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Power and the Trial: The Tension Between Voices and Silence
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Filippo Sgubbi
Published/Copyright:
April 10, 2015
Abstract
In Da Ponte’s libretto, the Count of Almaviva called for silence in order to best exercise his institutional authority and pass judgment. Trials have always involved a multitude of voices, and yet a requirement for silence. The trial – in this case the criminal trial – is the most significant instrument of state power and coercion over individuals: according to the specific requirements of those in power, the criminal trial and its individual stages involve at times silence and at times clamour and an adequate mise en scène. This paper examines the relationship between voice and silence in trials.
Published Online: 2015-4-10
Published in Print: 2015-4-30
©2015 by De Gruyter
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Articles in the same Issue
- Frontmatter
- Focus
- Focus: Shakespeare and the Law
- Weak Kings and Perverted Symbolism. How Shakespeare Treats the Doctrine of the King’s Two Bodies
- Free Will and Folly in As You Like It
- Romeo and Juliet: The Importance of a Name
- Unreliable Sources for Law: Dying Declarations in Shakespeare’s King John, Othello & King Lear
- Disruptions and Negotiations of Identity in Act 1 of Shakespeare’s Othello
- Research
- Illegal Search and Seizure, Due Process, and the Rights of the Accused: The Voices of Power in the Rhetoric of Los Angeles Police Chief William H. Parker
- The Judge’s Voice: Literary and Legal Emblemata
- Power and the Trial: The Tension Between Voices and Silence
- Voice, Authority and the Law in Peter Carey’s True History of the Kelly Gang
- Silence, Power and Suicide in Michael Cunningham’s The Hours
- Celsus and Chatwin go Walkabout
- Representing the Unrepresentable: Making Law Anyway?
- Book Reviews
- Gary Watt: Dress, Law and Naked Truth. A Cultural Study of Fashion and Form
- José Calvo González: Direito curvo
