Thomas Giddens – författare

Judgment is simple, right? This book begs to differ. Written for all students of the law—from undergraduate to supreme court justice—it opens the reader to a broad landscape of ideas surrounding common law judgment. Short and accessible, it touches upon the many pathways that lead out from the phenomenon of judgment in common law jurisdictions. This book is unique in its brevity and scope. It engages not only with the core operation of judgment as legal decision, but considers questions of authority and reason, and broader issues of interpretation, rhetoric, and judicial improvisation. The aim of this book is not to present a summary of research or a comprehensive ‘theory’ of judgment, nor is it bounded by the divisions of different legal subjects. Instead, it is a handbook or companion for students of the law to read and return to in their studious journeys across all common law topic areas, providing readers with a robust and open-ended set of tools, combined with selected further readings, to facilitate their own discovery, exploration, and critical analysis of the rich tapestry of common law judgment.

What are the implications of comics for law? Tackling this question, On Comics and Legal Aesthetics explores the epistemological dimensions of comics and the way this once-maligned medium can help think about – and reshape – the form of law. Traversing comics, critical, and cultural legal studies, it seeks to enrich the theorisation of comics with a critical aesthetics that expands its value and significance for law, as well as knowledge more generally. It argues that comics’ multimodality – its hybrid structure, which represents a meeting point of text, image, reason, and aesthetics – opens understanding of the limits of law’s rational texts by shifting between multiple frames and modes of presentation. Comics thereby exposes the way all forms of knowledge are shaped out of an unstructured universe, becoming a mask over this chaotic ‘beyond’. This mask of knowing remains haunted – by that which it can never fully capture or represent. Comics thus models knowledge as an infinity of nested frames haunted by the chaos without structure. In such a model, the multiple aspects of law become one region of a vast and bottomless cascade of perspectives – an infinite multiframe that extends far beyond the traditional confines of the comics page, rendering law boundless.

This handbook provides a comprehensive introduction to the cutting-edge field of cultural legal studies.Cultural legal studies is at the forefront of the legal discipline, questioning not only doctrine or social context, but how the concerns of legality are distributed and encountered through a range of material forms. Growing out of the interdisciplinary turn in critical legal studies and jurisprudence that took place in the latter quarter of the 20th century, cultural legal studies exists at the intersection of a range of traditional disciplinary areas: legal studies, cultural studies, literary studies, jurisprudence, media studies, critical theory, history, and philosophy. It is an area of study that is characterised by an expanded or open-ended conception of what ‘counts’ as a legal source, and that is concerned with questions of authority, legitimacy, and interpretation across a wide range of cultural artefacts. Including a mixture of established and new authors in the area, this handbook brings together a complex set of perspectives that are representative of the current field, but which also address its methods, assumptions, limitations, and possible futures.Establishing the significance of the cultural for understanding law, as well as its importance as a potential site for justice, community, and sociality in the world today, this handbook is a key reference point both for those working in the cultural legal context – in legal theory, law and literature, law and film/television, law and aesthetics, cultural studies, and the humanities generally – as well as others interested in the interactions between authority, culture, and meaning.

Taking up the study of legal education in distinctly biopolitical terms, this book provides a critical and political analysis of resistance in the law school.Legal education concerns the complex pathways by which an individual becomes a lawyer, making the journey from lay-person to expert, from student to practitioner. To pose the idea of a biopolitics of legal education is not only to recognise the tensions surrounding this journey but also to recognise that legal education is a key site in which the subject engages, and is engaged by, a particular structure—and here the particular structure of the law school. This book explores the resistance to that structure, including: different ways in which law’s pedagogic structures might be incomplete, or are being fought against; the use of less conventional elements of cultural discourse to resist the abstraction of the lawyer in students’ subject formation; the centralisation of queer and feminist discourses to disrupt the hierarchies of the legal curriculum; the use of digital technologies; the place of embodiment in legal education settings; and the impacts of posthuman knowledges and contexts on legal learning.Assembling original, field-defining essays by both leading international scholars and emerging researchers, this book constitutes an indispensable resource in legal education research and scholarship that will appeal to legal academics everywhere.

