This article argues that greater theoretical attention should be paid to the figure of the zombie in the fields of law, cultural studies and philosophy. Using The Walking Dead as a point of critical departure concepts of legal personhood are interrogated in relation to permanent vegetative states, bare life and the notion of the third person. Ultimately, the paper recommends a rejection of personhood; instead favouring a legal and philosophical engagement with humanity and embodiment. Personhood, it is suggested, creates a (...) barrier in law allowing individuals in certain contexts to be rendered non-persons and thus outside the scope of legal rights. An approach that rejects personhood in favour of embodiment would allow individuals to enjoy their rights without being subject to such discrimination. It is also suggested that the concept of the human, itself complicated by the figure of the zombie, allows for legal engagement with a greater number of putative rights claimants including admixed embryos, cyborgs and the zombie. (shrink)

As Holderlin was to Martin Heidegger and Mallarme to Jacques Derrida, so is H.P. Lovecraft to the Speculative Realist philosophers. Lovecraft was one of the brightest stars of the horror and science fiction magazines, but died in poverty and relative obscurity in the 1930s. In 2005 he was finally elevated from pulp status to the classical literary canon with the release of a Library of America volume dedicated to his work. The impact of Lovecraft on philosophy has been building for (...) more than a decade. Initially championed by shadowy guru Nick Land at Warwick during the 1990s, he was later discovered to be an object of private fascination for all four original members of the twenty-first century Speculative Realist movement. In this book, Graham Harman extracts the basic philosophical concepts underlying the work of Lovecraft, yielding a weird realism capable of freeing continental philosophy from its current soul-crushing impasse. Abandoning pious references by Heidegger to Holderlin and the Greeks, Harman develops a new philosophical mythology centered in such Lovecraftian figures as Cthulhu, Wilbur Whately, and the rat-like monstrosity Brown Jenkin. The Miskatonic River replaces the Rhine and the Ister, while Holderlin's Caucasus gives way to Lovecraft's Antarctic mountains of madness. (shrink)

The perennial question posed by the philosophically-inclined lawyer is 'What is law?' or perhaps 'What is the nature of law?' This book poses an associated, but no less fundamental, question about law which has received much less attention in the legal literature. It is: 'Who is law for?' Whenever people go to law, they are judged for their suitability as legal persons. They are given or refused rights and duties on the basis of ideas about who matters. These ideas are (...) basic to legal-decision making; they form the intellectual and moral underpinning of legal thought. They help to determine whether law is essentially for rational human beings or whether it also speaks to and for human infants, adults with impaired reasoning, the comotose, foetuses and even animals. Are these the right kind of beings to enter legal relationships and so become legal persons. Are they, for example, sufficiently rational, or sacred or simply human? Is law meant for them? This book reveals and evaluates the type of thinking that goes into these fundamental legal and metaphysical determinations about who should be capable of bearing legal rights and duties. It identifies and analyses four influential ways of thinking about law's person, each with its own metaphysical suppositions. One approach derives from rationalist philosophy, a second from religion, a third from evolutionary biology while the fourth is strictly legalistic and so endeavours to eschew metaphysics altogether. The book offers a clear, coherent and critical account of these complex moral and intellectual processes entailed in the making of legal persons. (shrink)

_Oedipus Lex_ offers an original and evocative reading of legal history and institutional practice in the light of psychoanalysis and aesthetics. It explores the unconscious of law through a wealth of historical and contemporary examples. Peter Goodrich provides an anatomy of law's melancholy and boredom, of addiction to law, of legal repressions, and the aesthetics of jurisprudence. He retraces the genealogy of law and invokes the failures and exclusions—the poets, women, and outsiders—that legal science has left in its wake. Goodrich (...) analyzes the role and power of the image of law and details the history of law's plural jurisdictions and traditions of resistance to law. He explores mechanisms of repression and representation as constituents of modern subjectivity, using long-abandoned medieval texts and early appearances of feminism as resources for the understanding and renewal of legal scholarship. Not simply deconstruction but also reconstruction, this work is keenly attuned to the discontinuties, silences, and gaps in the cultural tradition called law. (shrink)

H. P. Lovecraft (1890-1937) was a great horror writer, correspondent, and philosopher. This book focuses on his stories, texts, and ideas. It attempts to make sense of their underlying unity. The main themes are value nihilism, cosmicism, the language of the unsayable, and the tension between science and magic. Special attention is paid to Lovecraft's style, which is shown to be an essential aspect of his creativity. Lovecraft was also an interesting person whose life is documented in his many letters. (...) This book unifies the biographical, fictional, and philosophical dimensions of Lovecraft's writings. (shrink)

Through a review of Sara Ramshaw’s, Justice as Improvisation, the essay evaluates recent scholarly directions in the interdisciplinary field of law and music. The essay considers both methodological and epistemological questions motivating this scholarship, and argues that there yet remains the opportunity to pursue with even greater specificity the meaning of music, in terms of its own vocabulary and genre. The new field of law and music is slowly but surely combining these formal considerations with an ever richer vocabulary, and (...) a richer inter-disciplinary dialogue not just about jazz but with it. What might have been a somewhat sterile exercise in virtuosity is turning into a fully-fledged interdisciplinary claim, with its own methodology and its own epistemology, capable of illuminating not just law or music, but both in light of the other. (shrink)