Hall Of Justice Research Articles

Kertha Gosa as Restorative Justice Hall : A Law Enforcement with Social Harmony Maintenance

Legal issues have recently become a public spotlight, especially for victims involved in legal cases. To that end, the Klungkung District Attorney established the Restorative Justice Agency to reduce crime by holding a meeting between the victim and the defendant. Kertha Gosa, a historical landmark located in the middle of the city of Semarapura, has been chosen to be the center of the activity. The Kertha Gosa has served as a venue for trial since the glorious time of the Semarapura Kingdom. After the dutch invasion of Indonesia in 1908, the place continued to hold the title of hall of justice, including several functions as an educational institution for expatriates. According to its historical facts and values, a decision to make the Kertha Gosa site a restorative justice center for Klungkung regency was an excellent resolve. The Regent of Klungkung, I Nyoman Suwirta, appreciated the given status of the hall as the center to resolve crime acts. Furthermore, the Head of the Bali High Court, Ade T. Sutiawarman, expected the historical site would continue to represent law enforcement but still maintain a good relationship in society.

Anderson v Dredd [2138] Megacity LR (A) 1

Chief Judge Achilles and Judge Hera – uniqueness of proceedings – the nature of judicial decision-making – the judicial order of Mega-city One – source of judicial power – judicial styles – qualities required for judicial office – context of judicial action – requirement of reflection – interpretation and meaning in enforcement of law – adjudicative models – law as horrific – legal theories – Hans Kelsen – Justice Hercules – Jacques DerridaJudge Howard (dissent) – critical assessment of judicial order of Mega-city One – Hans Kelsen, positivism and democracy – merging of law fondatrice and law conservatrice – the “soul of the law” – fracture of the Rule of Law – fascism – comparisons with fascist regimes of twentieth Century Europe – signifiers in judicial uniform – consequences of dissent – reasons for, and consequences of, resignationChief Judge AchillesJudge Hera(judgement redacted from published report)Judgement delivered 3 March 2138.Grand Hall of Justice, Mega-city One.

The Rule of Law and National Security in Nigerian Democracy: A Contemporary Issue under the Aegis of International Law

Although brutality can repress a society, it never assures the sustainability of that conquest. Tyranny steers the hopeless to despair, edges to rebellion, and could open the door for a new tyrant to rise. Law becomes a limiting factor that must act as a stopgap to the avaricious intentions of a dictator. A democratic leader must incorporate the supremacy of the law and honest officials into his government. He shall also create courts of law, treat the poorest citizens with fairness and build a hall of justice to bring the society to modernity with the operation of the rule of law enshrined in the constitution. Legislation is nothing without enforcement and Law is no law if not accepted and respected by the people. The rule of law cannot be said to be working in a country where the government continues to violate the orders of the court, unlawfully detain its citizens, abuse human rights including arbitrary and extra-judicial executions, unlawful arrests and detentions, embargo on freedom of speech and press, impunity and inhumane torture, degradation of people or exterminations. This treatise will argue on the supremacy of the “Rule of Law” as it impacts Nigerian democracy. Keywords: Rule of Law; Democracy; Judiciary; Supremacy; Government; Tyranny; Nigerian Constitution

“An Honest But Fearless Fighter”: The Adversarial Ideal of Public Defenders in 1930s and 1940s Los Angeles

Early one Sunday in 1948, Frederic Vercoe set out from his home in San Marino, California, for a speaking engagement in downtown Los Angeles. Perhaps he took the Arroyo Seco Parkway, which had opened for drivers 8 years before, linking the city more tightly with its “vast agglomerate of suburbs.” Although the roads may have changed, Vercoe had been making some version of this commute for decades. He had recently retired after a long career with the Los Angeles County Public Defender—13 years as a deputy, followed by 19 years as head of the office—and now maintained a small private law practice downtown. Many mornings, Vercoe would have had business at the Hall of Justice, the ten-story box of “gray California granite” that housed the jails and courtrooms. On this particular morning, he was headed instead to Clifton's Cafeteria at Seventh Street and Broadway. Perhaps, as he drove the dozen miles west into the city, he admired the “geraniums, cosmos, sweet peas, asters and marigolds” that lined the “gardens, parkways, and driveways,” or perhaps he was used to the foliage by now. Vercoe had lived in California for more than 30 years, making him, by West Coast standards, a real “old-timer.”

