File #2297: "2018_Book_SensingTheNationSLaw.pdf"
Text
1|Acknowledgements|6
1|Contents|7
1|Editors and Contributors|9
1|1 Introduction|11
2|Abstract|11
2|References|17
1|Revolution, Constitution, Republic|19
1|2 Monument, Portrait, Tableau: Making Sense of and with Jacques-Louis David’s Tennis Court Oath|20
2|Abstract|20
2|2.1 Introduction: The Revolutionary Moment?|20
2|2.2 Monument|25
2|2.3 Portrait|33
2|2.4 Tableau|41
2|2.5 Conclusion: “Actors in Waiting”?|48
2|Acknowledgements|50
2|References|50
1|3 The Quest for the Decisive Constitutional Moment (DCM)|53
2|Abstract|53
2|3.1 Introduction|53
2|3.2 Defining a DCM|56
3|3.2.1 Decisive: Cartier-Bresson’s Decisive Moment|56
3|3.2.2 Constitutional: Ackerman’s Constitutional Moment|57
3|3.2.3 Moment: Visual Narration of a Story and a Moment|59
3|3.2.4 A Definition for the DCM|62
2|3.3 The Medium Constitutes the Message|63
3|3.3.1 (Wall-)Painting, Prints and Photography|63
3|3.3.2 Medals|64
3|3.3.3 Sculpture|69
3|3.3.4 Moment, Medium and Message|71
2|3.4 Moment into Monument: The 1849 Congress Column Competition in Belgium|72
3|3.4.1 The 1849 Competition|72
3|3.4.2 A Plenitude of Choices|73
3|3.4.3 The Final Choice: Living in the Moment|84
2|3.5 Conclusion|88
2|Acknowledgements|89
2|References|89
1|4 Courbet and the Nude Republican Master|93
2|Abstract|93
2|4.1 Introduction|94
3|4.1.1 Duelling Masters|94
3|4.1.2 Courbet, The Studio and Iconology|97
2|4.2 The King and The Artist: A Political Allegory|99
2|4.3 Discovering Marianne|102
3|4.3.1 The Ideological Context of Art and French Liberty|102
3|4.3.2 Disguising Marianne|105
2|4.4 The Studio Under the Gaze of the Law|109
3|4.4.1 Jurisprudence|109
3|4.4.2 The Iconology of the Artist as Amanuensis|110
3|4.4.3 Civilised Landscape and Natural Law|111
2|4.5 A Lacanian Artist and Legal Subject Formation|112
3|4.5.1 The Studio as an Image of Symbolic Castration|112
3|4.5.2 My Enemy’s Enemy|114
3|4.5.3 Nude Law and Jouissance|115
2|4.6 The Modern Genius Reinstated After All|118
2|References|119
1|The Aesthetic Constitution of Office|123
1|5 Justice Petrified: The Seat of the Italian Supreme Court between Law, Architecture and Iconography|124
2|Abstract|124
2|5.1 Law and the City in Context: From the “Sanctuary of Justice” to er Palazzaccio|125
2|5.2 Giuseppe Zanardelli and the Pivotal Year 1889|128
3|5.2.1 Giordano Bruno in Campo de’ Fiori|129
3|5.2.2 The New Criminal Code|131
3|5.2.3 Justice in Piazza Cavour|133
3|5.2.4 A Wind of Change? New Palaces of Justice in Nineteenth-Century Europe|134
3|5.2.5 Outside Italy|135
3|5.2.6 The Failing Projects for the Italian Palace of Justice: Looking for a “National Style”|137
3|5.2.7 Zanardelli’s Concept and Calderini’s Vision|141
2|5.3 Talking Statues: The Legal-Historical Iconography of the Supreme Court|144
3|5.3.1 From Pasquino to Ulpian|145
2|5.4 A Procession of Orators and Jurists|148
2|5.5 Conclusion: From Hyper-symbolism to Hypo-symbolism|152
2|References|157
1|6 Visual Rhetoric as “A Space-in-Between”: Semiotic Account of French Official Presidential Photographs|160
2|Abstract|160
2|6.1 Third Space as A Space-in-Between in Visual Rhetoric|160
3|6.1.1 Visualizing Effectively Presidential Photographs|162
3|6.1.2 Visual Elements as Consensual Symbolism|163
2|6.2 French Presidential Photographs as Elements of Visual Persuasion|165
3|6.2.1 Charles de Gaulle (1958–1969) and Georges Pompidou (1969–1974)|166
3|6.2.2 Valéry Giscard d’Estaing (1974–1981)|169
3|6.2.3 François Mitterrand (1981–1995)|170
3|6.2.4 Jacques Chirac (1995–2007)|173
3|6.2.5 Nicolas Sarkozy (2007–2012)|174
3|6.2.6 François Hollande (2012–2017)|176
2|6.3 Official Photographs as Symbols of the French Heritage|177
2|References|178
1|Untimely Reflections on the Nation’s Law|180
1|7 Here and Now: From “Aestheticizing Politics” to “Politicizing Art”|181
2|Abstract|181
