The Visial Line: On the Prehistory of Law and Film
2008; Taylor & Francis; Volume: 14; Issue: 4 Linguagem: Inglês
10.1080/13534640802416850
ISSN1460-700X
Autores Tópico(s)Legal Education and Practice Innovations
ResumoClick to increase image sizeClick to decrease image size Notes 1. Sir Edward Coke, ‘Preface’, in The First Part of the Institutes of the Lawes of England. Or, A Commentarie upon Littleton, not the name of a Lawyer onely, but of the law itselfe (London: Society of Stationers, 1628), n.p. 2. Sir Edward Coke, ‘Preface’, in The First Part of the Institutes of the Lawes of England, n.p. 3. My source here is Thomas Blount, Glossographia (London: Newcomb, 1656). The primary meaning of visio is vision or apparition, and from this we also get visage or face, suggesting again the close proximity of image to face, and of face to line or descent. 4. George Puttenham, Art of English Poesie [1589] (Ithaca: Cornell University Press, 2007), p. 329. 5. Richard Sherry, A Treatise of Schemes and Tropes (London: Day, 1550), p. 92. 6. Reference is to the primary extant treatises on common law. Fleta remains innominate; see John Selden, Ad Fletam dissertatio [1647] (Cambridge: Cambridge University Press, 1925); the Mirror of Magistrates is attributed to Andrew Horn. 7. This, of course, is in film theory the theme that animates Christian Metz, Psychoanalysis and Cinema: The Imaginary Signifier (Berkeley: University of California Press, 1985) and receives a brief but incisive treatment in Jacques Rancière, The Future of the Image (London: Verso, 2007). In the burgeoning genre of ‘law and film’, and granted of course the dependency of law upon texts, the secondary character of the image is still very evident in, for example, Richard Sherwin, When Law Goes Pop (Chicago: University of Chicago Press, 2002); and in William MacNeil, Lex Populi: The Jurisprudence of Popular Culture (Stanford: Stanford University Press, 2007). Studies that sidestep this reduction, but do not directly address film are Costas Douzinas and Lynda Nead (eds), Law and the Image: The Authority of Art and the Aesthetics of Law (Chicago: University of Chicago Press, 1999); Alison Young, Judging the Image: Art, Value, Law (London: Routledge, 2005); and there are interesting essays that diverge in part from this paradigm collected in Leslie Moran, et al. (eds), Law's Moving Image (London: Cavendish Publishing, 2004). 8. This is nowhere more evident than in the early semiotics of law, which followed a highly rationalist and rationalizing path. See, for exemplary instances, Bernard Jackson, Semiotics and Legal Theory (London and New York: Routledge and Kegan Paul, 1985); Algridas Greimas, Sémiotique et Sciences Sociales (Paris: Seuil, 1976). Anne Wagner and Bill Pencak (eds), Images in Law (Aldershot and Burlington: Ashgate, 2006) provides some digressions from this perspective. See in particular Christina Spiesel, ‘A Las Meninas for the Law’, pp. 117–42 (p. 117). 9. Metz's magnum opus ends, ‘Paradigm/Syntagm in the Text of the Cure’, in Imaginary Signifier, pp. 293–97, by advocating for thinking the relation between images in terms of syntagms, but syntagm is simply Latin for treatise, while in linguistics it refers to the construction of units below the level of the sentence. 10. John Selden, Table‐Talk [1689] (London: Alex Murray, 1868), p. 20. 11. Sir Edward Coke, ‘Preface’, in The First Part of the Institutes of the Lawes of England, n.p. 12. This point is well made in Jean‐Luc Nancy, Le Regard du portrait (Paris: Galilée, 2000) and is reiterated, in translation, in Jean‐Juc Nancy, The Ground of the Image (New York: Fordham University Press, 2005). 