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Society, Law and Art

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Semiotics, Law & Art

Part of the book series: Law and Visual Jurisprudence ((LVJ,volume 2))

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Abstract

This chapter is dedicated to discussing the lost of the sense of justice in modern society. The sociological approach gives us conditions to consider that technification, fabrication, repetition can produce some effects in the domain of the works of art. But, the more critical this analysis can be, the more it appeals to say that the artistic look has a lot to say to the legal look. Therefore, the tension between art and reification is the main object of reflections in this part of the book.

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Notes

  1. 1.

    Cf. Adorno (1995), p. 119.

  2. 2.

    Cf. Adorno (2001), pp. 150–151.

  3. 3.

    Cf. Adorno and Horkheimer (1985), p. 20.

  4. 4.

    See Fromm (1987a, b).

  5. 5.

    Cf. Hermann (2005), p. 49.

  6. 6.

    See da Costa (2009).

  7. 7.

    Vide Boff (2012).

  8. 8.

    Vide Davis (2007).

  9. 9.

    See Bittar (2011).

  10. 10.

    Cf. Bittar (2012), pp. 259–294.

  11. 11.

    See Ferry (2010).

  12. 12.

    Vide Habermas (2003). See Bittar (2013).

  13. 13.

    Vide Bittar (2011), pp. 125–147.

  14. 14.

    Cf. Marcuse (2007), p. 47.

  15. 15.

    Cf. Marcuse (2007), p. 66.

  16. 16.

    Cf. Dondis (2007), p. 07.

  17. 17.

    Cf. Panofsky (2000), p. 18.

  18. 18.

    Cf. Panofsky (2000), p. 43.

  19. 19.

    Cf. Panofsky (2000), p. 67.

  20. 20.

    Cf. Benjamin (1996a, b, c, d), p. 173.

  21. 21.

    Cf. Lipovetsky and Serroy (2014), p. 155.

  22. 22.

    Cf. Benjamin (1996a, b, c, d), p. 171.

  23. 23.

    Cf. Dewey (2010), pp. 66–67.

  24. 24.

    Cf. Lipovetsky and Serroy (2014), pp. 158–159.

  25. 25.

    Cf. Lipovetsky and Serroy (2014), p. 251.

  26. 26.

    Cf. Barros (2016), p. 209.

  27. 27.

    Cf. Benjamin (1996a, b, c, d), p. 173.

  28. 28.

    Cf. Pignatari (1995), p. 08.

  29. 29.

    Cf. Rancière (2009a, b), p. 40.

  30. 30.

    Cf. Benjamin (1996a, b, c, d), p. 173.

  31. 31.

    Vide Lipovetsky and Serroy (2014), pp. 244–245.

  32. 32.

    Cf. Adorno (2001), p. 207.

  33. 33.

    Cf. Adorno and Horkheimer (2006), p. 41.

  34. 34.

    Cf. Hermann (2005), p. 39.

  35. 35.

    Cf. Adorno and Horkheimer (2006), p. 30.

  36. 36.

    Cf. Adorno and Horkheimer (2006), pp. 30–31.

  37. 37.

    Cf. Adorno and Horkheimer (2006), p. 61.

  38. 38.

    Cf. Lipovetsky and Serroy (2014), p. 25.

  39. 39.

    Cf. Adorno and Horkheimer (2006), p. 14.

  40. 40.

    Cf. Benjamin (1996a, b, c, d), p. 180.

  41. 41.

    Cf. Salazar (1961), p. 192.

  42. 42.

    Cf. Benjamin (1996a, b, c, d), p. 168.

  43. 43.

    Cf. Benjamin (1996a, b, c, d), p. 101.

  44. 44.

    Cf. Dewey (2010), p. 123.

  45. 45.

    Cf. Benjamin (1996a, b, c, d), p. 170.

  46. 46.

    Cf. Lopes and Marques (2016), p. 250.

  47. 47.

    Cf. Lipovetsky and Serroy (2014), p. 405.

  48. 48.

    Cf. Lipovetsky and Serroy (2014), p. 409. See too Han (2015), p. 84.

  49. 49.

    Cf. de Sant’Anna (2014), p. 167.

  50. 50.

    Cf. Han (2015), p. 61.

  51. 51.

    Cf. Adorno and Horkheimer (2006), p. 07.

  52. 52.

    Cf. Benjamin (1996a, b, c, d), p. 192.

  53. 53.

    Cf. Bucci (2015), p. 118.

  54. 54.

    Cf. Adorno and Horkheimer (2006), p. 16.

  55. 55.

    Cf. Marcuse (2007), p. 17.

  56. 56.

    Cf. Perissé (2004), pp. 75–76.

  57. 57.

    Cf. Perissé (2004), p. 82.

  58. 58.

    See Ribeiro (org.) (2001).

  59. 59.

    Vide Habermas (1984).

  60. 60.

    Cf. de Aquino (2014), p. 90.

  61. 61.

    Cf. Benjamin (1996a, b, c, d), p. 192.

  62. 62.

    Cf. Marcuse (2007), p. 53.

  63. 63.

    Cf. Marcuse (2007), p. 59.

  64. 64.

    Cf. Marcuse (2007), p. 19.

  65. 65.

    Cf. Lauthère-Vigneau (2008), p. 174.

  66. 66.

    See Lipovetsky (2003).

  67. 67.

    See Lipovetsky and Charles (2004).