2|7.1 The Work of Art|181
2|7.2 Myth, Legend and Utopia|184
2|7.3 Eternity and Contingency|189
2|References|194
1|8 A Hypothesis on the Genealogy of the Motto “In God We Trust” and the Emergence of the Identity of the Church|197
2|Abstract|197
2|8.1 Introduction—In God We Trust|198
2|8.2 Common Identity Through Common Trust|199
2|8.3 The Context of the Pastoral Epistles|201
2|8.4 Genealogy of the Deposit|206
2|8.5 Administrating the Immaterial|212
2|8.6 In God We Trust|214
2|References|217
1|Out of Many, One|219
1|9 Appreciation or Appropriation? An Indigenous Moment in the American Numismatic Narrative (1999–2009)|220
2|Abstract|220
2|9.1 Numismatic Constructions of Community|221
2|9.2 Coins as Legal Aesthetic and Cultural Text|223
2|9.3 State and Territorial Quarters Programs|226
2|9.4 Folk Legality and Nostalgic Jurisprudence|228
2|9.5 Appropriation of Indigeneity|230
2|9.6 Appreciation of Indigeneity|232
2|9.7 Concluding Remarks|237
2|References|239
1|10 Internormative Gastronomies: Law, Nation and Identity|241
2|Abstract|241
2|10.1 Food and the Polity: Law, Nation and Identity|242
2|10.2 Loosening I: Identity and Nation|245
2|10.3 Loosening II: Nation and Law|252
2|10.4 Loosening III: Law and Identity|257
2|10.5 Nomos Negotiated|260
2|References|263
1|Consensus|266
1|11 Aesthetic Mediation: Towards Legitimate Power|267
2|Abstract|267
2|11.1 Modernity and Mediation: Ontology of the Nation-State|267
3|11.1.1 Representing a Legal and Political Identity|270
3|11.1.2 The Function of the Image in Modernity|272
3|11.1.3 The Fiction of Modern Sovereignty|272
2|11.2 Perceptual Knowledge, Intellectual Knowledge|275
3|11.2.1 Exemplary Representation|276
3|11.2.2 Abstract, Concrete|277
3|11.2.3 Particular, General|278
3|11.2.4 The Historicity of the Representation: The Micro and the Macro Perspective|279
3|11.2.5 The Eruption of Microhistory|282
2|11.3 Conclusion. Grasping, Representing and Extending the Decisive Moment|283
2|References|285
1|Contents|7
1|Editors and Contributors|9
1|1 Introduction|11
2|Abstract|11
2|References|17
1|Revolution, Constitution, Republic|19
1|2 Monument, Portrait, Tableau: Making Sense of and with Jacques-Louis David’s Tennis Court Oath|20
2|Abstract|20
2|2.1 Introduction: The Revolutionary Moment?|20
2|2.2 Monument|25
2|2.3 Portrait|33
2|2.4 Tableau|41
2|2.5 Conclusion: “Actors in Waiting”?|48
2|Acknowledgements|50
2|References|50
1|3 The Quest for the Decisive Constitutional Moment (DCM)|53
2|Abstract|53
2|3.1 Introduction|53
2|3.2 Defining a DCM|56
3|3.2.1 Decisive: Cartier-Bresson’s Decisive Moment|56
3|3.2.2 Constitutional: Ackerman’s Constitutional Moment|57
3|3.2.3 Moment: Visual Narration of a Story and a Moment|59
3|3.2.4 A Definition for the DCM|62
2|3.3 The Medium Constitutes the Message|63
3|3.3.1 (Wall-)Painting, Prints and Photography|63
3|3.3.2 Medals|64
3|3.3.3 Sculpture|69
3|3.3.4 Moment, Medium and Message|71
2|3.4 Moment into Monument: The 1849 Congress Column Competition in Belgium|72
3|3.4.1 The 1849 Competition|72
3|3.4.2 A Plenitude of Choices|73
3|3.4.3 The Final Choice: Living in the Moment|84
2|3.5 Conclusion|88
2|Acknowledgements|89
2|References|89
1|4 Courbet and the Nude Republican Master|93
2|Abstract|93
2|4.1 Introduction|94
3|4.1.1 Duelling Masters|94
3|4.1.2 Courbet, The Studio and Iconology|97
2|4.2 The King and The Artist: A Political Allegory|99
2|4.3 Discovering Marianne|102
3|4.3.1 The Ideological Context of Art and French Liberty|102
3|4.3.2 Disguising Marianne|105
2|4.4 The Studio Under the Gaze of the Law|109
3|4.4.1 Jurisprudence|109
3|4.4.2 The Iconology of the Artist as Amanuensis|110
3|4.4.3 Civilised Landscape and Natural Law|111
2|4.5 A Lacanian Artist and Legal Subject Formation|112
3|4.5.1 The Studio as an Image of Symbolic Castration|112
3|4.5.2 My Enemy’s Enemy|114
3|4.5.3 Nude Law and Jouissance|115
