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.
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