Champion Of Justice Research Articles

Clinical Legal Education—A Robust Instrument for Attainment of Justice: An Indian Perspective

Legal education is to serve the purpose of creating well-versed and proficient professionals who can render the best legal service to the people and help them get justice. Moreover, it is also to produce law-abiding and well-informed citizens who can carry out their duties in their professional life (irrespective of the nature of profession) for maintaining the rule of law. Along with a very strong foundation of substantive law, law students must also be oriented to the application of law during their undergraduate programme. This goal is to be realized through clinical legal education (CLE), which was introduced with an aim of combining the theory with practice. It also helps inculcate a sense of social justice in law students, as they closely see the application of law in a real life situation; they realize how law benefits people; they get closely connected to the society; they learn professional ethics; they develop problem solving approach; they get immeasurable satisfaction and confidence in the power of law; and more particularly, they comprehend that law is the real robust instrument to ensure and secure inclusive justice in the society. CLE, thus, makes the legal education all-inclusive and wholesome by making law students the agents of social change and champions of justice. This research article argues that CLE is indispensable for the attainment of inclusive justice. It also gauges the state of CLE in India from this perspective. Lastly, the article offers a few convincing suggestions which need to be incorporated in the legal education framework of India in order to ensure the higher goal of attainment of inclusive justice in India.

JUDICIAL ACTIVISM IN INDIAN DEMOCRACY

Judicial Activism is a powerful weapon, which the judges have to wield to Sub serves the ends of justice by making the law responsive to the felt necessities of the changing times. The scope of judicial activism varies with the courts power of Judicial Review. The judicial activism is use of judicial power to articulate and enforce what is beneficial for the society in general and people at large. Supreme Court despite its constitutional Limitation has come up with flying colors as a champion of justice in the true sense of The word .JUSTICE…this seven letter word is one of the most debated one sin the entire English dictionary. With the entire world population being linked to it, there is no doubt about the fact that with changing tongues the definition does change. The judicial activism has touched almost every aspect of life in India to do positive justice and in the process has gone beyond, what is prescribed by law or written in black and white. This article covers definition, Theories of judicial activism, development of Judicial Activism in India, Judicial Activism in various periods.

Celluloid Chains: Slavery in the Americas through Film ed. by Rudyard J. Alcocer, Kristen Block, and Dawn Duke

