Published Online: 2022-08-08
Published in Print: 2022-09-27
© 2022 Walter de Gruyter GmbH, Berlin/Boston
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Articles in the same Issue
- Frontmatter
- Foreword: Law and Art in the Aftermath
- The Right(s) to Remain: Art, Asylum and Political Representation in Australia
- Dis-Affective Justice in Abderrahmane Sissako’s Bamako (2006)
- Contemporary Art in the Aftermath of Legal Positivism: The ‘Other’ Contract Art as Material Jurisprudence
- ‘NO GO’: Artists, Trespass and the Aftermath of Occupation
- Research
- Dystopian Images of Law and Visual Performances of Identity in Suzanne Collins’ The Hunger Games
- Books, Broadcasters and the BBC: The Conversations Among British Modern Literature, Media and the Law
- Falling Man and the Aesthetics of Terrorism
- Book Reviews
- Shulamit Almog: The Origins of Law in Homer
- Kieran Tranter: Living in Technical Legality: Science Fiction and Law as Technology
Articles in the same Issue
- Frontmatter
- Foreword: Law and Art in the Aftermath
- The Right(s) to Remain: Art, Asylum and Political Representation in Australia
- Dis-Affective Justice in Abderrahmane Sissako’s Bamako (2006)
- Contemporary Art in the Aftermath of Legal Positivism: The ‘Other’ Contract Art as Material Jurisprudence
- ‘NO GO’: Artists, Trespass and the Aftermath of Occupation
- Research
- Dystopian Images of Law and Visual Performances of Identity in Suzanne Collins’ The Hunger Games
- Books, Broadcasters and the BBC: The Conversations Among British Modern Literature, Media and the Law
- Falling Man and the Aesthetics of Terrorism
- Book Reviews
- Shulamit Almog: The Origins of Law in Homer
- Kieran Tranter: Living in Technical Legality: Science Fiction and Law as Technology