This book highlights the use of art in human rights, specifically within Africa. It advances an innovative pattern of thinking that explores the intersection between art and human rights law. In recent years, art has become an important tool for engagement on several human rights issues. In view of its potency, and yet potential to be a danger when misused, this book seeks to articulate the use of arts in the human rights discourse in its different forms. Chapters cover how music, photography, literature, photojournalism, soap opera, commemorations, sculpting and theatre can be used as an expression of human rights. This book demonstrates how arts have become a formidable expression of thoughts and a means of articulating reality in a form that simplifies truth and congregates resolve to advance change.
As video becomes an important tool to expose injustice, an examination of how human rights organizations are seeking to professionalize video activism. Visual imagery is at the heart of humanitarian and human rights activism, and video has become a key tool in these efforts. The Saffron Revolution in Myanmar, the Green Movement in Iran, and Black Lives Matter in the United States have all used video to expose injustice. In Seeing Human Rights, Sandra Ristovska examines how human rights organizations are seeking to professionalize video activism through video production, verification standards, and training. The result, she argues, is a proxy profession that uses human rights videos to tap into journalism, the law, and political advocacy. Ristovska explains that this proxy profession retains some tactical flexibility in its use of video while giving up on the more radical potential and imaginative scope of video activism as a cultural practice. Drawing on detailed analysis of legal cases and videos as well as extensive interviews with staff members of such organizations as Amnesty International, Human Rights Watch, WITNESS, the International Criminal Tribunal for the former Yugoslavia (ICTY), and the International Criminal Court (ICC), Ristovska considers the unique affordances of video and examines the unfolding relationships among journalists, human rights organizations, activists, and citizens in global crisis reporting. She offers a case study of the visual turn in the law; describes advocacy and marketing strategies; and argues that the transformation of video activism into a proxy profession privileges institutional and legal spaces over broader constituencies for public good.
A radical vision for the future of human rights as a fundamentally reconfigured framework for global justice. Reinventing Human Rights offers a bold argument: that only a radically reformulated approach to human rights will prove adequate to confront and overcome the most consequential global problems. Charting a new path—away from either common critiques of the various incapacities of the international human rights system or advocacy for the status quo—Mark Goodale offers a new vision for human rights as a basis for collective action and moral renewal. Goodale's proposition to reinvent human rights begins with a deep unpacking of human rights institutionalism and political theory in order to give priority to the "practice of human rights." Rather than a priori claims to universality, he calls for a working theory of human rights defined by "translocality," a conceptual and ethical grounding that invites people to form alliances beyond established boundaries of community, nation, race, or religious identity. This book will serve as both a concrete blueprint and source of inspiration for those who want to preserve human rights as a key framework for confronting our manifold contemporary challenges, yet who agree—for many different reasons—that to do so requires radical reappraisal, imaginative reconceptualization, and a willingness to reinvent human rights as a cross-cultural foundation for both empowerment and social action.
From the fundamental rights proclaimed in the American and French declarations of independence to the 1948 Universal Declaration of Human Rights and Hannah Arendt’s furious critiques, the definition of what it means to be human has been hotly debated. But the history of human rights—and their abuses—is also a richly illustrated one. Following this picture trail, Human Rights In Camera takes an innovative approach by examining the visual images that have accompanied human rights struggles and the passionate responses people have had to them. Sharon Sliwinski considers a series of historical events, including the 1755 Lisbon earthquake and the Holocaust, to illustrate that universal human rights have come to be imagined through aesthetic experience. The circulation of images of distant events, she argues, forms a virtual community between spectators and generates a sense of shared humanity. Joining a growing body of scholarship about the cultural forces at work in the construction of human rights, Human Rights In Camera is a novel take on this potent political ideal.
A bold, groundbreaking argument by a world-renowned expert that unless we treat free speech as the fundamental human right, there can be no others. What are human rights? Are they laid out definitively in the UN’s Universal Declaration of Human Rights or the US Bill of Rights? Are they items on a checklist—dignity, justice, progress, standard of living, health care, housing? In The Most Human Right, Eric Heinze explains why global human rights systems have failed. International organizations constantly report on how governments manage human goods, such as fair trials, humane conditions of detention, healthcare, or housing. But to appease autocratic regimes, experts have ignored the primacy of free speech. Heinze argues that goods become rights only when citizens can claim them publicly and fearlessly: free speech is the fundamental right, without which the very concept of a “right” makes no sense. Heinze argues that throughout history countless systems of justice have promised human goods. What, then, makes human rights different? What must human rights have that other systems have lacked? Heinze revisits the origins of the concept, exploring what it means for a nation to protect human rights, and what a citizen needs in order to pursue them. He explains how free speech distinguishes human rights from other ideas about justice, past and present.
