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The White Ethnomusicologist’s Burden. White Innocence and the Archive in Music Studies
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JSTOR link to article (restricted access) https://www.jstor.org/stable/2703250
The Evolution of the Prohibition of Genocide: From Natural Law Enthusiasm to Lackadaisical Judicial Perfunctoriness – And Back Again?
No full textInternational legal scholarship and practice have reached a point where it is undisputed that the prohibition of genocide has the status of jus cogens and entails erga omnes obligations. It is, however, astonishing how little academic focus has been dedicated to the normative development leading to this extraordinary rank. In a legal regime with as little hierarchical structure as public international law, examining the birth process of such a norm promises considerable insights into normative formation in general and may inform jurisprudential theories on the nature of international law. This article illustrates the evolution of the prohibition of genocide by outlining the way to the 1948 UN Genocide Convention and the later interpretations of the norm. It traces the origin of the genocide prohibition to naturalistic ideas of overarching laws of humanity in international law and follows its development into the early 21st century. An analysis of international jurisprudence reveals that, after the jus cogens status of the prohibition of genocide and its erga omnes dimension had been settled, international judges handled the norm in a surprisingly lackadaisical and perfunctory manner. The very recent ICJ order on provisional measures in the Myanmar Genocide case potentially marks a return towards a deeper focus on moral facts determining the prohibition that point to naturalistic theories persisting, notwithstanding the positivistic mainstream approaches to international law. The article contributes to a more accurate picture of and greater academic interest in these naturalistic undercurrents
Sound Collections and Postcolonial India’s Cultural Politics: An Interview with Felix van Lamsweerde
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JSTOR link to article (restricted access) https://www.jstor.org/stable/2703250
Eric F . Clarke and Mark Doffman (eds.), Distributed Creativity: Collaboration and Improvisation in Contemporary Music. Oxford: Oxford University Press. (2017); Juniper Hill, Becoming Creative: Insights from Musicians in a Diverse World. New York: Oxford
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JSTOR link to article (restricted access) https://www.jstor.org/stable/2703251
Lori A . Burns and Stan Hawkins (eds .), The Bloomsbury Handbook of Popular Music Video Analysis. London: Bloomsbury. (2019)
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JSTOR link to article (restricted access) https://www.jstor.org/stable/2703251
Making Love Public: The Paradoxes of Intimacy in Henry James’s The Wings of the Dove
No full textThis article focuses on the paradoxes pertaining to romantic love in Henry James’ The Wings of the Dove. Drawing on love sociology (Luhmann, Illouz) it explores the ways in which James places the love and courtship of his protagonists Merton Densher and Kate Croy in a complex and shifting relation to the private and the public. As sociologists and cultural historians inform us, “romantic love“—a notion that links love and marriage—emerged only in the late 18th century as an ideal advocated by sentimentalism and romanticism and then gained popularity throughout the 19th century. Its emergence was concomitant with the rise of the middle class, the rise of the novel, and the growing separation of the private and the public spheres. Indeed, as Niklas Luhmann argues in his seminal study Love as Passion, the differentiation of the private or intimate sphere—a sphere defined by personal/intimate relations as opposed to impersonal ones—begins with the cultural codification of love. It was only after love and marriage became linked that marriage gained its status as a private affair and the family came to be regarded as the sphere of privacy. This already suggests a paradox built into the idea of romantic love: while love came to be understood as the most intimate relation between two people and as central for the demarcation of the private sphere, it also needed to be made public in order to remain what it was. This paradox is reflected in one of the major ironies of James’ novel: Kate’s decision neither to publicly acknowledge their relationship nor to conduct it in secret, but rather to appear publicly and act privately as if there was nothing to disavow in the first place, leads to the disintegration of their intimate bond. Suggesting that the performative effects of Kate and Merton’s public actions eventually render their intimate bond nonexistent, James exposes the paradox at the heart of romantic love
Veranstaltungsbericht: »Macht Recht ungleich? Wie das Recht Vermögen schafft und verteilt«: Erfolgreiche Fortsetzung der Vortragsreihe »Recht interdisziplinär«
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Dylan Robinson, Hungry Listening: Resonant Theory in Indigenous Sound Studies. (2020)
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JSTOR link to article (restricted access) https://www.jstor.org/stable/2709534