13. Peter Birks and Grant McLeod (eds), Justinian's Institutes [1635] (Ithaca: Cornell University Press, 1987). 14. Valërie Hayaert, Mens emblematica et humanisme juridique (Genève: Droz, 2008), pp. 185–205 offers invaluable commentary upon the emblems inserted an edition of the Corpus iuris civilis published by the Senneton brothers between 1548 and 1550. 15. Joannes Sambucus, Emblemata (Antwerp: Plantin, 1564), especially ‘Consilum’. Gabriel Rollenhagen, Nucleus emblematum (Cologne: Crispiani Passaei, 1611), is reproduced in George Wither, A Collection of Emblemes (London: Robert Allot, 1635) and provides numerous images of sovereign with book and sword. See especially ‘Sapiens dominabitur astris’, p. 31 (Figure 2), and ‘Ex utroque Caesar’, p. 32. The former shows book and scepter, the latter, book and sword. 16. The epigraph reads: Maior haereditas venit unicuiq[ue], nostrum a Iure, & legibus, quam a Parentibus. 17. Coke, again citing Cicero: monumenta (quae nos Recorda vocamus) sunt vetustatis et veritatis vestigia. 18. Sir Edward Coke, Reports (London: Rivington, 1777), Part 3, fol.C7b. 19. Abraham Fraunce, Symbolicae philosophiae liber quartus et ultimus [1590] (New York, AMS, 1991), p. 3. 20. Geffrey Whitney, A Choice of Emblemes (Leiden: Christopher Plantyn, 1586), p. 60. The source is Andreas Alciatus, Emblemata (Lyon: Bonhomme, 1551), p. 17. 21. Justinian's Institutes, dedication, opening line: Imperatoriam maiestatem non solum armis decoratam, sed etiam legibus oportet esse armatam … 22. Henry Green, The Mirrour of Maiestie: Or the Badges of Honour Conceitedly Emblazoned (London: A. Brothers, 1618), p. 2. For excellent commentary on aspects of this text, see Paul Raffield, Images and Cultures of Law in Early Modern England (Cambridge: Cambridge University Press, 2004), pp. 67–74. 23. Francis Bacon, ‘Preface’, The Elements of the Common Law (London: John Moore, 1630) refers directly to ‘your sacred majesty, who is anima legis’. 24. Andreas Alciatus, De notitia dignitatum [1550] (1651 edn), p. 190; Jean Coras, Altercacion, en forme de dialogue (Tolose: Antoine André, 1558), pp. 23–51. 25. Guy Debord, The Society of the Spectacle (London: Compendium, 1977), p. 12. 26. Henri Lefèbvre, Everyday Life in the Modern World (New York: Harper & Row, 1971), p. 92. 27. Henri Lefèbvre, Everday Life, p. 119. 28. Jean Baudrillard, The Evil Demon of Images (Sydney: Power Institute Publications, 1988), p. 13. 29. Jean Baudrillard, The Evil Demon of Images, pp. 14–15. 30. Régis Debray, Croire, Voir, Faire (Paris: Odile Jacob, 1999), p. 108. A similar point is made in a more abstract or less mediological manner in Jacques Rancière, The Future of the Image, chapter 1. 31. Hans Belting, La vraie image (Paris: Gallimard, 2007). 32. Sir Edward Coke, ‘Preface’, in The First Part of the Institutes of the Lawes of England, n.p. 33. John Jewel, A Defence of the Apologie of the Churche of England (London: Fleetstreet, 1577), p. 273. 34. The English sources are Gerard Legh, Richard Bossewell, and John Ferne. 35. A work ridiculed by Valla in a letter. See Bartolus, Tract on Insignia and Coats of Arms, and Lorenzo Valla, ‘Letter to Pier Candido Decembrio’, reproduced as Appendix 5 to the modern edition of Bartolus, Osvaldo Cavallar et al. , A Grammar of Signs: Bartolo da Sassoferato's Tract on Insignia and Coats of Arms (Berkeley: University of California Press, 1994). 