Courtliness and its Trujamanes: Manufacturing Chivalric Imagery across the Castilian–Grenadine Frontier

AbstractThe comparative analysis of the "Hall of Justice" ceilings and several fourteenth-century Castilian courtly artefacts—above all, the Crónica Troyana de Alfonso XI (escorial, h.i.6)—provides suggestive insights for thinking about the threads of meaning associated with chivalric imagery in medieval Castile and Granada. Moreover, tracing the different modes of "Iberization" of a repertoire of motifs traditionally considered "northern" or "western," in both thematic and formal terms, as they are incorporated into the ethnic and cultural plurality of the Iberian Peninsula will serve as an opportunity for scholarship to re-examine the processes of cultural formation, allowing us to avoid simplistic labels and rigid parameters. Translation as a paradigm for artistic creation can be useful in this task, since it can help us to make sense, not only of the singularity of Hispanic achievements, but also of the tensions perceivable in the Peninsular dynamics of artistic production.

Arthur in the Alhambra? Narrative and Nasrid Courtly Self-Fashioning in The Hall Of Justice Ceiling Paintings

AbstractThis essay reconsiders the "Arthurian" identification of a number of the scenes that compose the ornamental program of the painted ceilings above the northern and southern alcobas of the Alhambra's Hall of Justice, proposing a reading that privileges Castilian versions of well-known courtly romances over French ones. The scenes are read as representations of the stories of Flores y Blancaflor, as well as Tristán de Leonís. Both tales, however, have been further altered and adapted in order to privilege the ideological concerns of the Nasrid court, both as an Islamic political entity with an agenda of jihād and—in a fashion that could easily be viewed as contradictory—as a participant in medieval Iberia's much-discussed frontier culture, which involved a "marriage of convenience" with Castilian allies.

Hunting in the Borderlands (for Oleg Grabar)

AbstractIn an article now three decades old, I suggested that the Paintings of the Hall of Justice of the Alhambra used Arthurian iconography as part of a fashionable admiration for Gothic style and the language of chivalry in the Nasrid court, one which was subverted by the polarizing imagery of a Muslim and a Christian fighting. However, I failed at the time to take into full account the extraordinary hunting cycle of the Hall of Justice paintings, discrete groups of hunters and their prey that were interspersed with surprising episodes from romance narratives. These images picture Christians and Muslims as polarized and opposed. In fact, I believe it is in these very images of domination and apparent differentiation that a deep interconnectedness can be found. This study uses the painting cycle from the Hall of Justice of the Alhambra as a means of exploring, not just common styles and motives, but artistic meanings that were held in common between courts. In particular, hunting as an attribute of lordship and sovereignty is key here, in a world in which relationships between Nasrids and Castilians were still largely feudal and many meanings shared, allying the parties we once supposed to be 'other.' There, hunting as iconographic shorthand for ownership of the land appears in surprising and deflected ways. Through a discussion of the Palace of Pedro I at the Alcázar of Seville, contemporary literary evocations of the courtly tradition and of the practice and meaning of the hunt, as these were known on the Iberian peninsula, and the exploration of narrative and emblematic languages of form, I hope to reveal an imagery which suggests domination but masks a complicit, symbiotic interaction. Hunting imagery becomes the means by which both Nasrids and Castilians act out a ceremonial opposition to another with whom they are socially and culturally intertwined.

The Forested Frontier: Commentary in the Margins of the Alhambra Ceiling Paintings

AbstractThis paper argues that important notions are imbedded within the seemingly marginal backgrounds of the ceiling paintings in the Alhambra's so-called "Hall of Justice." The shared European and Islamic iconographies evident in the paintings' settings, and the creatures that appear therein, reiterate the complexities inherent in the multicultural context of the Alhambra. Through the processes of intercultural appropriation, interpretation and adaptation, these plants and animals seem to transcend their many individual cultural resonances, generating new meanings based on the particular convergences fostered by the Nasrid court. The paintings' backgrounds, on the edges of the central courtly dramas, literally visualize the cultural "outsideness" of forests, which, as spaces for seclusion and distance from the distractions of daily life, also may have served as a metaphor for the Nasrid court in Granada. At the same time, these newly reconstituted meanings often seem to speak directly to the nature of the relationships between the figures depicted in the main scenes. Displaying integrated associations deliberately culled from the visual repertoires of several cultures, these paintings appear to offer something of an oasis, where intellectuals of various religious and cultural affiliations would have been encouraged to engage in contemplation and dialogue with one another.

Painting Politics in the Alhambra

AbstractThis article endeavours to shed new light on the meaning of the ten Muslim male figures depicted in the central vault of the Hall of Justice in the Alhambra. First, new chronologies are attempted for the hall and the painting according to historical evidence contained in chronicles and literary sources. The study of the architectural frame of the paintings, interpreted as a madrasa-zawiya, suggests a relationship between the painting and the books intended to be kept below it. Therefore, an analysis of the emir's literary entourage is basic for the interpretation of the ceiling. Finally, the question of armouries and shields to be found in the vault is taken into account to demonstrate that some of this work may have been re-elaborated by Christians after taking possession of the palaces. The shields and the concept of the Order of the Band are too far from Islamic tradition as to belong to the original design of this painting, as critical examination of the Order's internal code shows.

