" lang="EN-US" ><o:p></o:p></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><span style="font-family:Calibri;">3) Dennis E. CURTIS and Judith RESNIK, <i style="mso-bidi-font-style: normal">Images of Justice</i>, in “Yale Law Review”, 96, 1986-87, 1727-1772 (also available on Heinonline).<o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" ><o:p><span style="font-family:Calibri;"></span></o:p></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="font-family:Calibri;"><span style="mso-ansi-language: DE; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="DE" >4) Georges MARTYN, <i style="mso-bidi-font-style: normal">Painted Exempla Iustitiae in the Southern Netherlands</i>, in SCHULZE, R. (ed.), <i style="mso-bidi-font-style: normal">Symbolische Kommunikation voor Gericht in der Frühen Neuzeit</i> (= Schriften zur Europäischen Rechts- und Verfassungsgeschichte, LI), Berlin, 2006, 335-356.</span><span style="mso-ansi-language: DE;font-family:'Times New Roman', 'serif';" lang="DE" ><o:p></o:p></span></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: DE;font-family:'Times New Roman', 'serif';" lang="DE" ><o:p></o:p></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: DE;font-family:'Times New Roman', 'serif';" lang="DE" ><o:p></o:p></span></p><br /><p style="LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="font-family:Calibri;"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-fareast-language: ITfont-family:Calibri;" lang="EN-US" >Georges Martyn's CV</span></b><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US;font-family:'Times New Roman', 'serif';" lang="EN-US" ><o:p></o:p></span></b></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal" align="justify"><span style="mso-ansi-language: EN-GB; mso-bidi-: minor-latinfont-family:Calibri;" lang="EN-GB" ><span style="font-family:Calibri;">Georges Martyn (Avelgem (Belgium), 1966) studied Law (1984-89) and Medieval Studies (1989-91) in Leuven and received his Ph.D. in Legal History at the Catholic University of Leuven in 1996. He has been an ‘advocaat’ (barrister/lawyer) between 1992 and 2008 and is a substitute justice of the peace in Kortrijk (B) since 1999. He is professor at the University of Ghent (Department of Jurisprudence and Legal History) since 1999. He teaches ‘History of Politics and Public Law’, ‘General Introduction to Belgian Law’ and ‘Legal Methodology’. His scientific articles consider the history of legislation in the Netherlands in early modern times, the reception of Roman law, the legal professions, the evolution of the sources of the law in the nineteenth and twentieth centuries and legal iconography (</span><a href="http://www.rechtsgeschiedenis.be/"><span style="color:blue;"><span style="font-family:Calibri;">www.rechtsgeschiedenis.be</span></span></a><span style="font-family:Calibri;">).<o:p></o:p></span></span></p>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com1tag:blogger.com,1999:blog-2630378565635201315.post-7949106528376333142011-03-28T20:13:00.005+02:002011-03-28T22:00:57.997+02:00STEFANIA GIALDRONI ON "LAW AND ARCHITECTURE" & RAFFAELE FURNO ON "LAW AND PERFORMANCE"<img style="MARGIN: 0px 10px 10px 0px; WIDTH: 164px; FLOAT: left; HEIGHT: 252px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5589203411373024866" border="0" alt="" src="http://4.bp.blogspot.com/-fC5N9MHr614/TZDW48hKZmI/AAAAAAAAADA/L7Clg5U7tYc/s320/Salvio%2BGiuliano.jpg" /><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Dear all,<?xml:namespace prefix = o ns = "urn:schemas-microsoft-com:office:office" /><o:p></o:p></span></span> <br /><div><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">next week (on Wednesday and Thursday) I will analyze with you the possible interactions between Law and Architecture, focusing on the peculiar role of monuments in Rome after the unification of Italy. My aim is to discuss the following topics:</span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;"><o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">1) The influence of legal-political ideology on architecture. <o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">2) The influence of architecture on the common perception of law and justice. </span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;"><o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">On Friday Raffaele Furno will conclude this week with a more general analysis of the relationship between individual and space and between space and cultural and social identity. </span></span><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">The topic of the possible links between law and space will thus be approached from two very different standpoints, considering also our very different backgrounds. <o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><o:p><span style="font-family:Calibri;"></span></o:p></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Class