The relationship between law and morality

Law and morality can be considered as two competing groups among varied and sophisticated social phenomena. Both law and morality serve as norms of human behavior and fall in the category of values for maintaining social welfare. The study was based mainly on a review of the relevant literature and the compiling of available information on law and morality. This paper argues that law and morality are closely related yet distinct.     

Fictions of Origin: Law,Abjection, Difference

This article seeks to offer a critique of what it terms ‘Law-as-Logos’ (the Western conceptualisation of ideal Law in terms of pure ‘Presence’) from a perspective that combines some of the insights of contemporary psychoanalytic, deconstructive and feminist theory with recent developments in critical legal studies. The essay seeks to offer a re-theorisation of law, not as ‘Logos’ but as ‘difference’. The law, it will be argued, exists only as that arbitrary point of demarcation between the space of the sacred and the space of the abject and, to re-orient psychoanalytic readings of abjection towards a Derridean understanding of differance, the law may be articulated as the ‘trace’ that makes ‘presence’ possible whilst at the same time threatening its total erasure. Law-as-difference thus becomes maddening in its capacity to establish and erase boundaries and the second part of the essay examines this phenomenon particularly in the context of the relation between law-as-difference and the textuality of a Law that requires to be ‘put into writing’. It argues, in conclusion, that a theorisation of law-as-difference raises inevitably the question of the relation of ‘woman’ to the law and it ends with a re-positioning of the figure of Antigone as a means of interrogating the relation of the ‘feminine’ within the Western symbolic economy to the scandalous impurity of law-as-difference.¹ P. Goodrich, Languages of Law: From Logics of Memory to Nomadic Masks (London: Weidenfield and Nicolson, 1990), 268     

The politics of kinship

Judith Butler’s Antigone’s Claim explores our most intimate ties to others – the ties of kinship. Antigone’s Claim explores the politics of kinship through a reading of the figure of Antigone. For Butler, Antigone represents a crisis of the Oedipal order of kinship, revealing the possibility of new forms of kinship itself. Butler presents a persuasive and moving argument for the necessity of changes in our conception and practice of kinship. However, her account of new kinship forms is less persuasive, failing to engage adequately with the sociality of kinship or to provide a radical model of its new forms. Butler argues that Antigone does not represent a feminist politics. However, Antigone’s Claim suggests that, if we are to re-conceive the politics of kinship, then it is necessary to reread Antigone as a political figure.     

Editing the 1930s: The Lost Work of Josephine Johnson Excerpts from Josephine Johnson's published and unpublished writings are quoted with permission of the Estate of Josephine Johnson Cannon. All quoted materials © Estate of Josephine Johnson Cannon 2005.

The radical avant-garde has aged profoundly. Yet, led by director Judith Malina, the Living Theatre, founded in 1947, remains the longest surviving political theatre collective in the US. The Living Theatre opened its doors at a new theatre/home on New York City's Lower East Side in 2007, where Malina directed a much lauded revival of the company's groundbreaking 1963 production of Kenneth Brown's The Brig, and performed the role of Maudie in the premiere production of Hanon Reznikov's adaptation of Doris Lessing's Maudie and Jane. Vibrant and luminous at 81, an aged Venus rising from the half shell, Malina (dis)played the decaying and decrepit Maudie, standing naked onstage, sensually and lovingly bathed by Pat Russell, playing Jane. Malina's ageing activist/artist's body and voice spoke volumes about decades of societal and cultural transformations, of sexual revolutions, and of wounds that never heal.

Evoking Pierre Nora's ‘sites of memory’—this performative lieu de memoire ‘talks back’ on many levels, both in contemporary contexts and re-membering the zeitgeist of Malina's earlier performances—nearly naked, strident and much younger in the Living Theatres’ legendary production of Paradise Now (1968–70), and eloquently, flamboyantly anarchist, if too old, playing Antigone in Malina's adaptation of Brecht's version of Sophocles play (1967–84). This essay analyses the mise en scène and the reception of Maudie and Jane in light of the working processes and performance history of director/performer/inspirator Malina. Finally, the challenges and hope made visible and corporeal in Malina's on- and off-stage performances are explored.