Walk on the Wild Side

AbstractThe figure of the wild man is one that crosses artistic disciplines and genres in the cultures of medieval Iberia. In this article I show how the wild man operates within a variety of meanings in diverse literary contexts that, working simultaneously at different narrative levels, cross over from literature into daily life and spectacles, from legal to political discourses. The figure's continued presence from the medieval period into the sixteenth and seventeenth centuries suggests its use as a commonplace, as a motif with a number of fixed meanings that are put to work through context, providing the possibility of different, perhaps even contradictory readings. As commonplace, then, the wild man is presented as a case study for the reconsideration of other elements in the paintings of the Hall of Justice of the Alhambra, often interpreted to have a specific or fixed meaning, and thus programmed within a particular narrative. Seen in its entirety as a repository of commonplaces, I interpret the complex of the lateral paintings of the Hall of Justice in relation to the central one, in which a set of ten kings in Nasrid dress are depicted as conversing, as pretexts for narration that can be of a literary or juridical nature. I then go on to provide a possible itinerary of reading for the wild man scene not only in its immediate context, but as part of he overall visual project in a political key that illustrates the productive makeup of the paintings as pedagogical and ideological enterprise.

It Pleases the Court. The Ernest Cormier Building Rededicated a Hall of Justice

It Pleases the Court. The Ernest Cormier Building Rededicated a Hall of Justice. Un article de la revue Revue générale de droit (Volume 35, numéro 3, 2005, p. 363-471) diffusée par la plateforme Érudit.

Corpus Juris Tertium: Redemptive Jurisprudence in Angels in America

Law, at least the contemporary American concept of it, is a nerve running through nearly every organ and extremity of the body of Tony Kushner's Angels in America: A Gay Fantasia on National Themes. The abundance of Angels passages that address or refer to the demonstrates the subject's ubiquity in the plays. Among other things, two of the plays' central characters, Roy Cohn and Joe Pitt, are not only closeted homosexuals but also attorneys (Cohn is a seasoned practitioner, whereas Joe Pitt researches and drafts opinions for a federal judge). Their presence, as I discuss in greater depth below, saturates the plays' dialogue with the vocabulary and cultural referents of American legalspeak. Legal metaphor and allusion are also part of the everyday discourse of non-lawyers Louis and Prior: for example, Prior renders a verdict on Louis's failings in love,' Louis and Prior debate the merits of the judicial tasks of deliberating and rendering judgment (MA 38-39), and Louis's masturbatory intellectualism includes speculations on the relationship among law, Justice, and the Constitution.2 enters into countless other lay settings as well; to name a few, Mr. Ties reminds Harper of the by-laws (MA 102) of the International Organization of Travel Agents, Belize speaks of the law of love (MA 100), Roy urges Joe to find some law that he can break (MA 110), and the Law for real busts Harper's imagination (P 21). Legal places, such as the ironically named Hall of Justice in Brooklyn and Department of Justice in Washington, loom large in the plays' landscape. Lastly, many of the plays' pivotal dramatic moments are or involve momentous legal events, such as the trial of Ethel Rosenberg, Cohn's disbarment proceedings, and Louis's discovery of the conservative opinions that Joe Pitt ghostwrote for Judge Wilson.

Families in Transition: A Court‐Mandated Divorce Adjustment Program for Parents and Children

Families in Transition: A Court‐Mandated Divorce Adjustment Program for Parents and Children

Editorial Note

In April of this year the 12th Telders International Law Moot Court Competition was held in the Peace Palace in the Hague. Teams from twelve European countries debated the issues concerning the “Right to Insurgency Case”, which was included in the last issue of the Leiden Journal of International Law. The winner of the 1989 Competition was the Team from the University of Leiden, the Netherlands. In the final round they took on the team from Germany, in the Great Hall of Justice at the Peace Palace, in front of Judge Jose Maria Ruda, Judge Manfred Lachs and Judge Sir Robert Jennings.

Lipit-Ishtar's Hall of Justice

Lipit-Ishtar's Hall of Justice

The Basilica; or Palatial Hall of Justice and Sacred Temple ; its Nature, Origin, and Purport; and a Description and History of the Basilican Church of Brixworth

The Basilica; or Palatial Hall of Justice and Sacred Temple ; its Nature, Origin, and Purport; and a Description and History of the Basilican Church of Brixworth