2|4.6 The Modern Genius Reinstated After All|118
2|References|119
1|The Aesthetic Constitution of Office|123
1|5 Justice Petrified: The Seat of the Italian Supreme Court between Law, Architecture and Iconography|124
2|Abstract|124
2|5.1 Law and the City in Context: From the “Sanctuary of Justice” to er Palazzaccio|125
2|5.2 Giuseppe Zanardelli and the Pivotal Year 1889|128
3|5.2.1 Giordano Bruno in Campo de’ Fiori|129
3|5.2.2 The New Criminal Code|131
3|5.2.3 Justice in Piazza Cavour|133
3|5.2.4 A Wind of Change? New Palaces of Justice in Nineteenth-Century Europe|134
3|5.2.5 Outside Italy|135
3|5.2.6 The Failing Projects for the Italian Palace of Justice: Looking for a “National Style”|137
3|5.2.7 Zanardelli’s Concept and Calderini’s Vision|141
2|5.3 Talking Statues: The Legal-Historical Iconography of the Supreme Court|144
3|5.3.1 From Pasquino to Ulpian|145
2|5.4 A Procession of Orators and Jurists|148
2|5.5 Conclusion: From Hyper-symbolism to Hypo-symbolism|152
2|References|157
1|6 Visual Rhetoric as “A Space-in-Between”: Semiotic Account of French Official Presidential Photographs|160
2|Abstract|160
2|6.1 Third Space as A Space-in-Between in Visual Rhetoric|160
3|6.1.1 Visualizing Effectively Presidential Photographs|162
3|6.1.2 Visual Elements as Consensual Symbolism|163
2|6.2 French Presidential Photographs as Elements of Visual Persuasion|165
3|6.2.1 Charles de Gaulle (1958–1969) and Georges Pompidou (1969–1974)|166
3|6.2.2 Valéry Giscard d’Estaing (1974–1981)|169
3|6.2.3 François Mitterrand (1981–1995)|170
3|6.2.4 Jacques Chirac (1995–2007)|173
3|6.2.5 Nicolas Sarkozy (2007–2012)|174
3|6.2.6 François Hollande (2012–2017)|176
2|6.3 Official Photographs as Symbols of the French Heritage|177
2|References|178
1|Untimely Reflections on the Nation’s Law|180
1|7 Here and Now: From “Aestheticizing Politics” to “Politicizing Art”|181
2|Abstract|181
2|7.1 The Work of Art|181
2|7.2 Myth, Legend and Utopia|184
2|7.3 Eternity and Contingency|189
2|References|194
1|8 A Hypothesis on the Genealogy of the Motto “In God We Trust” and the Emergence of the Identity of the Church|197
2|Abstract|197
2|8.1 Introduction—In God We Trust|198
2|8.2 Common Identity Through Common Trust|199
2|8.3 The Context of the Pastoral Epistles|201
2|8.4 Genealogy of the Deposit|206
2|8.5 Administrating the Immaterial|212
2|8.6 In God We Trust|214
2|References|217
1|Out of Many, One|219
1|9 Appreciation or Appropriation? An Indigenous Moment in the American Numismatic Narrative (1999–2009)|220
2|Abstract|220
2|9.1 Numismatic Constructions of Community|221
2|9.2 Coins as Legal Aesthetic and Cultural Text|223
2|9.3 State and Territorial Quarters Programs|226
2|9.4 Folk Legality and Nostalgic Jurisprudence|228
2|9.5 Appropriation of Indigeneity|230
2|9.6 Appreciation of Indigeneity|232
2|9.7 Concluding Remarks|237
2|References|239
1|10 Internormative Gastronomies: Law, Nation and Identity|241
2|Abstract|241
2|10.1 Food and the Polity: Law, Nation and Identity|242
2|10.2 Loosening I: Identity and Nation|245
2|10.3 Loosening II: Nation and Law|252
2|10.4 Loosening III: Law and Identity|257
2|10.5 Nomos Negotiated|260
2|References|263
1|Consensus|266
1|11 Aesthetic Mediation: Towards Legitimate Power|267
2|Abstract|267
2|11.1 Modernity and Mediation: Ontology of the Nation-State|267
3|11.1.1 Representing a Legal and Political Identity|270
3|11.1.2 The Function of the Image in Modernity|272
3|11.1.3 The Fiction of Modern Sovereignty|272
2|11.2 Perceptual Knowledge, Intellectual Knowledge|275
3|11.2.1 Exemplary Representation|276
3|11.2.2 Abstract, Concrete|277
3|11.2.3 Particular, General|278
3|11.2.4 The Historicity of the Representation: The Micro and the Macro Perspective|279
3|11.2.5 The Eruption of Microhistory|282
2|11.3 Conclusion. Grasping, Representing and Extending the Decisive Moment|283
2|References|285