In a world of globalised media, Japanese popular culture has become a signifi cant fountainhead for images, narrative, artefacts, and identity. From Pikachu, to instantly identifi able manga memes, to the darkness of adult anime, and the hyper- consumerism of product tie- ins, Japan has bequeathed to a globalised world a rich variety of ways to imagine, communicate, and interrogate tradition and change, the self, and the technological future. Within these foci, questions of law have often not been far from the surface: the crime and justice of Astro Boy; the property and contract of Pokémon; the ecological justice of Nausicaä; Shinto’s focus on order and balance; and the anxieties of origins in J- horror. This volume brings together a range of global scholars to refl ect on and critically engage with the place of law and justice in Japan’s popular cultural legacy. It explores not only the global impact of this legacy, but what the images, games, narratives, and artefacts that comprise it reveal about law, humanity, justice, and authority in the twenty-first century.

Taking up the study of legal education in distinctly biopolitical terms, this book provides a critical and political analysis of structure in the law school.Legal education concerns the complex pathways by which an individual becomes a lawyer, making the journey from lay-person to expert, from student to practitioner. To pose the idea of a biopolitics of legal education is not only to recognise the tensions surrounding this journey, but also to recognise that legal education is a key site in which the subject engages, and is engaged by, a particular structure—and here the particular structure of the law school. This book explores that structure by addressing the characteristics of the biopolitical orders engaged in legal education, including: understanding the lawyer as a commodity, unpicking the force relations in legal education, examining the ways codes of conduct in higher education impact academic freedom, as well as putting the distinctly Western structures of legal learning within a wider context.Assembling original, field-defining essays by both leading international scholars and emerging researchers, it constitutes an indispensable resource in legal education research and scholarship that will appeal to legal academics everywhere.

Taking up the study of legal education in distinctly biopolitical terms, this book provides a critical and political analysis of structure in the law school.Legal education concerns the complex pathways by which an individual becomes a lawyer, making the journey from lay-person to expert, from student to practitioner. To pose the idea of a biopolitics of legal education is not only to recognise the tensions surrounding this journey, but also to recognise that legal education is a key site in which the subject engages, and is engaged by, a particular structure—and here the particular structure of the law school. This book explores that structure by addressing the characteristics of the biopolitical orders engaged in legal education, including: understanding the lawyer as a commodity, unpicking the force relations in legal education, examining the ways codes of conduct in higher education impact academic freedom, as well as putting the distinctly Western structures of legal learning within a wider context.Assembling original, field-defining essays by both leading international scholars and emerging researchers, it constitutes an indispensable resource in legal education research and scholarship that will appeal to legal academics everywhere.

Taking up the study of legal education in distinctly biopolitical terms, this book provides a critical and political analysis of resistance in the law school.Legal education concerns the complex pathways by which an individual becomes a lawyer, making the journey from lay-person to expert, from student to practitioner. To pose the idea of a biopolitics of legal education is not only to recognise the tensions surrounding this journey but also to recognise that legal education is a key site in which the subject engages, and is engaged by, a particular structure—and here the particular structure of the law school. This book explores the resistance to that structure, including: different ways in which law’s pedagogic structures might be incomplete, or are being fought against; the use of less conventional elements of cultural discourse to resist the abstraction of the lawyer in students’ subject formation; the centralisation of queer and feminist discourses to disrupt the hierarchies of the legal curriculum; the use of digital technologies; the place of embodiment in legal education settings; and the impacts of posthuman knowledges and contexts on legal learning.Assembling original, field-defining essays by both leading international scholars and emerging researchers, this book constitutes an indispensable resource in legal education research and scholarship that will appeal to legal academics everywhere.

