Une trilogie américaine : Guantanamo, la Cour suprême et le droit international

Alberto Costi, Professeur agrégé, Vice-président de l’Association néo-zélandaise de droit comparé, Directeur du New Zealand Journal of Public International Law et membre du Comité de rédaction de la Revue juridique polynésienne

The experience of immediacy: emotion and enlistment in fact-based theatre

This article discusses emotion as a strategy of political agency in post-Thatcherite documentary theatre. The 1990s saw a renaissance in theatre writing based in directness and immediacy but based in two quite different forms of drama, In-Yer-Face theatre and fact-based drama. There are clear distinctions between these forms: the new brutalist writing was aggressively provocative; documentary theatre engaged the audience by revealing an urgent truth. Both claimed a kind of realism that confronted actuality, be that of situation or experience, through forms of theatre that cultivated emotional engagement. In-Yer-Face theatre used emotional shock to penetrate the numb cynicism that its creators perceived. Documentary theatre used observation and the cultivation of sympathy to enlist its audience in a shared understanding of what was hidden, not understood or not noticed. The article analyses the functioning of emotional enlistment to engage the audience politically in two examples of documentary theatre, Black Watch and Guantanamo

Consumption Diagnosis of Sweet Cassava in three Municipalities in Cuba

Cassava is an important staple food for human and animal feeding in Cuba. Despite its importance, there is little or nonexistent information to diagnose preferences and frequency of consumption of cassava in that country. In this sense, the present article characterizes the preferences and frequency of consumption of cassava in the municipalities of Plaza de la Revolución-La Habana province, El Salvador–Guantanamo province and San José de Las Lajas–Mayabeque province in Cuba. A survey was conducted through a questionnaire containing twelve closed and two open questions. The sample was determined based on the number of total population of each municipality considering 95% as confidence interval and 5% as error margin. The results were statistically analyzed by calculating the absolute and the relative frequencies of each question. It was observed that the acquisition of cassava in the municipalities of Plaza de la Revolución, El Salvador and San José de las Lajas in Cuba is done by purchase small quantities of fresh cassava for home consumption within one week, due to the extreme perishability of cassava, which limits consumers' ability to store fresh roots at home. The choice of cassava is made based on both skin colour (light brown) and pulp (white) and empirical knowledge about its ease of cooking, and that cassava is mostly consumed in boiled and fried forms up to four times a week in times where there is root market supply with the desirable culinary characteristics (cooking facility), that is, from September to December.

ON THE DIGITAL-POLITICAL TOPOGRAPHY OF MUSIC

The persuasive power of music is often relegated to the dimension of pathos: that which moves us emotionally. Yet, the music commodity is now situated in and around the liminal spaces of digitality. To think about how music functions, how it argues across media, and how it moves us, we must examine its material and immaterial realities as they present themselves to us and as we so create them. This dissertation rethinks the relationship between rhetoric and music by examining the creation, performance, and distribution of music in its material and immaterial forms to demonstrate its persuasive power. While both Plato and Aristotle understood music as a means to move men toward virtue, Aristotle tells us in his Laws, through the Athenian Stranger, that the very best kinds of music can help guide us to truth. From this starting point, I assess the historical problem of understanding the rhetorical potential of music as merely that which directs or imitates the emotions: that which “Soothes the savage breast,” as William Congreve writes. By furthering work by Vickers and Farnsworth, who suggest that the Baroque fascination with applying rhetorical figures to musical figures is an insufficient framework for assessing the rhetorical potential of music, I demonstrate the gravity of musical persuasion in its political weight, in its violence—the subjective violence of musical torture at Guantanamo and the objective, ideological violence of music—and in what Jacques Attali calls the prophetic nature of music. I argue that music has a significant function, and as a non-discursive form of argumentation, works on us beyond affect. Moreover, with the emergence of digital music distribution and domestic digital recording technologies, the digital music commodity in its material and immaterial forms allows for ruptures in the former methods of musical composition, production, and distribution and in the political potential of music which Jacques Attali describes as being able to foresee new political realities. I thus suggest a new theoretical framework for thinking about rhetoric and music by expanding on Lloyd Bitzer’s rhetorical situation, by offering the idea of “openings” to the existing exigence, audience, and constraints. The prophetic and rhetorical power of music in the aleatoric moment can help provide openings from which new exigencies can be conceived. We must, therefore, reconsider the role of rhetorical-musical composition for the citizen, not merely as a tool for entertainment or emotional persuasion, but as an arena for engaging with the political.