Sofia Stolk - Böcker

This book explores the ‘backstage’ of transnational legal practice by illuminating the routines and habits that are crucial to the field, yet rarely studied. Through innovative discussion of practices often considered trivial, the book encourages readers to conceptualise the ‘backstage’ as emblematic of transnational legal practice. Expanding the focus of transnational legal scholarship, the book explores the seemingly mundane procedures which are often taken for granted, despite being widely recognized as part of what it means to ‘do transnational law’. Adopting various methodologies and approaches, each chapter focuses on one specific practice: for example, mooting exercises for law students, international travel, transnational time, the social media activities of lawyers and legal scholars, and the networking at the ICC’s annual Assembly of States Parties. In and of themselves, these chapters each provide unique insights into what happens before the curtain rises and after it falls on the familiar ‘outputs’ of transnational law. It does more, however, than provide a range of different practices: it takes the next step in theorizing on the importance of the marginal and the everyday for what we ‘know’ to be ‘the law’ and what the international legal field looks like. Furthermore, by interrogating undiscussed academic practices, it provides students with a candid view on the perils and promises of transnational legal scholarship, inviting them to join the discussion and to practice their discipline in a more reflexive way. Written in an accessible format, containing a readable collection of personal and recognizable accounts of transnational legal practice, the book provides an everyday insight into transnational law. It will therefore appeal to international legal scholars, alongside any reader with an interest in transnational law.

This book addresses the discursive importance of the prosecution’s opening statement before an international criminal tribunal. Opening statements are considered to be largely irrelevant to the official legal proceedings but are simultaneously deployed to frame important historical events. They are widely cited in international media as well as academic texts; yet have been ignored by legal scholars as objects of study in their own right. This book aims to remedy this neglect, by analysing the narrative that is articulated in the opening statements of different prosecutors at different tribunals in different times. It takes an interdisciplinary approach and looks at the meaning of the opening narrative beyond its function in the legal process in a strict sense, discussing the ways in which the trial is situated in time and space and how it portrays the main characters. It shows how perpetrators and victims, places and histories, are juridified in a narrative that, whilst purporting to legitimise the trial, the tribunal and international criminal law itself, is beset with tensions and contradictions. Providing an original perspective on the operation of international criminal law, this book will be of considerable interest to those working in this area, as well as those with relevant interests in International/Transnational Law more generally, Critical Legal Studies, Law and Literature, Socio-Legal Studies, Law and Geography and International Relations.

This book addresses the discursive importance of the prosecution’s opening statement before an international criminal tribunal. Opening statements are considered to be largely irrelevant to the official legal proceedings but are simultaneously deployed to frame important historical events. They are widely cited in international media as well as academic texts; yet have been ignored by legal scholars as objects of study in their own right. This book aims to remedy this neglect, by analysing the narrative that is articulated in the opening statements of different prosecutors at different tribunals in different times. It takes an interdisciplinary approach and looks at the meaning of the opening narrative beyond its function in the legal process in a strict sense, discussing the ways in which the trial is situated in time and space and how it portrays the main characters. It shows how perpetrators and victims, places and histories, are juridified in a narrative that, whilst purporting to legitimise the trial, the tribunal and international criminal law itself, is beset with tensions and contradictions. Providing an original perspective on the operation of international criminal law, this book will be of considerable interest to those working in this area, as well as those with relevant interests in International/Transnational Law more generally, Critical Legal Studies, Law and Literature, Socio-Legal Studies, Law and Geography and International Relations.

This book explores the ‘backstage’ of transnational legal practice by illuminating the routines and habits that are crucial to the field, yet rarely studied. Through innovative discussion of practices often considered trivial, the book encourages readers to conceptualise the ‘backstage’ as emblematic of transnational legal practice. Expanding the focus of transnational legal scholarship, the book explores the seemingly mundane procedures which are often taken for granted, despite being widely recognized as part of what it means to ‘do transnational law’. Adopting various methodologies and approaches, each chapter focuses on one specific practice: for example, mooting exercises for law students, international travel, transnational time, the social media activities of lawyers and legal scholars, and the networking at the ICC’s annual Assembly of States Parties. In and of themselves, these chapters each provide unique insights into what happens before the curtain rises and after it falls on the familiar ‘outputs’ of transnational law. It does more, however, than provide a range of different practices: it takes the next step in theorizing on the importance of the marginal and the everyday for what we ‘know’ to be ‘the law’ and what the international legal field looks like. Furthermore, by interrogating undiscussed academic practices, it provides students with a candid view on the perils and promises of transnational legal scholarship, inviting them to join the discussion and to practice their discipline in a more reflexive way. Written in an accessible format, containing a readable collection of personal and recognizable accounts of transnational legal practice, the book provides an everyday insight into transnational law. It will therefore appeal to international legal scholars, alongside any reader with an interest in transnational law.

