Exodus and Justice (original) (raw)
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MediaRes, 2021
Human drama and conflicts have enormously inspired Greek tragedies, which are characterized by "timelessness" and "universality", and thus, can "host" individual conflict cases, individual human pain and suffering. Theoretical and philosophical connections between Greek tragedies and restorative justice processes can be found on rituals used for conflict transformation. Moreover, the ancient Greek concept of "parrhesia", as it has been studies by Michel Foucault, seems to be important for both the heritage of Greek tragedies and the core restorative value of the truth. In addition, a "modern glance" on Greek tragedies can contribute to the development of restorative justice in practice, in a double way: First, Greek tragedies, combined with current scenic practices, might be a useful tool for the phase of preparation of stakeholders before a restorative encounter. Second, awareness on restorative justice can be promoted by using fictional, imaginary restorative dialogues while maintaining the issue data of a conflict of a tragedy.
2013
The Concept of Injustice challenges traditional Western justice theory. Thinkers from Plato and Aristotle through to Kant, Hegel, Marx and Rawls have subordinated the idea of injustice to the idea of justice. Misled by the word’s etymology, political theorists have assumed injustice to be the sheer, logical opposite of justice. Heinze summons ancient and early modern texts, philosophical and literary, with special attention to Shakespeare, to argue that injustice is not primarily the negation, failure or absence of justice. It is the constant product of regimes and norms of justice. Justice is not always the cure for injustice, and is often its cause.
Civic Justice: From Greek Antiquity to the Modern World
CIVIC JUSTICE From Greek Antiquity to the Modern World, 2001
The study traces the journey of an idea—the distinctively civic idea of justice—from its origins in the ancient Greek polis and Roman civitas, through its various transformations in Medieval and Renaissance Europe, to its adaptation by the American Republic and the modern world. The book explores the meaning of civic justice in its philosophical, art-historical, architectural, sociological, and political dimensions. It looks at its dramatic encounters with other concepts of justice, both traditional (patrimonial) and modern (liberal). Particular attention is paid to the way these conflicts express themselves in the texture of urban life. The work addresses fundamental questions about the use and abuse of space in city architecture, the quality of urban life, and the interplay of such notions as reason and authority, freedom and limits, and modernity and antiquity in relation to the idea of civic justice. The book concludes with a sustained reflection on the legacy of the American Republic. Founded on a torturous compromise between antinomianism and the civic ideals of justice, America became the first great republic to disavow the city, a disavowal that has had enduring effects on its politics and social life ever since. Contents Chapter 1 Kallipolis Chapter 2 Metron Chapter 3 Kosmopolis Chapter 4 The Birth of Humanism Chapter 5 The Commune Chapter 6 Kosmopoiesis Chapter 7 The Scales of Justice Chapter 8 The First Modernity Chapter 9 Sense and Sensibility Chapter 10 The Republican Empire Chapter 11 The City Beautiful
JUSTICE AS THE END VALUE OF LAW
There has always been a great debate on what role law should fulfill in every society –while believers of the Natural Law on the one hand, insist that every law must appeal to good conscience in order to be recognizable, the Marxists are of the view that law is nothing but an instrument of oppression in the hands of the sovereign. The bottom-line of these arguments is that of a deep-seated yearn for justice. For instance, believers of the Marxist School of thought would have been more at peace if they have seen law as going to the greater extent of achieving and guaranteeing certain freedoms. While this is important, it is acutely imperative to draw out a benchmark –justice. Therefore using justice as the index of every law, has law served any purpose, at all, for every Tom, Dick and Harry of every society? This research sets out on a particular mission: that of first, understanding what law actually is, then attaching to it the value of justice in order to create out a phenomenon, and then proceeding to critically examine, compare and analyze the laws of some select societies (both indigenous and modern) using the index of justice as a guide. In the end, it is the hope of this researcher that, notwithstanding the variety in the laws that have existed and still exist during the different evolutionary stages of human societies, the common, universal language which they all reflect –that of justice – has been deduced.
