ABSTRACT After the Second World War, representatives of the Allied powers developed an international legal definition of genocide. It precisely defines the necessary state of mind, genocidal acts and modes of agency or commission, determining which experiences are recognised and which harms are made visible. However, this abstract and clinical definition and its application do not convey the complexities of genocide. This potentially leads to inadequate responses that call the justice system into question. Artistic representations such as Jean-Philippe Strassen’s graphic novel Deogratias: A Tale of Rwanda approach genocide in a more nuanced way. They communicate what cannot be communicated in criminal law and retributive justice processes. This way, they challenge the victim–perpetrator dichotomy, the lack of concern for offenders, the focus on violent acts rather than their consequences, and time limits for investigation and prosecution. In doing so, artistic representations can contribute to more appropriate responses to genocide and post-conflict reconciliation.

中文翻译：

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种族灭绝

摘要第二次世界大战后，盟国代表制定了种族灭绝的国际法律定义。它精确地定义了必要的心态，灭绝种族的行为以及代理或执行的方式，确定了哪些经验被认可以及哪些危害可见。但是，这种抽象的临床定义及其应用并未传达种族灭绝的复杂性。这有可能导致对司法系统的质疑不足。艺术代表，例如让·菲利普·斯特拉森（Jean-Philippe Strassen）的图画小说《 Deogratias：卢旺达的故事》以更为细微的方式种族灭绝。他们传达了刑法和惩戒性司法程序中无法传达的内容。通过这种方式，他们挑战了受害者与犯罪者的二分法，对犯罪者的担忧，关注暴力行为而不是后果，以及调查和起诉的时限。在这种情况下，艺术表现形式可以有助于对种族灭绝和冲突后和解做出更适当的反应。