Reviewed by: Celluloid Chains: Slavery in the Americas through Film ed. by Rudyard J. Alcocer, Kristen Block, and Dawn Duke Christopher D. Stone Celluloid Chains: Slavery in the Americas through Film Rudyard J. Alcocer, Kristen Block, and Dawn Duke, eds. Knoxville: University of Tennessee Press, 2018 Scholarship on slavery's cinematic presence has been surprisingly sparse. Before 2018, the only book-length analysis came from Natalie Zemon Davis's Slaves on Screen (2002), a brief but perceptive study of five films. Celluloid Chains ups the ante. Fifteen essays conceived from a range of academic disciplines tackle fifteen films released between 1975 and 2015. In short, this anthology is, as the introduction boasts, "the most complete collection of critical essays" for this cinematic genre to date (x). After Rudyard J. Alcocer's introduction, the collection opens with El otro Francisco (1975). Julia C. Paulk explains how director Sergio Giral radically reworked a landmark novel under the watchful eye of Cuba's ICAIC. Giral recasts the novel's suffering, but docile slaves into righteous, rebellious revolutionaries. Although the rebels fail, the film's list of subsequent revolts (mostly anticolonial uprisings led by whites) as well as the image of surviving rebels ensconced in the mountains, an obvious allusion to Castro's 26th of July Movement, positions this slave uprising (and other rebellions) as precursors to 1959 and the supposed eradication of inequality and prejudice. Robert J. Norrell offers the anthology's second and final foray into the 1970s with his discussion of Roots (1977). Norrell largely abstains from original in-depth textual analysis, relying instead on Leslie Fiedler. Most of Norrell's essay functions as a useful introduction to the production and reception of Roots as well as an overview of the accusations of plagiarism and historical inaccuracy that dogged Alex Haley. If Norrell takes a greater interest in the big picture, Haley Osborn offers a close reading of Cecilia (1981), Humberto Solás's lavish adaptation of Cirilo Villaverde's seminal novel. In particular, she examines the film's use of lighting, which, to cite one example, repeatedly marks the film's heels, both strong, ambitious women, as manipulative, malevolent, and even inhuman. Unlike the big-budgeted Cecilia, Cimarrones (1982) is a low-budget short about fugitive slaves. As Rachel Sarah O'Toole notes, the film offers a counter-memory to the one enshrined in Peruvian archives, dominated as they are by filings from imperial officials and slaveholders. Instead of the lawless marauders imagined by the colonial elite, maroons appear as champions of justice who live in a sustainable, orderly community. Here O'Toole expresses envy. Untethered by archives that reveal little about what fugitives said or felt or how they interacted, the filmmakers could use their imaginations to create a "vision that historians like me suspect but have been unable either to prove or disprove" (63). Quilombo (1984) shares some similarities to Cimarrones. Both are set in the 1600s. Both are about fugitive slaves. Both seek to integrate a historically marginalized group within their nation's imagined past. However, compared to O'Toole, Ignacio López-Calvo adopts a more critical tone, He charges the filmmakers with caricaturing the Portuguese, exoticizing Afro-Brazilians, and romanticizing Quilombo, Brazil's most famous maroon settlement, by depicting it as a perfectly harmonious, always festive realm. Alcocer's essay on Cobra Verde (1987), written and directed by Werner Herzog, returns the collection to the 1800s, its favored century. Cobra Verde is the collection's only film that does not foreground the experience of slaves, focusing instead on the titular character, a Brazilian slave trader. Alcocer spends much of his essay debating about whether this film, which, as he concedes, renders the enslaved voiceless, fits within the current study. The stylized documentary Passage du milieu (1999) illuminates the experiences of those souls captured and transported by the likes of Cobra Verde. While this film, which juxtaposes slow-motion images of slaves [End Page 57] against poetic narration, divided critics, Anny Dominique Curtius deems it compelling and more effective than the Walter Mosley-revised script aired by HBO in 2001. In her analysis, the film's tidalectic nature embodies "an ecopoetic counter-epistemology to a...

A Critical Analysis of the Unity Movement in Bangladesh: Shaikh Azizur Rahman’s “Unity in Diversity”

Muslims in Bangladesh are polarised and disunited, including among Islamist groups, who are supposed to be the symbol of Muslim Unity. Shaikh Azizur Rahman Nesarabadi (1915-2008) was a pioneering figure who propelled the theory and practise of uniting the people of Bangladesh. According to him, ittihad mal Ikhtelaf (Unity in Diversity) is the only solution to existent disunity. This paper analyses his discourse and his role in the politics and society of Bangladesh by textual analysis of primary and secondary data. After analysing Unity in Diversity itself, we provide a short biographical sketch of Shaikh Azizur Rahman, showing his exposure to both Shariah and Sufi education, and their impacts on his thought. The paper then focuses on his ideas on four stages of unity and analyses them in light of contemporary social realities in Bangladesh and the Muslim world. This paper concludes that Shaikh Nesarabadi’s thought and theory on unity depend upon three elements: moderation and mutual respect, focus on common interest, and the Tawhidic paradigm. These comprise the framework for Muslim unity whose adoption by Muslims can fulfil the command of Allah to enable the Ummah to resume a leading role in the world as a champion of justice.