Inscribing Justice in Aeschylean Drama
Despite the title, this chapter is not an overview of the idea of justice (dikē) in the tragedies of Aeschylus and intersects only tangentially with discussions of the idea and institution of justice in ancient Greece. My concerns here have much to do rather with the materials of metaphor, how they are related to time, and how both are related to justice, that is: the material and temporal means by which Aeschylus allows justice to be imagined, as well as what material realities of justice are occluded by this imagining. My argument begins with a recognition of Aeschylus's repeated attention to the written word-indeed, the inscribed word-in his representations of justice. I use the word "inscribed" because even in the cases in this chapter where I use the term "written", writing should be understood as the outcome of a deliberate and sometimes laborious act, one that has left marks or indentations on a surface, some of which, some of the time, could be considered indelible. This is not necessarily what writing means in this day and age, when most of it involves the movement of digital particles across a screen. But writing in the age of Aeschylus was an intrinsically physical activity, especially when it took the form of inscription on stone. It was enacted by corporeal effort upon a substance, hardly less so than sculpting. The meaning and implications of writing thus are all connected to its physicality and degree of visibility in the world. Indeed it is the physicality of written texts that places them into space in a way that also raises the question of whether they will endure through time. And if there is one thing that justice requires, at least justice in its desirable form, it is time, particularly a sense of a reasonably predictable future or futurity. The possibility of such a future allows for an idea of justice as abstract and disinterested. Thus one important use of inscription from the classical period was the incising of laws for public display, particularly in Athens (see Gagarin 2008). Such highly visible inscriptions disconnected law and justice from the personhood of the basileis and made laws into promises. There was perhaps the additional connection of inscribed, public laws to another form of justice, namely, trial by jury, which "empowered and instructed citizens" to "perform justice according to a new script" (Farenga 2006, 265). Laws that are visible and lasting through inscription, after all, are available to be widely and fairly applied by any competent party.
The Variations of the Concept of Justice: An Analysis
2018
The idea of the concept of justice varies from man to man, family to family, locality to locality, state to state, country to country and even continent to continent. The inquiry about justice goes from the crudest to the most refined interpretation of it. The basis of justice can be traced to conscience and morals. Philosophers have different theories of justice. This contributes to the assertion that a definite meaning of justice is hard to come by. Some see it as a shield to the weaker people in the society; others envision a society of equal citizens with equal rights. The ‘rights of citizens’ is one of the basic features of justice. In claiming these rights by citizens, arguments build up as to unjust actions. An example is the nature of secularism in Turkey, the ban placed on the hijab and the violation of the right to freedom of religion of women. Also, an intimate look at current issues in the world brings one to the conclusion that it is not possible for everyone to be just...
2013
One of the many wonderful features of Representing Justice is its exploration of the ambivalence of the traditional depiction of Justice. Justice\u27s blindfold suggests both impartiality and moral or factual blindness; her sword cuts through obfuscations and complexities but also inflicts pain and death. Other contributions to this Issue develop further ambivalences: Bennett Capers considers whether Justice\u27s blindness makes her color-blind; Peter Goodrich asks whether her blindfold obstructs her vision or rather makes it impossible for us to see her. Yet the ambivalence does not stop there. Much that we would wish to incorporate in a portrait of Justice is missing from the familiar image of the Goddess with the Scales. True, leaving things out of a depiction can sharpen our perception of what remains. Yet it is also true that focusing on what has been omitted can help us move beyond what is familiar. As artists sometimes portray a figure by drawing the negative space around it,...
Justice as a Self-Alienated Other
Justice as a Self-Alienated Other Transfixed by the "innocent boredom" of a young boy "carefully throwing his cap on the floor and then carefully picking it up, and then again, over and over", Franz Kafka denigrates his own lecture of Heinrich von Kleist"s Michael Kohlhaas by critiquing that he "Read wildly and badly and carelessly and unintelligibly" . Kafka"s self-flagellation is consistent with his more profound frustrations on his (and perhaps everyone"s) inability to effectively communicate ideas, but the motivation for choosing Kleist"s novella is less obscure. Michael Kohlhaas was, in fact, "one of Kafka"s favourite pieces of prose" (Brod, 1948), which in combination with its clear, candid, and exciting plot provides him with a vehicle to relate his own epistemic issues.
I will discuss Thrasymachu's new on present justice in the first and Second Republic of Plato's. I will first demonstrate Plato's project plan within its historical and cultural context. Now in order to show the function idea of Thrasymachus as representing common cultural conceptions extant at the time Plato wrote the Republic I shall refer to " Solon and Thucydides " , Thucydides is of particular value and a fellow member of the relate aristocracy at a time very close to Plato. In his description of Athenian attitudes to justice, then therefore offers a close source to compare with Plato. I shall then examine the key steps undertaken by Thrasymachus and then Glaucon in the Republic. Many of these steps are in response to objections by Socrates. Finally, I shall extract the logical propositions within these passages. By making explicit implied propositions and intermediate conclusions, I shall show that Thrasymachu's position offers a compatible view of justice. Moreover, I shall show that this view is not one which attempts to provide a single definition. I shall further indicate that it is the false assumption that Thrasymachus is attempting a definition of justice, rather than merely describing various aspects of it, which generates the perception of incompatible. " It is said that It has always been a rule that the weak should be subject to the strong; " These Plato's Republic is a political work which examines, among other things, the nature of justice. In Athens, if not all of classical Greece, justice is both a personal view as valor and virtue and a civic necessity. The presence of justice was considered essential both for the orderly interaction between citizens and for the overall survival of the polis. These were considered interdependent , as we see in