Judgment is simple, right? This book begs to differ. Written for all students of the law—from undergraduate to supreme court justice—it opens the reader to a broad landscape of ideas surrounding common law judgment. Short and accessible, it touches upon the many pathways that lead out from the phenomenon of judgment in common law jurisdictions. This book is unique in its brevity and scope. It engages not only with the core operation of judgment as legal decision, but considers questions of authority and reason, and broader issues of interpretation, rhetoric, and judicial improvisation. The aim of this book is not to present a summary of research or a comprehensive ‘theory’ of judgment, nor is it bounded by the divisions of different legal subjects. Instead, it is a handbook or companion for students of the law to read and return to in their studious journeys across all common law topic areas, providing readers with a robust and open-ended set of tools, combined with selected further readings, to facilitate their own discovery, exploration, and critical analysis of the rich tapestry of common law judgment.

This handbook provides a comprehensive introduction to the cutting-edge field of cultural legal studies.Cultural legal studies is at the forefront of the legal discipline, questioning not only doctrine or social context, but how the concerns of legality are distributed and encountered through a range of material forms. Growing out of the interdisciplinary turn in critical legal studies and jurisprudence that took place in the latter quarter of the 20th century, cultural legal studies exists at the intersection of a range of traditional disciplinary areas: legal studies, cultural studies, literary studies, jurisprudence, media studies, critical theory, history, and philosophy. It is an area of study that is characterised by an expanded or open-ended conception of what ‘counts’ as a legal source, and that is concerned with questions of authority, legitimacy, and interpretation across a wide range of cultural artefacts. Including a mixture of established and new authors in the area, this handbook brings together a complex set of perspectives that are representative of the current field, but which also address its methods, assumptions, limitations, and possible futures.Establishing the significance of the cultural for understanding law, as well as its importance as a potential site for justice, community, and sociality in the world today, this handbook is a key reference point both for those working in the cultural legal context – in legal theory, law and literature, law and film/television, law and aesthetics, cultural studies, and the humanities generally – as well as others interested in the interactions between authority, culture, and meaning.

What are the implications of comics for law? Tackling this question, On Comics and Legal Aesthetics explores the epistemological dimensions of comics and the way this once-maligned medium can help think about – and reshape – the form of law. Traversing comics, critical, and cultural legal studies, it seeks to enrich the theorisation of comics with a critical aesthetics that expands its value and significance for law, as well as knowledge more generally. It argues that comics’ multimodality – its hybrid structure, which represents a meeting point of text, image, reason, and aesthetics – opens understanding of the limits of law’s rational texts by shifting between multiple frames and modes of presentation. Comics thereby exposes the way all forms of knowledge are shaped out of an unstructured universe, becoming a mask over this chaotic ‘beyond’. This mask of knowing remains haunted – by that which it can never fully capture or represent. Comics thus models knowledge as an infinity of nested frames haunted by the chaos without structure. In such a model, the multiple aspects of law become one region of a vast and bottomless cascade of perspectives – an infinite multiframe that extends far beyond the traditional confines of the comics page, rendering law boundless.

The intersections of law and contemporary culture are vital for comprehending the meaning and significance of law in today’s world. Far from being unsophisticated mass entertainment, comics and graphic fiction both imbue our contemporary culture, and are themselves imbued, with the concerns of law and justice. Accordingly, and spanning a wide variety of approaches and topics from an international array of contributors, Graphic Justice draws comics and graphic fiction into the range of critical resources available to the academic study of law. The first book to do this, Graphic Justice broadens our understanding of law and justice as part of our human world—a world that is inhabited not simply by legal concepts and institutions alone, but also by narratives, stories, fantasies, images, and other cultural articulations of human meaning. Engaging with key legal issues (including copyright, education, legal ethics, biomedical regulation, and legal personhood) and exploring critical issues in criminal justice and perspectives on international rights, law and justice—all through engagement with comics and graphic fiction—the collection showcases the vast breadth of potential that the medium holds. Graphic Justice will be of interest to academics and postgraduate students in: cultural legal studies; law and the image; law, narrative and literature; law and popular culture; cultural criminology; as well as cultural and comics studies more generally.

