Abstract

The article analyses the title page of Vico’s New Science in light of Hiroshi Sugimoto’s series Theaters and the emblematic of Goodrich and Legendre, showing how the rhetorical tradition of Italian legal humanism and the Japanese visual culture conceive a vision of Law and Humanities that opposes Cartesian rationalism and the logocentrism of contemporary legal positivism. Visual legal studies question the perspective in painting, theater and cinema, and its cultural and political implications at the time of the media revolution and the emergence of the normativity of the image.

中文翻译：

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最后的徽章。从杉本戏剧作为亚里士多德语言的另一面看维科新科学的前沿

摘要

文章结合杉本博司的系列剧场和古德里奇和勒让德的象征，分析了维柯《新科学》的扉页，展示了意大利法律人文主义的修辞传统和日本视觉文化如何构想出一种反对笛卡尔理性主义的法律和人文视野以及当代法律实证主义的逻各斯中心主义。视觉法律研究质疑绘画、戏剧和电影的视角，及其在媒体革命和图像规范性出现时的文化和政治影响。