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This book focuses on the paradoxical character of law and specifically concerns the structural violence of law as the political imposition of normative order onto a "lawless" condition. The paradox of law which grounds and motivates Christoph Menke's intervention is that law is both the opposite of violence and, at the same time, a form of violence. The book develops its engagement with the paradox of law in two stages. The first shows why, and in what precise sense, the law is irreducibly characterized by structural violence. The second explores the possibility of law becoming self-reflectively aware of its own violence and, hence, of the form of a self-critique of law in view of its own violence. The Book's philosophical claims are developed through analyses of works of drama: two classical tragedies in the first part and two modern dramas in the second part. It attempts to illuminate the paradoxical nature of law by way of a philosophical interpretation of literature. There are at least two normative orders within the European ethical horizon that should be called "legal orders" even though they forego the use of coercion and are thus potentially nonviolent. These are international law and Jewish law. Understanding the relationship between law and violence is one of the most urgent challenges a postmodern critical legal theory faces today. Self-reflection, the philosophical concept that plays a key role in the essay, stands opposed to all forms of spontaneity.
the threat, while Édith’s mother downplayed it. The frequency of alerts required creative solutions at school. The teachers at Bernard Lemaire’s school in Lille got tired of interruptions, and so ‘they set up classrooms in the basement’. Many schools did not have cellars. For Sonia Agache in Hellemmes, the shelters were ‘behind the school in the park [where] they’d dug some trenches’, whereas Josette Dutilleul, elsewhere in Hellemmes, went ‘under the church where they’d strutted the cellars’. In Aulnoye, Jean Denhez said his teacher ‘made us leave the school and lie
avoided in research with young people, more interactive and creative methods being favoured, this study found the questionnaire to be a valuable tool. Other research suggests that questionnaires often get a bad press in childhood studies, despite many children indicating that they either ‘enjoy’ or ‘don’t mind’ filling them in (Brannen et al., 2000 ). The purpose of the questionnaire was to capture to
’ experience in Afghanistan – the iconic image of which was special operatives on horseback acting as spotters for laser-guided missiles – made him a convert. Rumsfeld moulded Franks into a general who was creative in terms of doctrine and from whom he could expect a constructive reaction to questions. Former House Speaker Newt Gingrich, who as a member of the Defence Policy Board knew both men and observed
concept of cultural violence, defined as ‘those aspects of culture … that can be used to justify or legitimize direct or structural violence’. 8 Innovatively, Galtung defined peace as ‘nonviolent and creative conflict transformation … to know about peace we have to know about conflict and how conflicts can be transformed, both nonviolently and creatively’. 9 Until Galtung
differentiation of distantiation of one group from another does not require that their relationship be one of violence’ (Campbell, 1998: 70). Danger can be experienced ‘positively as well as negatively: it can be a creative force, “a call to being”, that provides access to the world’ (ibid.: 81). In a similar tone, Edward Said (2003a: xxix) calls attention to the ‘slow working together of cultures that overlap
regulations and EU jurisdiction over US money. The evidence presented has also highlighted the importance of local consultation and the inclusion of the most disadvantaged and marginalised if the root causes of conflict are to be tackled. However, while local conditions should determine specific actions, central guidelines are necessary to ensure the generation of creative actions while
Annan himself admitted, this extension and repetition of action involves a paradox: ‘Ladies and Gentlemen, we confront a paradox. Despite a decade of dedicated and creative effort by IDNDR and its collaborators, the number and cost of natural disasters continues to rise. The cost of weather related disasters in 1998 alone exceeded the cost of all such disasters in the whole of the 1980s’ (Annan 1999
creative production of identity (Cresswell, 2004 ). It becomes a backdrop to the shaping of local, regional and national identities. While identities are multiple and dynamic, nonetheless, they emerge within and from place and impact on the past, present and future (Casey, 1993 ). Paying attention to the place-rooted dimension of identity construction is a core underlying feature of this book’s framework
and cultural. However, each will continually enable and reinforce the other providing ‘recognition that there are different ways of dealing with conflicts and that violence is only one possible approach … vital if we are to search and find more creative, more constructive and more viable approaches to dealing with conflict’. 18 In distinguishing conflict from violence