Post by account_disabled on Mar 9, 2024 4:10:34 GMT -5
in this forum a kind of therapeutic thaumaturgy occurs because, faced with the world of law and economics from which measure and order are expected, a door is opened to beauty, to doubt, to transgression. In short , an open door to the imagination." 20 december, 2023 humanities, news art, in general, fulfills a subversive and critical function, since it ends up becoming, as soon as it is produced and enjoyed, a privileged form of reflection that exceeds the framework of any scientific discipline, including law or economics. Therefore, after several years at the head of the “cinema, literature and law” forum we can affirm that we have formed a group of stubborn subversives. Every time we meet, a kind of therapeutic thaumaturgy occurs because, faced with the world of law and economics from which measure and order are expected, a door opens to beauty, to doubt, to transgression. In short, a door open to the imagination. Cinema and literature appear as vehicles of creativity in law, since they make it possible to lengthen the referential horizons of our professional activities.
Furthermore, although law and literature or cinema operate in different universes, all disciplines are potentially convergence, since they inevitably have to deal with interpretation. Literature – especially modern and contemporary literature – is considered a fertile ground, from which one can investigate both social behavior in the face of singular norms and the legal system, as well as the spontaneous relationship of public opinion with the law, or that is, the way in which social actors interact with the law and with the demand for justice placed by it, as well uk phone number demonstrated by the works, among others, of balzac, tolstoy, flaubert, austen and dickens, but also the works of the greek classics. (iliad, by homer, antigone, by sophocles, oréstia, by aeschylus) and latin (aeneid, by virgílio). The same happens with cinema, which lacks any formal dimension, altering the imposed order, to the extent the singular situations attributed to them, so that their identity is the result of their own experimental trajectory in search of themselves. Law and economics lean towards generality and abstraction, normally attributed to the law; on the other hand, literature and cinema deal with the particular and concrete, considering that every story reveals itself to be irreducibly singular.
literature and cinema deserve to be highlighted related to the relativity and uncertainty of human justice, compared to the natural tendency of man oriented towards an understanding and realization of absolute justice; to the reflection regarding nostalgia for the sacred and symbolic aspect of law, witnessed by greek tragedies and roman jurisprudence; to universal legal notions, understood as social coexistence, with duty and promise, for example; to the contents and values of legal ethics; and, finally, to the models of the legal system and the legal principles that allow the aforementioned ethical-legal values to be protected and, based on them, to build the law. It is time to continue, even more so now, in a historical moment where uncertainties and changes lurk. We commit ourselves to continue in that brotherhood that reveals the given mystery of the relationships between order and imagination. We are waiting for you in fide.
Furthermore, although law and literature or cinema operate in different universes, all disciplines are potentially convergence, since they inevitably have to deal with interpretation. Literature – especially modern and contemporary literature – is considered a fertile ground, from which one can investigate both social behavior in the face of singular norms and the legal system, as well as the spontaneous relationship of public opinion with the law, or that is, the way in which social actors interact with the law and with the demand for justice placed by it, as well uk phone number demonstrated by the works, among others, of balzac, tolstoy, flaubert, austen and dickens, but also the works of the greek classics. (iliad, by homer, antigone, by sophocles, oréstia, by aeschylus) and latin (aeneid, by virgílio). The same happens with cinema, which lacks any formal dimension, altering the imposed order, to the extent the singular situations attributed to them, so that their identity is the result of their own experimental trajectory in search of themselves. Law and economics lean towards generality and abstraction, normally attributed to the law; on the other hand, literature and cinema deal with the particular and concrete, considering that every story reveals itself to be irreducibly singular.
literature and cinema deserve to be highlighted related to the relativity and uncertainty of human justice, compared to the natural tendency of man oriented towards an understanding and realization of absolute justice; to the reflection regarding nostalgia for the sacred and symbolic aspect of law, witnessed by greek tragedies and roman jurisprudence; to universal legal notions, understood as social coexistence, with duty and promise, for example; to the contents and values of legal ethics; and, finally, to the models of the legal system and the legal principles that allow the aforementioned ethical-legal values to be protected and, based on them, to build the law. It is time to continue, even more so now, in a historical moment where uncertainties and changes lurk. We commit ourselves to continue in that brotherhood that reveals the given mystery of the relationships between order and imagination. We are waiting for you in fide.
