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Art, Aesthetics and International Justice [Kõva köide]

  • Formaat: Hardback, 178 pages, kõrgus x laius: 234x156 mm, kaal: 443 g, 1 Tables, black and white; 3 Line drawings, black and white; 3 Illustrations, black and white
  • Ilmumisaeg: 31-Mar-2025
  • Kirjastus: Routledge
  • ISBN-10: 1032605898
  • ISBN-13: 9781032605890
Teised raamatud teemal:
Art, Aesthetics and International JusticeSuurem pilt
  • Formaat: Hardback, 178 pages, kõrgus x laius: 234x156 mm, kaal: 443 g, 1 Tables, black and white; 3 Line drawings, black and white; 3 Illustrations, black and white
  • Ilmumisaeg: 31-Mar-2025
  • Kirjastus: Routledge
  • ISBN-10: 1032605898
  • ISBN-13: 9781032605890
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781032605890.html
Märksõnad:
"This book demonstrates that art is implicit in the process of administration of international justice. The diverse nature of recent global threats as well as an overwhelming pull towards isolationism and nationalism challenge the dominant deterrence paradigm of international governance created in the aftermath of World War II. An alternative model is to focus on cooperation, and not deterrence, as a guiding operational principle. This study focuses on the theoretical component linking justice with aesthetics as well as on the practical manifestation of this connection evident, inter alia, in the rhetoric of international courts, their architectural design, and their commemorative practices expressed by the practice of symbolic reparations adopted by some of the courts. The underlying premise of the book is that international justice requires new vocabulary and new approaches, which can be derived from the study of aesthetics. It is held that exploring the aesthetical dimension of international justice contributes to the discussion on the foundations of its authority and the grounds for compliance with it. The work engages deeply with the theory of aesthetics developed by Immanuel Kant and Abinavagupta, a Kashmiri critic, philosopher and scholar writing in the early 11th century. The book will be of interest to academics and researchers working in the areas of Legal Philosophy, International Criminal Justice, International Law and International Relations"--

This book demonstrates that art is implicit in the process of administration of international justice. The diverse nature of recent global threats as well as an overwhelming pull towards isolationism and nationalism challenge the dominant deterrence paradigm of international governance created in the aftermath of World War II. An alternative model is to focus on cooperation, and not deterrence, as a guiding operational principle.

This study focuses on the theoretical component linking justice with aesthetics as well as on the practical manifestation of this connection evident, inter alia, in the rhetoric of international courts, their architectural design, and their commemorative practices expressed by the practice of symbolic reparations adopted by some of the courts. The underlying premise of the book is that international justice requires new vocabulary and new approaches, which can be derived from the study of aesthetics. It is held that exploring the aesthetical dimension of international justice contributes to the discussion on the foundations of its authority and the grounds for compliance with it. The work engages deeply with the theory of aesthetics developed by Immanuel Kant and Abinavagupta, a Kashmiri critic, philosopher and scholar writing in the early 11th century.

The book will be of interest to academics and researchers working in the areas of Legal Philosophy, International Criminal Justice, International Law and International Relations.



This book demonstrates that art is implicit in the process of administration of international justice. The book will be of interest to academics and researchers working in the areas of Legal Philosophy, International Criminal Justice, International Law and International Relations.

Arvustused

Too often, international justice is simply presented, then resented, coldly as objective fact. Marina Aksenova wants something better. With this aim, she links international justice to perception, emotion, and experience. Her lens is that of aesthetics. An aesthetically sensitive justice is improved justice. Her powerful book is erudite, elegant, and engaging. It elevates readers. Aksenova has written an instant classic in connecting art to life, and justice to the human condition.

- Mark Drumbl, Class of 1975 Alumni Professor, Director of Transnational Law Institute, Washington and Lee University.

Marina Aksenova presents a vision of global justice which integrates and engages all of our senses by harnessing the powers of art and aesthetics. Her argument is both compelling and urgent. Embracing Aksenovas account is crucial for identifying meaningful responses to the wars, natural disasters, and inequalities of our time.

- Valentin Jeutner, Associate Professor of Law, University of Lund, Sweden; Founder of the International Law Museum in Lund.

Aksenovas path-breaking work redefines our understanding of international justice through a sophisticated exploration of aesthetic contemplation. Her transformative approach inspires as it lays the foundation for a more creative, inclusive, and humane approach to global justice. This book is a must-read for anyone who wishes to see the world anew.

- Christopher NJ Roberts, Associate Professor of Law, University of Minnesota Law School and Department of Sociology.

1. Introduction
2. Philosophical foundations of universality and the
role of aesthetics in building international justice 2.0
3. Re-thinking the
mode of expression in international justice
4. International justice as a
ritual: Anthropological and sociological accounts
5. The role of art and
aesthetics in the practice of symbolic and creative reparations at the ICC
and IACtHR
6. Observe build play repeat: The new method of
international justice 2.0
Marina Aksenova is Associate Professor of International Criminal Law at IE University in Madrid and founder of Art and International Justice Initiative. She worked at the United Nations International Criminal Tribunal for the Former Yugoslavia and as a legal associate in White and Case LLP. As part of her academic journey, she held postdoctoral research positions at the Centre of Excellence for International Courts at the University of Copenhagen, the Institute for Advanced Studies at the Central European University in Budapest, and the University of Florence. Marinas research lies at the intersection of deep doctrinal engagement with international law and creativity. Marina seeks to innovate without losing touch with the core methodological and philosophical assumptions underlying the field of international justice. Her first book Complicity in International Criminal Law (Hart, 2016) won Paul Guggenheim award at the Geneva Graduate Institute.