By Ian Ward
The emergence of an interdisciplinary examine of legislations and literature is likely one of the most enjoyable theoretical advancements at present occurring in North the US and Britain. Ian Ward explores the educative goals of the legislation and literature flow, and explores the legislations in key components of literature from Shakespeare to Umberto Eco to Beatrix Potter, from feminist literature to kid's literature to the fashionable novel. This unique ebook defines the constructing kingdom of legislations and literature reports, and demonstrates how the speculation of legislations and literature can remove darkness from the literary textual content.
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Additional info for Law and Literature: Possibilities and Perspectives
The historicity of Gadamer's hermeneutic could never permit authorial intent to go further. Although he was perceived by many to be a potentially subversive figure, as we shall see in chapter 3, Gadamer's work has been seized upon by a number of interpretive foundationalists, perhaps most strikingly by Owen Fiss and Ronald Dworkin. USING THE TEXT Why does the role of the author matter to law and literature? As we have already noted, one of the most striking characteristics of law and literature is that, unlike so many other approaches to legal theory, its ambition is very much an educative one.
It was Nietzsche who said that truth was simply a 'mobile army of metaphors'. According Rorty, life is a 'dramatic narrative' in a process of 'Nietzschean self-overcoming'. 31 So if someone has a new idea or concept it is articulated as a metaphor, and whether or not the community determines it to be rational is really an assessment of the rationality of the metaphor. Similarly human ambition, whether it be classified as social, political or legal, is never just an idea or a theory. The end that is envisaged is always 'created' by a political literature.
He also followed the pervasive trend in sixteenth- and early seventeenth-century England of presenting political and legal theories in the form of 'stories' or descriptions of idealised states. His New Atlantis followed More's more famous Utopia, and was itself followed by a whole spate of 'utopias', such as, perhaps most famously, Harrington's Oceania. As the seventeenth century tried to turn itself the right way up, it did so by telling stories. The second and third categories concern literature which was not written with a specifically model legal reader in mind, or 'envisaged'.