We are interested in how law functions in society, and in law as a social institution.
We currently have four substantive areas of interest: family justice;administrative justice; mental disability and other vulnerabilities; andwider legal system design. Prior to 2014, family justice projects were considered under our children and families programme. We will consider several different types of project.
http://www.nuffieldfoundation.org/law-society-0
Art & Law: Art in Peril
An Interdisciplinary Conference23 June 2015, University of Cambridge
“Art & Law: Art in Peril” is an interdisciplinary conference convened to discuss varying perspectives on questions of art and law and to break down the barriers of specialization. “Art & Law: Art in Peril” intends to improve communication and promote an exchange on the most pressing issues at the juncture of art and law. We aim to compose panels of speakers from a variety of disciplines, grouping papers by theme, geographic or temporal location, rather than by academic department.
We encourage submissions from scholars and professionals in art history, law, archeology, history, public policy, museum studies, classics, art conservation, and beyond. Suggested topics include, but are by no means limited to:
o Historical perspectives on the interrelationship between art and law
o Consequences of current conflicts on art and cultural heritage sites and objects in the Middle East (or elsewhere)
o Perspectives towards notions of originality and authenticity of artwork
o The legal aspects of the conservation of objects, sites, and/or structures
o International dispute resolution of cultural property whose ownership is disputed
o The relationship between cultural property and intellectual property
o Human remains, collections, and the law
o The digitization of artwork and visual cultureWe intend to publish proceedings from the conference in either a journal, or as a stand-alone anthology.
Please email abstracts of no more than 300 words to Sarah Rabinowe at art.law.cambridge@gmail.com by 28 February 2015. Along with the abstract please include your name, institution, paper title and a brief biography. Successful applicants will
be notified by 13 March 2015. Selected speakers will be given further information about the Travel Fund available to offset transportation and accommodation costs.“Art & Law: Art in Peril” will take place at the University of Cambridge, Pembroke College with an evening reception at the Sedgwick Museum of Earth Sciences. Upon request, assistance with accommodation reservations will be provided
The Centre for Critical Thought and Kent Law School are delighted to announce the forthcoming lecture:
“Sovereignty and Property: some thoughts about the history of the law of nations”
Prof. Martti Koskenniemi
University of Helsinki, Director of the Erik Castrén Institute of International Law and Human Rights, and Centennial Professor at LSE.
11 February 2015 – 5 pm, Grimmond LT3
University of Kent
Prof. Koskenniemi’s main publications include From Apology to Utopia; The Structure of International Legal Argument(1989/2005), The Gentle Civilizer of Nations: The Rise and Fall of International Law 1870-1960 (2001) and The Politics of International Law (2011).
The lecture is supported by Clio: A Law and History Research Group (KLS). More information about activities and publications: http://blogs.kent.ac.uk/myclio/
Many of the defining features of the modern law of tort can be traced to the first half of the twentieth century, but, until now, developments in that period have never received a dedicated historical examination. This book examines both common law and statutory innovations, paying special attention to underlying assumptions about the operation of society, the function of tort law, and the roles of those involved in legal changes. It recovers the legal and social contexts in which some landmark decisions were given (and which puts those decisions in a very different light) and draws attention to significant and suggestive cases that have fallen into neglect. It also explores the theoretical debates of the period about the nature of tort law, and reveals the fascinating patterns of influence and power at work behind statutory initiatives to reform the law.
The BBKLR welcomes submissions from legal practitioners, policy makers, students and academics. Papers should be approximately 5,000 words and conform to the OSCOLA citation method (note, papers that do not follow the OSCOLA method will be returned to the authors to be amended).
More info: http://www.bbklr.org/submissions.html
Conference of the Munich Doctoral Program for Literature and the Arts
MIMESIS
Centre for Advanced Studies, LMU Munich
29-31 October 2015
Fakes, forgeries and counterfeits are omnipresent as works of art,branded products, biographies, satellite pictures, documents, news,research results, testimonies. They are mimetic practices of unique cultural, economical and political relevance. They alter reality, make history and perform cultural work. As their impact contrasts with their negative connotation, why are they still first and foremost considered as fraud, as deceit, as the shadow of a creative act?