Through eye-catching design or bureaucratic functionality, buildings make international law tangible for its practitioners, audiences and constituencies. This compelling book furthers our understanding of the impact of architecture on the field of international law with imagination and style.Chapters engage with questions surrounding the relationship between architecture and identity construction, public reception, (de)colonial ordering, affect and spatial politics. Offering a range of perspectives on the role of architecture in shaping international law, the impressive group of contributors set out a new transdisciplinary enquiry into law, space, and aesthetics. The book highlights how the material, visual, and spatial realms influence international law’s norms, values, histories, as well as our individual experiences and expectations of the law.Illustrated by a rich array of images of signature international spaces, International Law and Architecture is a timely and essential resource for students of public international law, politics, and architecture. The book will also engage readers interested in the intersections of geography, urban studies, and legal practice.

This book is an invitation to pause and wonder at the spectacular yet mundane practice that we have come to call legal sightseeing.Increasingly, international courthouses are becoming top tourist destinations that host public events, exhibitions, and tours. But international law also pops up in more everyday spaces: as the theme for an organised city run or as a symbol printed on a T-shirt or an image on a cookie jar. Legal sightseeing stands for this broad category of encounters between ‘international law’ and ‘the public’ that encompasses many different activities, sites, artefacts, and participants. The book presents a rich collection of images and research that introduces legal sightseeing as both the phenomenon under study and an experimental research methodology. Structured as a catalogue, the book covers a wide range of iconic and surprising instances of legal sightseeing, located, for example, at the former American Embassy in the Netherlands, the Museum of White Terror in Taipei, in Bulgaria’s capital city, Sofia, and at more traditional sites such as the Peace Palace in The Hague and Courtroom 600 in Nuremberg. Moreover, every chapter advances a particular aspect of legal sightseeing as an innovative, visually oriented, and collaborative method of research. By revisiting a selection of projects curated under the legal sightseeing umbrella, the book contributes to academic discussions on international law’s visual turn, its spaces and materiality, and the plurality of international law’s audiences. Concretely, it offers readers hands-on examples of how to integrate art-based methods such as collaging, drawing, and photography into legal research and teaching practices.Legal Sightseeing and International Law is an interdisciplinary catalogue that will be a timely resource to students of public international law, politics, and art. The book will also engage readers interested in the intersections of socio-legal studies, critical legal studies, legal anthropology, and international relations. Moreover, it will appeal to legal professionals, artists, and members of the general public.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution (CC-BY) 4.0 International license.

This book is an invitation to pause and wonder at the spectacular yet mundane practice that we have come to call legal sightseeing.Increasingly, international courthouses are becoming top tourist destinations that host public events, exhibitions, and tours. But international law also pops up in more everyday spaces: as the theme for an organised city run or as a symbol printed on a T-shirt or an image on a cookie jar. Legal sightseeing stands for this broad category of encounters between ‘international law’ and ‘the public’ that encompasses many different activities, sites, artefacts, and participants. The book presents a rich collection of images and research that introduces legal sightseeing as both the phenomenon under study and an experimental research methodology. Structured as a catalogue, the book covers a wide range of iconic and surprising instances of legal sightseeing, located, for example, at the former American Embassy in the Netherlands, the Museum of White Terror in Taipei, in Bulgaria’s capital city, Sofia, and at more traditional sites such as the Peace Palace in The Hague and Courtroom 600 in Nuremberg. Moreover, every chapter advances a particular aspect of legal sightseeing as an innovative, visually oriented, and collaborative method of research. By revisiting a selection of projects curated under the legal sightseeing umbrella, the book contributes to academic discussions on international law’s visual turn, its spaces and materiality, and the plurality of international law’s audiences. Concretely, it offers readers hands-on examples of how to integrate art-based methods such as collaging, drawing, and photography into legal research and teaching practices.Legal Sightseeing and International Law is an interdisciplinary catalogue that will be a timely resource to students of public international law, politics, and art. The book will also engage readers interested in the intersections of socio-legal studies, critical legal studies, legal anthropology, and international relations. Moreover, it will appeal to legal professionals, artists, and members of the general public.The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution (CC-BY) 4.0 International license.

This timely book builds bridges between the notions of art and aesthetics, human rights, universality, and dignity. It explores a world in which art and justice enter a discussion to answer questions such as: can art translate the human experience? How does humanity link individuality and community building? How do human beings define and look for their identity? The fields of human rights and art are brought together in order to open the discussion and contribute to the promotion and protection of human rights.This interdisciplinary book brings together experts in the fields of art, cultural heritage, social justice, human rights, international law, and transitional justice, and presents the idea that a complex interplay between morality, politics, law, and aesthetics remains present in concrete settings such as the rights of cultural creators, the right to artistic expression, art as a catalyst of change in times of conflict, and post-conflict restitutions. The book offers vignettes of current debates in art and human rights, tackling issues at the confluence of these fields by providing a general framework upon which the conversation can be built, and by bringing to the discussion a diverse range of contemporary themes and concrete case analyses.This book will be an ideal read for academics interested in international law, transitional justice and human rights. Historians, lawyers, artists, and activists looking to explore the relationship between art and human rights in times of war, peace, and transition through their assessment of contemporary issues will also benefit from this comprehensive book.

This edited volume presents a collection of stories that experiment with different ways of looking at international law.