The SAGE Handbook of Human Rights will comprise a two volume set consisting of more than 50 original chapters that clarify and analyze human rights issues of both contemporary and future importance. The Handbook will take an inter-disciplinary approach, combining work in such traditional fields as law, political science and philosophy with such non-traditional subjects as climate change, demography, economics, geography, urban studies, mass communication, and business and marketing. In addition, one of the aspects of mainstreaming is the manner in which human rights has come to play a prominent role in popular culture, and there will be a section on human rights in art, film, music and literature. Not only will the Handbook provide a state of the art analysis of the discipline that addresses the history and development of human rights standards and its movements, mechanisms and institutions, but it will seek to go beyond this and produce a book that will help lead to prospective thinking.
This book highlights the use of art in human rights, specifically within Africa. It advances an innovative pattern of thinking that explores the intersection between art and human rights law. In recent years, art has become an important tool for engagement on several human rights issues. In view of its potency, and yet potential to be a danger when misused, this book seeks to articulate the use of arts in the human rights discourse in its different forms. Chapters cover how music, photography, literature, photojournalism, soap opera, commemorations, sculpting and theatre can be used as an expression of human rights. This book demonstrates how arts have become a formidable expression of thoughts and a means of articulating reality in a form that simplifies truth and congregates resolve to advance change.
"We are living through the endtimes of the civilizing mission. The ineffectual International Criminal Court and its disastrous first prosecutor, Luis Moreno-Ocampo, along with the failure in Syria of the Responsibility to Protect are the latest pieces of evidence not of transient misfortunes but of fatal structural defects in international humanism. Whether it is the increase in deadly attacks on aid workers, the torture and 'disappearing' of al-Qaeda suspects by American officials, the flouting of international law by states such as Sri Lanka and Sudan, or the shambles of the Khmer Rouge tribunal in Phnom Penh, the prospect of one world under secular human rights law is receding. What seemed like a dawn is in fact a sunset. The foundations of universal liberal norms and global governance are crumbling."—from The Endtimes of Human Rights In a book that is at once passionate and provocative, Stephen Hopgood argues, against the conventional wisdom, that the idea of universal human rights has become not only ill adapted to current realities but also overambitious and unresponsive. A shift in the global balance of power away from the United States further undermines the foundations on which the global human rights regime is based. American decline exposes the contradictions, hypocrisies and weaknesses behind the attempt to enforce this regime around the world and opens the way for resurgent religious and sovereign actors to challenge human rights. Historically, Hopgood writes, universal humanist norms inspired a sense of secular religiosity among the new middle classes of a rapidly modernizing Europe. Human rights were the product of a particular worldview (Western European and Christian) and specific historical moments (humanitarianism in the nineteenth century, the aftermath of the Holocaust). They were an antidote to a troubling contradiction—the coexistence of a belief in progress with horrifying violence and growing inequality. The obsolescence of that founding purpose in the modern globalized world has, Hopgood asserts, transformed the institutions created to perform it, such as the International Committee of the Red Cross and recently the International Criminal Court, into self-perpetuating structures of intermittent power and authority that mask their lack of democratic legitimacy and systematic ineffectiveness. At their best, they provide relief in extraordinary situations of great distress; otherwise they are serving up a mixture of false hope and unaccountability sustained by “human rights” as a global brand. The Endtimes of Human Rights is sure to be controversial. Hopgood makes a plea for a new understanding of where hope lies for human rights, a plea that mourns the promise but rejects the reality of universalism in favor of a less predictable encounter with the diverse realities of today’s multipolar world.
In this timely study of the historical, ideological, and formal interdependencies of the novel and human rights, Joseph Slaughter demonstrates that the twentieth-century rise of “world literature” and international human rights law are related phenomena. Slaughter argues that international law shares with the modern novel a particular conception of the human individual. The Bildungsroman, the novel of coming of age, fills out this image, offering a conceptual vocabulary, a humanist social vision, and a narrative grammar for what the Universal Declaration of Human Rights and early literary theorists both call “the free and full development of the human personality.” Revising our received understanding of the relationship between law and literature, Slaughter suggests that this narrative form has acted as a cultural surrogate for the weak executive authority of international law, naturalizing the assumptions and conditions that make human rights appear commonsensical. As a kind of novelistic correlative to human rights law, the Bildungsroman has thus been doing some of the sociocultural work of enforcement that the law cannot do for itself. This analysis of the cultural work of law and of the social work of literature challenges traditional Eurocentric histories of both international law and the dissemination of the novel. Taking his point of departure in Goethe’s Wilhelm Meister, Slaughter focuses on recent postcolonial versions of the coming-of-age story to show how the promise of human rights becomes legible in narrative and how the novel and the law are complicit in contemporary projects of globalization: in colonialism, neoimperalism, humanitarianism, and the spread of multinational consumer capitalism. Slaughter raises important practical and ethical questions that we must confront in advocating for human rights and reading world literature—imperatives that, today more than ever, are intertwined.
