Musine Kokalari and the Power of Images: law, aesthetics and memory regimes in the Albanian Experience

Framing Criminology: Cultural Criminology and the Image, eds. Keith J. Hayward and Mike Presdee (London: Routledge, 2010), pp. 17-35..

20^ Costas Douzinas and Lynda Neal [24, , ‘Introduction’, in Law and the Image: The Authority of Art and the Aesthetics of Law, Costas Douzinas and Lynda Neal, eds. (Chicago: University of Chicago Press, 1999), pp. 1-15 at p. 13].

21^ Peter Goodrich [30, , Languages of Law: from Logics of Memory to Nomadic Masks (London: Weidenfeld and Nicholson, 1990), p. vii].

22^ Peter Goodrich [30, , Languages of Law, p. vii].

23^ Peter Goodrich [7]., ‘Judging Pictures: A Case Study of Portraits of the Chief Justices, Supreme Court of New South Wales’, International Journal of Law in Context, 5 (3) (2009), pp. 295-314.

24^ As argued by Wittgenstein, in his lectures on aesthetics. Richard Allen, ‘Looking at Motion Pictures’, in Richard Allen and Murray Smith, eds., Film Theory and Philosophy (Oxford: Clarendon Press, 2007), p. 77, quoted in Malcolm Turvey [63, , ‘Wittgenstein’, in Paisely Livingston and Carl Plantinga, eds., The Routledge Companion to Philosophy and Film (London: Routledge, 2009), pp. 470-480, at pp. 478-479].

25^ Italo Calviino [20], The Castle of Crossed Destinies and The Tavern of Crossed Destinies (London: Vintage, 1998).

26^ Images can also be found at the heart of a mnemonical community. In other words, a memory holds communities together, for example, in relation to specific events. Interpretations of these occurrences can vary, which makes the memory ‘fixed’, as a commemoration site, or ‘dynamic’, serving as a catalyst for a ‘memory event’. See, for example, the discussion concerning the Katyń massacre in Alexander Etkind, Rory Finnin, Uilleam Blacker, Julie Fedor, Simon Lewis, Maria Mälksoo, and Matilda Mroz [27], eds., Remembering Katyn (London: Polity, 2012), p. 10. See also Mark Osiel, Mass Atrocity, Collective Memory, and The Law (London: Transaction Books, 1997) and Richard Terdiman, Present Modernity and the Past Memory Crisis (Ithaca, NY: Cornell University Press, 1993).

27^ Roland Barthes [13, Camera Lucida, pp. 25-28]. Italo Calvino , Collection of Sand (New York: Mariner, 2013), pp.[19, 71-76].

28^ Rodrigo Ferrada Stoehrel [11], ‘The Legal Image’s Forgotten Aesthetic’, International Journal of the Semiotics of Law 26 (3) (2013), pp. 555-577.

29^ Stoehrel [11, Ibid., p. 558].

30^ Roland Barthes [13, Camera Lucida, pp. 25-28]. Italo Calvino [19, , Collection of Sand (New York: Mariner, 2013), p. 75].

31^ For Benjamin, what weakens during this period is the ‘aura’ of the work of art in question, something that occurred for the first time with photography. ‘Aura’ concerns the object’s authority, which derives from history and originality. Walter Benjamin [53]. , ‘The Work of Art in the Age of Mechanical Reproduction’, in Illuminations, trans. Harry Zohn (London: Fontana, 1973), pp. 219-253.

32^ Roland Barthes [14,, Image, Music, Text, trans. Stephen Heath (London: Fontana Press, 1977), pp. 31-37]. Also [15].his Mythologies, trans. Annette Lavers (London: Vintage, 2009).

33^ Emphasis in the original. Roland Barthes , Image, Music, Text, p.[14, 44].

34^ Maria Elander [57], ‘Education and Photography at Tuol Sleng Genocide Museum’, in O. Simić and P.D. Rush, eds., The Arts of Transitional Justice (Springer, 2012), pp. 43-62.

35^ Lindsay Smith [61, , ‘The Wont of Photography, or the Pleasure of Mimesis’ in Luisa Calè and Patrizia Di Bello, eds., Illustrations, Optics, and Objects in Nineteenth-Century Literary and Visual Cultures, (Basingstoke: Palgrave, 2010), pp. 65-86, at p. 72].

36^ Smith [61, 72],Ibid.

37^ Smith [61, Ibid, pp. 72-73].

38^ Vikki Bell , Art and Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina (London: Routledge, 2014), pp. 1-15, at pp[16, . 5-15].

39^ Ibid., pp.Bell [16, 1-15].

40^ Bell [16, Ibid., pp. 1-15].

41^ Robert M. Cover , ‘The Supreme Court, 1982 Term—Foreword: Nomos and Narrative’, Harvard Law Review, 97 (1) (1983), pp. 4-68[6] discusses the meaning of jurisgenerative as referring to the ways in which law is given meaning through a community’s narratives and rules, ‘their somewhat distinct nomos’, at p. 40. Vikki Bell uses Cover’s notion in her work [16]., Art and Post-Dictatorship: Ethics and Aesthetics in Transitional Argentina, ibid.

42^ Vikki Bell, Art and Post-Dictatorship, pp. [16, 1-15].

43^ Mary Packard [44, , The Golden Tarot: the Visconti-Sforza Deck (New York: The Book Shop, 2013), pp. 68-69 and 62-63], respectively. The tarot card images are taken from Commons Wikimedia and in the public domain because the copyright has expired PD-US-not renewed.

44^ Wassa Effendi [26, , The Truth on Albania and the Albanians: Historical and Critical Issues, introduction Robert Elsie, trans. Edward Saint John Fairman, first published in 1879 by National Press Agency, London (London: Centre for Albanian Studies, 1999), p. iii]. 

45^ Elez Biberaj, ‘Albania: The Challenges of Transition’, in Sharon L. Wolchik and Jane L. Curry, eds., Central and East European Politics: From Communism to Democracy, 2^nd edn. (London: Rowman & Littlefield, 2015), pp. 407-431, at pp [54,. 407-408].

46^ The Sigurimi permeated the society to the extent that every third citizen had either served time in labour camps or been interrogated by the secret police.

47

48

49

50

51

52

53

54

55

56

57

58

59

60

61

62

63

64

65

66

67

68

69

70

71

72

73

74

75

76

77

78

79

80

81

82

83

84

85

86

87

88

89

90

91

92

93

94

95

96

97

98

99