The conference aims to engage an interdisciplinary dialogue on the potential impacts of fakes, involving literature, performance and media studies as well as art history and musicology, with their diverging media and multiple concepts of the original. These practices should be understood as productive mimetic processes and not as morally and
legally problematic phenomena. If the so-called original is mimetically constituted, as in the case of art forgery, then faking becomes a phenomenon in the second degree. May that be the fundamental reason for them being discredited? These and similar questions should be discussed with respect to the following research areas:
1. Faking as process: Fakes, forgeries and counterfeits manifest themselves mostly in objects, which are always embedded in intricate cultural processes. Their success rather depends on the way they are placed in particular power and discourse structures, and less on craftsmanship or on the materiality of their media. Fakes reflect epistemic frontiers, cultural conventions and social mechanisms, or work to make them visible in the first place. Recent cases (e.g. Wolfgang Beltracci’s art forgeries) as well as historical ones (e.g.
The Poems of Ossian, The Protocols of the Elders of Zion) show that counterfeits respond to blank spaces (Reulecke), collective needs and expectations and are often even deliberately directed at these. Is this the reason why the unmasking of a fake appears so unsettling, even subversive like hoaxes, or does it only reinforce dominant structures?
2. Fakes in intercultural contexts: The discussion on forgery is closely related to historic-ally and culturally informed ideas of authenticity, legality, authorship, creativity, tradition and innovation. Not only the concept of faking, but also the entire scale between the authentic and the faked (Keazor) must be considered within its cultural context. When objects are transferred from one cultural sphere to another, the question arises of how and whether their status changes from fake to authentic or vice versa. Does the investigation of
faking from non-European or postcolonial perspectives demand a more complex approach?
3. Forgery and related phenomena: Are fakes, as mimesis of mimesis, mimetic procedures in the second degree marginalized and stained by the defect of the non-original? From this point of view one encounters a number of related phenomena, which do not constitute a fake in the literal sense, but are based on equivalent processes of production and
reception, such as repetition, translation, copying, citation, appropriation. As in the case of faking, the difference between the model and the imitation frequently becomes imperceptible. Self-reflexive, playful practices have emancipated themselves from the
status of the non-original: Among them are pastiche, reenactment, appropriation art, pseudotranslation, mockumentary. Can these phenomena be productively considered alongside practices of faking? Is such a shift of perspectives also conceivable for forgery?
We invite proposals from the areas of literature, performance and media studies as well as art history, musicology and related fields. Submissions from junior researchers and Ph.D. students are welcome. Papers should be 20 minutes in length and, if possible, be given in
English. Travel expenses and accommodation will be provided within the limits of the budget.
Please send an abstract of no more than 2000 characters and a brief CV (including contact information) until 15 March 2015 to forgery@lrz.uni-muenchen.de.
Cicero demands of historians, first, that we
tell true stories.
Paul David (1985)
The 2015 conference of the Poetics and Linguistics Association (PALA) will take place at the University of Kent, Canterbury, England from 15th-18th July 2015.
The theme of this year’s conference will be Creative Style, and the organising committee
particularly welcomes abstracts that address the notion of stylistics as a means of exploring creativity. However, we will be interested in any abstracts that explore broader areas of stylistics and, in particular, its relationships to other disciplines such as pragmatics, semantics, narratology, literary studies, cultural studies, language teaching, translation and others.
Confirmed keynote speakers:
• Peter Blair (University of Chester)
• Siobhan Chapman (University of Liverpool)
• Joanna Gavins (University of Sheffield)
• Marina Lambrou (Kingston University London)
• Jennifer Riddle Harding (Washington & Jefferson College)
Please send an abstract of no more than 250 words to the conference email address:
PALA2015@kent.ac.uk
Abstracts should be sent as Word attachments, and include your full name, affiliation, academic position, postal address, email address, the title of your paper and five keywords.
The deadline for submission of abstracts will be 30th January 2015.
Please send all queries to: PALA2015@kent.ac.uk
