The Arts of Transitional Justice

2021 ◽  
Vol 12 (0) ◽  
pp. 125-147
Author(s):  
Danielle Celermajer ◽  
Anne Therese O’Brien

Drawing on the emerging field of multispecies justice, this article seeks to understand how the idea of transitional justice, capaciously understood, might be put to work to transform unjust relations between humans and the more-than-human. Reflecting on concerns in the literatures on animals and the environment concerning the cogency of addressing past wrongs against the more-than-human by using a justice framework, the article sets out a foundational agenda for transitional justice and a conceptual framework responsive to the ontological diversity of beings and communities other than humans. Focusing on soil specifically, the article explores the problem of developing transitional justice approaches for transforming relations that involve systemic violence where such violence is not acknowledged because the harmed being – soil – is not recognized as the type of community to which justice might be owed. To illustrate proto-transitional justice, the article considers both the work of regenerative farmers and emergent collaborations between farmers and visual artists to explore how engagements with the arts of relating to the more-than-human might move the as yet private transformations of relations with soil into a more public, albeit incipient, process of justice.


2020 ◽  
Vol 14 (1) ◽  
pp. 142-164
Author(s):  
Tiffany Fairey ◽  
Rachel Kerr

ABSTRACT∞ Scholars and practitioners of transitional justice have begun to seek alternative approaches in the arts and culture as a means to pursue core goals of peace and reconciliation. This Special Issue asks what creative approaches can do that conventional transitional justice mechanisms cannot, and invites us to reflect on the possibilities, and the potential challenges, risks and constraints. In response, this article discusses two arts-based initiatives in Bosnia and Herzegovina, one involving a national museum, the History Museum of Bosnia and Herzegovina, and one with a Bosnian peacebuilding organization, the Post Conflict Research Centre, that provided opportunities for plural, dialogical and localized forms of transitional justice. Analyzing the question of what worked in these two distinct initiatives, we highlight four common qualities and offer them as non-prescriptive ‘good-practice principles’ in strategic arts-based peacebuilding practice: iterative working over time; carving space for plural, locally driven narratives; amplifying the capacities and networks of local actors; and context-driven project design.


2021 ◽  
Vol 45 (3) ◽  
pp. 273-290
Author(s):  
Maja Savić-Bojanić ◽  
Ilir Kalemaj

Abstract The violent demise of Yugoslavia and the bloody period that marked most of the 1990s in this region have sparked academic interest in the peacebuilding and reconciliation initiatives which emerged after the conflict. Scholarly literature on the subject went in the directions of transitional justice, social psychology and socio-political approaches. However, an unexplored alley of scholarly interest remains in the role of the arts in these processes. By examining the role of arts and memory creation, this introductory article posits these against the background of a problematic reconciliation process in post-conflict areas of the Western Balkans as its core topic. Situated in a post-Yugoslav geographic space, where ethnic conflicts still hinder development, people rest much on the interpretation of the meaning of lived experiences, and the role of images, arts, myths and stories, which are used to either create or dissemble the path to peace between the many ethnic communities that inhabit this area of Europe. The use of several overlapping, yet differently interpreted themes relating to lived experiences and history shows them as symbolic transitional justice policies. They broadly deal with how such knowledges are interpreted through lived moments, such as cinema, museums and public monuments.


Author(s):  
Cecil E. Hall

The visualization of organic macromolecules such as proteins, nucleic acids, viruses and virus components has reached its high degree of effectiveness owing to refinements and reliability of instruments and to the invention of methods for enhancing the structure of these materials within the electron image. The latter techniques have been most important because what can be seen depends upon the molecular and atomic character of the object as modified which is rarely evident in the pristine material. Structure may thus be displayed by the arts of positive and negative staining, shadow casting, replication and other techniques. Enhancement of contrast, which delineates bounds of isolated macromolecules has been effected progressively over the years as illustrated in Figs. 1, 2, 3 and 4 by these methods. We now look to the future wondering what other visions are waiting to be seen. The instrument designers will need to exact from the arts of fabrication the performance that theory has prescribed as well as methods for phase and interference contrast with explorations of the potentialities of very high and very low voltages. Chemistry must play an increasingly important part in future progress by providing specific stain molecules of high visibility, substrates of vanishing “noise” level and means for preservation of molecular structures that usually exist in a solvated condition.


Author(s):  
Vera L. Zolberg
Keyword(s):  

PsycCRITIQUES ◽  
2007 ◽  
Vol 52 (31) ◽  
Author(s):  
Paul J. Silvia
Keyword(s):  

PsycCRITIQUES ◽  
2010 ◽  
Vol 55 (27) ◽  
Author(s):  
Robert B. Faux
Keyword(s):  

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