This book presents an interdisciplinary study of the relation between semiotics, law & art. Focusing on Greimasian semiotics, it examines specific works of art (from Giotto to Banksy) that deal with the theme of justice, promoting a more sensitive and humanized perception of the values that surround law. The book offers readers a comprehensive review of the semiotics of law, critically examining the relation between law & art. It covers a variety of topics, including semiotics, law and art; semiotics, art and experience; and society, law and art, as well as semiotics, law and painting; semiotics, law and architecture; semiotics, law and theatre; semiotics, law and literature; and semiotics, law and culture. In doing so, it uses the semiotics of painting to explain the symbology of justice and its significance in history; the semiotics of architecture to explain the setting of justice; the semiotics of theatre to explain the logic of the legal process; and the semiotics of literature to explain the narrative logic of legal decisions. Lastly, drawing on the semiotics of culture, it discusses ways of promoting justice, citizenship and human rights. Written from both philosophical and semiotical perspectives, the book enhances the centrality of visual jurisprudence studies to promote a better understanding of the role of law.
Author(s): Eduardo C.B. Bittar
Series: (Law and Visual Jurisprudence, 2
Publisher: Springer
Year: 2021
Language: English
Pages: 216
City: Cham
Preface and Acknowledgements
Contents
Part I: General Part
Chapter 1: Semiotics, Law and Art
1.1 Introduction: Between Art and Law
1.2 Semiotics, Law and Art
1.3 Semiotics, Languages and Art
1.4 Symbolization, Modalities of Signs and Art
1.5 Symbolization, Society and Law
1.6 Symbolization, Law and Justice
References
Chapter 2: Semiotics, Art and Experience
2.1 Semiotics, Art and Artistic Languages
2.2 Semiotics, Concept of Art and Aesthetic Experience
2.3 Semiotics, Concept of Art and Human Experience
2.4 Semiotics, Art and Permanence
2.5 Semiotics, Art and Power
2.6 Semiotics, Art and Symbolic Role
2.7 Semiotics, Art and Creation
2.8 Semiotics, Art and Pluralism of Meanings
2.9 Semiotics, Art and Memory
References
Chapter 3: Society, Law and Art
3.1 Modern Society, Law and Justice
3.2 Modern Society, Art and the Reification of the Look
3.3 Modern Society, Aesthetic Capitalism and the Homogenization of Art
3.4 Modern Society, the Legal Look and the Artistic Look
References
Part II: Special Part
Chapter 4: Applied Semiotics, Law and Art
4.1 Semiotics, Law and Painting: The Iconology of Justice
4.1.1 The Symbol of Justice: Historic Mirror and Public-Sign
4.1.1.1 The Symbol of Justice: The Blindfold
4.1.1.2 The Symbol of Justice: The Scales
4.1.1.3 The Symbol of Justice: The Sword
4.1.2 Between Iconology and Semiotics of Painting: The Symbol of Justice in Western Painting
4.1.2.1 Semiotics, Image and Justice
4.1.2.2 The Semiotic Square and Pictorial Text
4.1.3 Affreschi in Palazzo della Ragione of Padova
4.1.3.1 Justice in the Centre of the City and Communal Life
4.1.3.2 Justice, the System of Laws and the City of Affreschi
4.1.3.3 The Semiotic Square and Pictorial Text
4.1.4 Allegoria ed Efetti del Buono e del Cattivo Governo, Palazzo Pubblico di Siena
4.1.4.1 The Three States of Justice in Allegoria
4.1.4.2 The Effects of Justice in the City in Allegoria
4.1.4.3 The Effects of Injustice in the City in Allegoria
4.1.4.4 The Semiotic Square and Pictorial Text
4.1.5 Affreschi in the Cappella degli Scrovegni of Padova
4.1.5.1 Justice and Injustice at the Centre of the Cycle of Virtues
4.1.5.2 The Masculine Figure of Injustice
4.1.5.3 The Semiotic Square and Pictorial Text
4.1.6 Affreschi in the Stanza della Segnatura of the Vatican
4.1.6.1 Justice and the Christian Cosmovision
4.1.6.2 Justice As an Idea and Cardinal Virtue
4.1.6.3 Justice As an Idea and Positive Law
4.1.6.4 The Semiotic Square and Pictorial Text
4.1.7 Alegoria in the Grand´Chambre de Justice in the Parliament of Flanders
4.1.7.1 The Centrality of Real Power
4.1.7.2 The Triumph of Justice: Justice and Ancillary Allegories
4.1.7.3 The Semiotic Square and Pictorial Text
4.1.8 The Drawing Iustitia by Victor Hugo
4.1.8.1 Horror, Pain and Injustice
4.1.8.2 The Semiotic Square and the Drawing
4.1.9 The Painting Guernica by Pablo Picasso
4.1.9.1 War, Violence, Horror and Injustice
4.1.9.2 The Semiotic Square and Pictorial Text
4.1.10 Street Art by Banksy
4.1.10.1 Justice, Injustice and Violence of the State
4.1.10.2 The Semiotic Square and Pictorial Text
4.2 Semiotics, Law and Architecture: The Ritual of Justice
4.2.1 The Architecture of Justice
4.2.2 The Architecture of Justice and the Symbolic Investiture
4.2.3 The Corte di Cassazione di Roma: The Classic Architecture of Justice
4.2.4 The Palace of Justice of Lisbon: The Contemporary Architecture of Justice
4.2.5 The Faculty of Law in Largo of Sao Francisco: Architecture of Education and Architecture of Justice
4.3 Semiotics, Law and Theatre: The Theatre of Justice
4.3.1 The Theatre of Justice and the Performance of Justice
4.3.2 The Theatre of Justice and the Symbolic Space of the Heuristic
4.3.3 The Theatre of Justice, Rite of the Process and Symbolisation of Conflict
4.3.4 The Theatre of Justice, Process and Roles of the Legal Actors
4.3.5 The Theatre of Justice, Actantial Investiture and Discursive Roles
4.3.6 The Theatre of Justice, Court Attire and Discursive Roles
4.4 Semiotics, Law and Literature: The Process and the Legal Decision
4.4.1 Social Interactions, Narrative Gramar and Modern Society
4.4.2 Legal Interactions, Process and Legal Discourse
4.4.3 Legal Interactions, Process and Narrative Programme
4.4.4 Legal Interactions, Process and Legal Decision
4.4.5 Legal Interactions, Legal Decision and Semiotic Node
4.5 Semiotics, Law and Education: The Human Rights Education
4.5.1 The Culture of Human Rights
4.5.2 The Pedagogy of Sensitivity in the Human Rights Education
4.5.3 Political Art and Politics of Art
4.5.4 Art, Photography and Image
4.5.4.1 Art, Photography and Human Rights
4.5.4.2 Semiotics, Photography and Human Rights
4.5.5 Art, Short-Film and Image
4.5.5.1 Art, Short-Film and Human Rights
4.5.5.2 Semiotics, Short-Film and Human Rights
References
Chapter 5: Conclusions
Reference
References