36. François Menestrier, ‘Preface’, La Philosophie des images (Paris: R. de Caille, 1682), n.p. 37. François Menestrier, ‘Preface’, L'Art des emblemes (Paris: R. de Caille, 1684), n.p. 38. Valérie Hayaert, Mens emblematica et humanisme juridique, pp. 11–13. For the reception of this figure in the English curricular rhetorical manuals, see Thomas Wilson, The Arte of Rhetorique (London: Robinson, 1560), p. 178 – illustris explanatio. 39. John Bossewell, Workes (London: Totyll, 1572), p.sig iiir. 40. Abraham Fraunce, Symbolicae philosophiae liber quartus et ultimus, p. 9. 41. Claude Mignault, Omnia Andreae Alciati V. C. Emblemata: Cum Commentariis (Antwerp: Plantyn, 1577), p. 24. 42. François Menestrier, Art des Emblemes, p. 111. 43. Thus Francis Quarles, Emblemes (London: Marriotts, 1635) in the preface nicely defines the emblem as ‘a silent parable’. 44. Cicero, De Republica, IV, 10. Digest 3, 2, 1; 48, 2, 4; 48, 19, 14; 49, 16, 4. 45. See Florence Dupont, L'Orateur sans visage (Paris: Presses Universitaires de France, 2000), pp. 67–70. There is a useful earlier discussion in Florence Dupont, ‘La Scène juridique’, 26 Communications, 62 (1977), pp. 62–77. For an overview, see Peter Goodrich, ‘Law’, in The Oxford Encyclopedia of Rhetoric, ed. Tom Sloane (New York: Oxford University Press, 2001), pp. 416–26. 46. Christopher Harvey, The School of the Heart (London: Lodowick Lloyd, 1676), p. 102. (Dabo legum meam in viscebus eorum, et in CORDE eorum scribam eam). 47. Cited in John Manning, The Emblem (London: Reaktion, 2002), p. 48. As for the significance of the bard, Sir Phillip Sidney, An Apologie for Poetrie (London: Olney, 1595) probably best expatiates upon the founding role of the bard. 48. Henry Green's The Mirrour of Maiestie (1618), as alluded to supra, offers essentially armorial representations of social status, of place and honour in a nascently emblematic form. 49. Guillaume de la Perrière, Le Thêatre des bons engins (Paris: Denis Janot, 1544). 50. Guillaume de la Perrière, Le Thêatre des bons engins, emblem X; Geffrey Whitney, A Choice of Emblemes, p. 122. 51. On the image of the blank tableau and empty page, see Peter Goodrich, ‘The Iconography of Nothing’, in Law and the Image, ed. Costas Douzinas and Lynda Nead (Chicago: University of Chicago Press, 1991), pp. 89–114. 52. Pierre Coustau, Pegma (Lyons: Bonhomme, 1555), published in translation in 1660. Hayaert offers a scrupulous modern translation of the Latin text as an appendix to Mens Emblematica. 53. Valërie Hayaert, Mens emblematica et humanisme juridique, p. 74. 54. Cardinal de Luca, Theatrum veritatis et iustitiae (Cologne: Sumptibus Societas, 1689). Book one is titled ‘Of Jurisdiction and the Competence of Courts’, and discourse 1 starts by stating that disputes over jurisdiction are the most frequent appeals heard by the Pontifical Roman court. 55. Régis Debray, Cours de médiologie générale (Paris: Gallimard, 1995), pp. 321–25. What is at issue for Debray is the transmission of the certum, of which he goes on to point out that in the videosphere ‘a certitude that is not visible, that is not sensible, is no longer a certitude.’ (p. 323) 56. Belhaj Kacem, Manifeste antischolastique (Caen: Nous, 2007), p. 12. 57. François Menestrier, La Philosophie des images enigmatiques (Lyon: Hilaire Baritel, 1694). 58. Joannes Comenius, Orbis sensualium pictus (London: S. Mearne, 1672), pp. 88–89. 59. This notion of the open image is well elaborated upon in Georges Didi‐Huberman, L'Image ouverte (Paris: Gallimard, 2007). 60. Sir Edward Coke, First Part of the Institutes, section 243. 61. Gaston Bachelard, The Psychoanalysis of Fire [1938] (Boston: Beacon, 1964), p. 14. The major work on image and reverie is Gaston Bachelard, The Poetics of Reverie [1960] (Boston: Beacon, 1971).
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