  68. 68.

    Cf. Lipovetsky and Serroy (2014), p. 14.

  69. 69.

    Cf. Lipovetsky and Serroy (2014), p. 32.

  70. 70.

    Cf. Lipovetsky and Serroy (2014), p. 16.

  71. 71.

    Cf. Lipovetsky and Serroy (2014), p. 35.

  72. 72.

    Cf. Lipovetsky and Serroy (2014), p. 16.

  73. 73.

    Cf. Lipovetsky and Serroy (2014), p. 18.

  74. 74.

    “En ce qui concerne plus précisément le marché de la peinture, on peut dire: c’est l’appropriation des tableaux comme signes qui joue comme facteur de légitimation du pouvoir économique et social” (“As far as the painting market in particular is concerned, we can say: it is the appropriation of paintings as signs that plays a role in legitimizing economic and social power”—translation) (Baudrillard 1972, p. 131).

  75. 75.

    Cf. Han (2015), p. 87.

  76. 76.

    Cf. Lipovetsky and Serroy (2014), p. 31.

  77. 77.

    Cf. Lipovetsky and Serroy (2014), p. 32.

  78. 78.

    Cf. Lipovetsky and Serroy (2014), p. 129.

  79. 79.

    Cf. Lipovetsky and Serroy (2014), pp. 368 and 392.

  80. 80.

    Cf. Lipovetsky and Serroy (2014), p. 33.

  81. 81.

    Cf. Lipovetsky and Serroy (2014), p. 37.

  82. 82.

    Cf. Lipovetsky and Serroy (2014), p. 70.

  83. 83.

    Cf. Lipovetsky and Serroy (2014), p. 38.

  84. 84.

    Cf. Lipovetsky and Serroy (2014), p. 40.

  85. 85.

    Cf. Lipovetsky and Serroy (2014), p. 45.

  86. 86.

    Cf. Lipovetsky and Serroy (2014), p. 38.

  87. 87.

    Cf. Lipovetsky and Serroy (2014), p. 36.

  88. 88.

    Cf. Lipovetsky and Serroy (2014), p. 41.

  89. 89.

    Cf. Lipovetsky and Serroy (2014), p. 80.

  90. 90.

    Cf. Lipovetsky and Serroy (2014), p. 38.

  91. 91.

    “Pero el cumplimiento de la promessa implica la supresión del arte como realidad separada, su transformación en una forma de vida” (“But the fulfilment of the promise implies the suppression of art as a separate reality, its transformation into a form of life”—translation) (Rancière 2011, p. 49).

  92. 92.

    Vide Lacoste (1986), p. 08.

  93. 93.

    Cf. Galeffi (1979), p. 29.

  94. 94.

    Cf. Rancière (2014), p. 17.

  95. 95.

    Cf. Rancière (2014), p. 21.

  96. 96.

    Cf. Dondis (2007), p. 05.

  97. 97.

    Cf. Benjamin (2000a, b), p. 49.

  98. 98.

    Cf. Dondis (2007), p. 231.

  99. 99.

    Cf. Marcuse (2007), p. 29.

  100. 100.

    Cf. Gorsdorf (2014), p. 63.

  101. 101.

    Cf. de Aquino (2014), p. 37.

  102. 102.

    See previous studies on humanism in Bittar (2018), p. 45.

  103. 103.

    Cf. Perissé (2004), p. 113.

  104. 104.

    Cf. Ibdfam (2017), p. 7.

  105. 105.

    Cf. Eco (2007), p. 185.

  106. 106.

    Cf. dos Santos Coelho (2012), p. 13.

  107. 107.

    See previous studies on humanism in Bittar (2018), p. 45.

  108. 108.

    “Lawyers live by the text and love the past, they hate novelty and misunderstand new languages. The law is able to appreciate new art only after it becomes a matter of convention, use, and habit, in other words, when art becomes like law. Great art, on the other hand, precisely because it breaks away from coventions and rules and expresses creative freedom and imagination, is the antithesis of law. The law of art is the opposite of the rule of law” (Douzinas and Nead 1999, p. 01).

  109. 109.

    Cf. Gorsdorf (2014), p. 60.

  110. 110.

    Cf. Dondis (2007), p. 13.

  111. 111.

    Cf. Perissé (2004), p. 192.

  112. 112.

    Cf. Warat (2004a, b), p. 24.

  113. 113.

    Cf. Carneiro (2002), p. 18.

  114. 114.

    Cf. Plaza (2010), p. 19.

  115. 115.

    Cf. Gorsdorf (2014), p. 56.

  116. 116.

    “Cf. Carneiro (2002), p. 18.

  117. 117.

    Cf. Carneiro (2002), p. 29.

  118. 118.

    “L’ordinamento è il tentativo di individuare la giusta misura, l’ordine. Questo significa che è interpretazione (di quest’ordine). Questo significa che è formatività (di quest’ordine)” (“Sorting is the attempt to find the right size, the order. This means that it is an interpretation (of this order). This means that it is formative (of this order)”—translation) (Cananzi 2013, pp. 50–51).

  119. 119.

    Cf. Han (2015), p. 76.

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    Eduardo C. B. Bittar

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Bittar, E.C.B. (2021). Society, Law and Art. In: Semiotics, Law & Art. Law and Visual Jurisprudence, vol 2. Springer, Cham. https://doi.org/10.1007/978-3-030-58880-9_3

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