Bishop Colenso and Theophilus Shepstone: Partners in Christian Imperialism

This article revisits Bishop J.W. Colenso’s long partnership with Theophilus Shepstone, trying to see it as it unfolded chronologically under changing circumstances. From the outset the bishop’s missionary practice envisaged a partnership with the colonial state to deliver a Livingstonian programme of commerce, industry and civilisation. His administration of his foundation ‘school for chiefs’, Ekukanyeni, was set up on the model of an English Public School. Until it foundered on the rocks of African resistance, Colenso played the headmaster to the hilt, attempting to build character and flogging where he thought flogging was needed. The ‘black kingdom’ dream he dreamed with Shepstone was not, as presented by Jeff Guy and other historians, a thought bubble killed off by higher authorities but a scheme to which the friends returned repeatedly right up to their irreparable break of 1874. In each of its various guises it articulated a vision of patriarchal rule that challenges conventional pictures of Colenso as a consistent champion of justice and autonomy for Africans. No missionary to Southern Africa ever articulated a more extensive project of Christian imperialism.

“A Love Story Pure and Simple”: Harper Lee and Atticus Finch

ABSTRACTThe article explores the evolution of the character Atticus Finch from Harper Lee’s Pulitzer Prize–winning novel, To Kill a Mockingbird, to the recently released Go Set a Watchman. The enduring popularity of To Kill a Mockingbird and iconic status of Atticus Finch as a champion of justice and racial equality made the publication of Go Set a Watchman and character reversal of Atticus Finch a shock to the literary world, with reverberations into popular American culture. Through an examination of Lee’s writing process, the circumstances of each novel’s publication, and the influence of Lee’s editor and father, this article reveals how Atticus Finch seemingly transformed from a lawyer-hero to an aging racist.

The dilemma of neutrality: to what extent can humanitarian assistance be combined with efforts to promote development?

One cannot be at one and the same time the champion of justice and of charity. One must choose. (Pictet, ICRC 1979) That conflict has a negative effect on the health of a population is regarded as ...

Champion of Justice: How Asian Heroes Saved Japanese Imperialism

With a catchy theme song and exotic scenery from the South, Kaiketsu Harimao (“Fast Thief Harimao”) made its debut in Japan on 5 April 1960. The first domestically produced television movie broadcast in color and the first to have locations overseas (notably in Angkor Wat), Harimao ran until June 1961, with a total of sixty-five episodes. Harimao opens with a procession of native men—their nativeness marked by their sarongs and painted dark skin—walking warily along the beach. They are vigilantly guarded by British soldiers with guns and whips to enforce the march. The opening scene not only establishes the exotic locale of the south but also accentuates the opposition between master and slave, between white and nonwhite races. As a soldier strikes down with a whip, the camera cuts to the lower torso of a man wearing a gun holster with a tiger-figured buckle and then moves up as the man pulls his gun and ires. Our hero wears a white turban and dark sunglasses. His shots send the soldiers' weapons flying. He mounts his horse as the camera zooms out to show him on a distant cliff, underscoring his extraordinary marksmanship. After the startled soldiers ask, “Who's there, who's that?” in unison with the hopeful natives, they shout, “Harimao, Harimao, it's Harimao!” and the airy and melodious theme song begins. As the credits roll, Harimao and his followers defeat the British soldiers and free the natives. The lead-in ends with the natives waving gratefully as Harimao and his men gallop off in triumph.

Sanctification in Milton's Academy: Reassessing the Purposes in Of Education and the Pedagogy of Paradise Lost

Sanctification in Milton's Academy: Reassessing the Purposes in <i>Of Education</i> and the Pedagogy of <i>Paradise Lost</i>

Byron's Cain: A Disqualified Champion of Justice

Byron's Cain: A Disqualified Champion of Justice

The Knight-Errant in Hua-Pen Stories

The figure of the righteous man-at-arms as a champion of justice is one of the perpetual hero types consciously cherished in traditional Chinese literature. Thanks to the efforts of Profesor James J. Y. Liu WIJ V,, as represented by his The Chinese Knight-errant (Chicago, I967), the major traits, in fact and in literary imagination, of this otherwise hard to define figure, rendered ambiguous by the passage of time, the changing cultural and political background, the different needs of various genres, and the shifting literary taste, have been brought to a clearer focus 1). One would expect that dif-

Magnes, the Champion of Justice

Magnes, the Champion of Justice

Magnes, the Champion of Justice

Magnes, the Champion of Justice