In a world of globalised media, Japanese popular culture has become a signifi cant fountainhead for images, narrative, artefacts, and identity. From Pikachu, to instantly identifi able manga memes, to the darkness of adult anime, and the hyper- consumerism of product tie- ins, Japan has bequeathed to a globalised world a rich variety of ways to imagine, communicate, and interrogate tradition and change, the self, and the technological future. Within these foci, questions of law have often not been far from the surface: the crime and justice of Astro Boy; the property and contract of Pokémon; the ecological justice of Nausicaä; Shinto’s focus on order and balance; and the anxieties of origins in J- horror. This volume brings together a range of global scholars to refl ect on and critically engage with the place of law and justice in Japan’s popular cultural legacy. It explores not only the global impact of this legacy, but what the images, games, narratives, and artefacts that comprise it reveal about law, humanity, justice, and authority in the twenty-first century.

The intersections of law and contemporary culture are vital for comprehending the meaning and significance of law in today’s world. Far from being unsophisticated mass entertainment, comics and graphic fiction both imbue our contemporary culture, and are themselves imbued, with the concerns of law and justice. Accordingly, and spanning a wide variety of approaches and topics from an international array of contributors, Graphic Justice draws comics and graphic fiction into the range of critical resources available to the academic study of law. The first book to do this, Graphic Justice broadens our understanding of law and justice as part of our human world—a world that is inhabited not simply by legal concepts and institutions alone, but also by narratives, stories, fantasies, images, and other cultural articulations of human meaning. Engaging with key legal issues (including copyright, education, legal ethics, biomedical regulation, and legal personhood) and exploring critical issues in criminal justice and perspectives on international rights, law and justice—all through engagement with comics and graphic fiction—the collection showcases the vast breadth of potential that the medium holds. Graphic Justice will be of interest to academics and postgraduate students in: cultural legal studies; law and the image; law, narrative and literature; law and popular culture; cultural criminology; as well as cultural and comics studies more generally.

The typographic form of judgment stages the authoritative presence of the common law. It is in the encounter with typographic materials that legal meaning is generated, yet typographic legality—the material expression of law as visual text—is rarely examined. In this book, Thomas Giddens refocuses critical attention by studying the history of the common law’s visual technologies and unpacking the heritage, meanings and techniques of its typographic appearance. It thereby develops new methodological approaches for reading the common law’s primary materials as visual media.From the archive as a typographic theatre of jurisdiction, to early law report printing, to the mass duplication of reports and their entanglement in the project of empire, to the common law’s digital display, Typographic Legality encounters enduring questions of legal authority, media and technology in the material details of the common law’s textual form.

Contributions by Paul Fisher Davies, Lisa DeTora, Yasemin J. Erden, Adam Gearey, Thomas Giddens, Peter Goodrich, Maggie Gray, Matthew J. A. Green, Vladislav Maksimov, Timothy D. Peters, Christopher Pizzino, Nicola Streeten, and Lydia Wysocki.Recent decades have seen comics studies blossom, but within the ecosystems of this growth, dominant assumptions have taken root - assumptions around the particular methods used to approach the comics form, the ways we should read comics, how its ""system"" works, and the disciplinary relationships that surround this evolving area of study. But other perspectives have also begun to flourish. These approaches question the reliance on structural linguistics and the tools of English and cultural studies in the examination and understanding of comics.In this edited collection, scholars from a variety of disciplines examine comics by addressing materiality and form as well as the wider economic and political contexts of comics' creation and reception. Through this lens, influenced by poststructuralist theories, contributors explore and elaborate other possibilities for working with comics as a critical resource, consolidating the emergence of these alternative modes of engagement in a single text. This opens comics studies to a wider array of resources, perspectives, and modes of engagement.Included in this volume are essays on a range of comics and illustrations as well as considerations of such popular comics as Deadpool, Daredevil, and V for Vendetta, and analyses of comics production, medical illustrations, and original comics. Some contributions even unfold in the form of comics panels.