A team of distinguished Japanese scholars make a critique of Hugo Grotius' De jure belli ac pacis and re-examine the historiography of international law with its anachronistic Eurocentric bias.

Lorsque nous parlons généralement d’un espace vide, ce vide n’est pas réellement vide physiquement. L’espace vide est rempli d’air, de matière invisible, mais il ne peut pas être vu ou capturé. Pourtant, nous savons bien que l’air, élément indispensable pour tous les êtres vivants, est également présent autour de nous. Devrions-nous alors considérer différemment l’espace vide et l’air dans l’installation? Pour Yasuaki Onishi, sculpteur et installateur in situ, l’espace vide est un lieu essentiel pour l’installation et l’inspiration. Il s’intéresse (...) à l’invisible, à l’espace, à l’air, à l’espace négatif, etc. Il révèle ce qui est invisible, en utilisant un matériau léger tel qu’un adhésif liquide noir et le support de matériaux immatériels tels que la lumière, l’air ou d’autres matériaux intangibles. Parmi ses travaux, en particulier, en analysant les œuvres de la série Vertical Volume, Daily Distance, Gawa, Shaping Air – A Breath of Mobility et Vertical Space, nous cherchons dans cette étude la signification de l’air invisible, du ki, du svi, du wonsang et le sens du vide du Tao et du bouddhisme. Quel est le sens du vide dans une installation de Yasuaki Onishi? Et quel est l’enjeu entre l’espace vide et l’espace plein, l’espace visible et l’espace invisible, la matérialité et l’immatérialité? Dans son travail, qui ne suit pas le processus général de la sculpture traditionnelle, nous trouverons le lien avec la signification de l’espace négatif et avec le terme coréen gan, l’espace-temps, avec le mot japonais ma qui constitue un concept esthétique au Japon. When we generally speak of an empty space, this empty is not really physically empty. The empty space is filled with air, invisible matter, but it cannot be seen or captured. However, we know that air, an essential element for all living things, is also present around us. So should we consider differently the empty space and air in the installation? For Yasuaki Onishi, sculptor and installator in situ, the empty space is an essential place for installation work and inspiration. The empty space that we think is empty is filled with substances that are invisible. The empty space is filled with air, but it can’t be seen or captured. He is interested in the invisible, space, air, negative space, etc. He reveals what is invisible, using a light material such as a black liquid adhesive, with the support of non-material materials such as light, air or other intangible materials. Among his works, in particular, by analyzing the works of the series Vertical Volume, Daily Distance, Gawa, Shaping Air – A Breath of Mobility and Vertical Space, we look for the meaning of invisible air, breath, ki, svi, the etymology of sunyata, wonsang 원상, and the meaning of emptiness of Tao and Buddhism. Through the work of Yasuaki Onishi, what is the meaning of the emptiness in his installation? And what is at stake between empty space and full space, visible space and invisible space, materialism and immateriality. In his work, which does not follow the general process of typical sculpture, we will find the connection with the meaning of “negative space” and the term Korean gan “간 ”, the space-time, as the Japanese word “ma ” that use as a concept of aesthetics in Japan. (shrink)

Il concetto di legittimità è al tempo stesso definito e indefinito, chiaro e sfuggente. Da un lato, esso evoca immediatamente e spontaneamente un sentimento di approvazione, perché chiaramente collegato nel linguaggio comune a un giudizio valutativo positivo. Dall’altro lato, se analizzato da vicino, il suo contenuto appare sfuggente, polisemico, controverso. Questo ne fa una categoria potente dal punto di vista politico ed estremamente affascinante da un punto di vista scientifico. Nelle pagine seguenti verranno analizzate le teorie di tre autori che (...) si sono confrontati con questo concetto indagando uno degli ambiti in cui la dicotomia sopra presentata è più evidente: quello internazionale. Si tratta della teoria di Ian Clark sulla legittimità nella società internazionale, della prospettiva interciviltà sul diritto internazionale proposta da Onuma Yasuaki e della riflessione di Antony Anghie sullo sviluppo dei principi fondamentali del diritto internazionale e il loro rapporto con il colonialismo. Come vedremo, si tratta di indagini tra loro fortemente eterogenee, e che non sempre fanno del concetto di legittimità internazionale l’oggetto principale o esplicito delle proprie ricerche. Nel confronto tra queste teorie che proporrò nelle mie pagine, il concetto di legittimità internazionale mostrerà tutta la sua complessità e tutto il suo ambiguo rapporto con elementi valutativi. (shrink)

The International Criminal Court (ICC) seems to have finally realized the ending legal globalists have long yearned for: a potentially universal, centralized and permanent court, able to enforce international humanitarian law without the mediation of the state. A legal system of mankind seems now more possible than ever before. The universalistic claim of the ICC, I contend in this article, is nevertheless potentially biased by a West-centric prejudice. Critically drawing on the transcivilizational perspective suggested by Onuma Yasuaki, I propose (...) to overcome the West-centric approach of the ICC by assuming the multiplicity of universalisms, thus relativising each of them. (shrink)