schedule:<o:p></o:p></span></span></b></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">LAW AND ARCHITECTURE: <o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">“MONUMENTOMANIA” IN POST-UNIFICATION ITALY<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-fareast-language: IT; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="mso-list: Ignore"><span style="font-family:Calibri;">1)</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Cavour monument in the framework of the political topography of “Roma Capitale” <o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; TEXT-INDENT: -18pt; MARGIN: 0cm 0cm 0pt 36pt; mso-list: l0 level1 lfo1; tab-stops: list 36.0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-fareast-language: IT; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="mso-list: Ignore"><span style="font-family:Calibri;">2)</span><span style="FONT: 7pt 'Times New Roman'"> </span></span></span><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">The Italian Court of Cassation: the fulfillment of Zanardelli’s idea of justice<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">LAW AND PERFORMANCE:<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;" lang="EN-US" ><span style="font-family:Calibri;"><span style="mso-spacerun: yes"></span>3) The changing space of Rome / Constructing identity <o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><o:p><span style="font-family:Calibri;"></span></o:p></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Raffaele Furno’s CV: <o:p></o:p></span></span></b></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Raffaele Furno holds a PhD in Performance Studies from Northwestern University and a B.A. in Asian Studies from UC Berkeley.<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">His first book "Intra-cultural Theater: Performing the Life of Black Migrants to Italy" was published in 2010 and analyzes the intersection between theater-making and the changing racial landscape in Italy since the late 1970s.<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">He has also published several articles on contemporary Italian theater and performance.<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">He is currently prof. of Performance Theory at Arcadia University, and Creative Writing at Università Gregorio VII.<o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Furno is also a theater director, who has extensively worked in the USA and Italy, founder of the experimental theater company <i style="mso-bidi-font-style: normal">Imprevisti e Probabilità</i>, and artistic director of the Festival <i style="mso-bidi-font-style: normal">Deviazioni Recitative</i>.</span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;"><a href="mailto:furnor@arcadia.edu">furnor@arcadia.edu</a><o:p></o:p></span></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><o:p><span style="font-family:Calibri;"></span></o:p></span></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt" class="MsoNormal"><b style="mso-bidi-font-weight: normal"><span style="mso-ansi-language: EN-US; mso-bidi-: minor-latinfont-family:Calibri;font-size:12;" lang="EN-US" ><span style="font-family:Calibri;">Stefania Gialdronis’s CV<o:p></o:p></span></span></b></p><br /><p style="TEXT-ALIGN: justify; LINE-HEIGHT: normal; MARGIN: 0cm 0cm 0pt; BACKGROUND: white" class="MsoNormal"><span style="mso-ansi-language: EN-US; mso-bidi-font-family: Calibri; mso-bidi-theme-font: minor-latin; mso-fareast-: ITfont-family:'Times New Roman';font-size:12;color:black;" lang="EN-US" ><span style="font-family:Calibri;">Stefania Gialdroni is a research fellow (“assegnista di ricerca”) at the University of Roma Tre Law Faculty, the chair of Medieval and Modern Legal History. She obtained her PhD in 2009 “en co-tutelle” between the University of Milano-Bicocca and the Ecole des Hautes Etudes en Sciences Sociales - Paris (EHESS). In 2006 she entered the Marie Curie Program “European Doctorate in history, sociology, anthropology and philosophy of legal cultures in Europe”. In the framework of the European Doctorate she spent one year at the London School of Economics (LSE), and two years at the EHESS in Paris. She received several scholarships from the Max-Planck Institut für europäische Rechtsgeschichte in Frankfurt am Main, where she attended the International Max-Planck Research School for Comparative Legal History (2005-2006). In 2003 she graduated from the University of Rome Tre, Law Faculty. She has been assisting Prof. Emanuele Conte in the organization of the Law and the Humanities courses at the RomaTre Law Faculty since 2008. The subject of her PhD thesis is the legal structure of the English East India Company during the 17th century.<o:p></o:p></span></span></p></div>Dr. Stefania Gialdronihttp://www.blogger.com/profile/08956928335528620876noreply@blogger.com18