In this book Christoph Menke attempts to explain art's sovereign power to subvert reason without falling into an error common to Adorno's negative dialectics and Derrida's deconstruction.

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions of “Art.” Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty.

Iris Murdoch was one of the great philosophers and novelists of the twentieth century and The Sovereignty of Good is her most important and enduring philosophical work. She argues that philosophy has focused, mistakenly, on what it is right to do rather than good to be and that only by restoring the notion of ‘vision’ to moral thinking can this distortion be corrected. This brilliant work shows why Iris Murdoch remains essential reading: a vivid and uncompromising style, a commitment to forceful argument, and a courage to go against the grain. With a foreword by Mary Midgley.

What is sovereignty? Often taken for granted or seen as the ideology of European states vying for supremacy and conquest, the concept of sovereignty remains underexamined both in the history of its practices and in its aesthetic and intellectual underpinnings. Using global intellectual history as a bridge between approaches, periods, and areas, The Scaffolding of Sovereignty deploys a comparative and theoretically rich conception of sovereignty to reconsider the different schemes on which it has been based or renewed, the public stages on which it is erected or destroyed, and the images and ideas on which it rests. The essays in The Scaffolding of Sovereignty reveal that sovereignty has always been supported, complemented, and enforced by a complex aesthetic and intellectual scaffolding. This collection takes a multidisciplinary approach to investigating the concept on a global scale, ranging from an account of a Manchu emperor building a mosque to a discussion of the continuing power of Lenin’s corpse, from an analysis of the death of kings in classical Greek tragedy to an exploration of the imagery of “the people” in the Age of Revolutions. Across seventeen chapters that closely study specific historical regimes and conflicts, the book’s contributors examine intersections of authority, power, theatricality, science and medicine, jurisdiction, rulership, human rights, scholarship, religious and popular ideas, and international legal thought that support or undermine different instances of sovereign power and its representations.

The Cult of Art in Nazi Germany presents a new interpretation of National Socialism, arguing that art in the Third Reich was not simply an instrument of the regime, but actually became a source of the racist politics upon which its ideology was founded. Through the myth of the "Aryan race," a race pronounced superior because it alone creates culture, Nazism asserted art as the sole raison d'être of a regime defined by Hitler as the "dictatorship of genius." Michaud shows the important link between the religious nature of Nazi art and the political movement, revealing that in Nazi Germany art was considered to be less a witness of history than a force capable of producing future, the actor capable of accelerating the coming of a reality immanent to art itself.

In order to develop a suitable framework for the analysis of the European Court of Justice (ECJ) case law, it is first analysed what significance, if any, the concept of 'sovereignty' has in the contemporary supranational environment of the European Union. All too often, tax scholars equate 'sovereignty' with the concepts of 'competence' or 'jurisdiction'. It will be established in this thesis that a much more specific and higher-level meaning is to be attributed to the 'sovereignty' concept, which goes beyond the strictly legal concepts of 'competence' or 'jurisdiction'. The cornerstone of this thesis, however, is an extensive analysis of the case law of the ECJ in direct tax matters, including a comparison with its non-tax case law. A new kind of methodology is used in discussing the cases: they are categorized according to whether a discrimination - or a restriction - based analysis was applied by the ECJ.

This work aims to be the definitive exploration of the possibility to conceptualize permanent sovereignty over natural resources vested in indigenous peoples rather than in States under international law.

E. Earle Ellis provides an in-depth exploration of God's sovereign purpose, both in individual salvation and in the salvation history within which the Bible has been authored and communicated.

Medieval Sovereignty examines the idea of sovereignty in the Middle Ages and asks if it can be considered a fundamental element of medieval constitutional order. Francesco Maiolo analyzes the writings of Marsilius of Padua (1275/80-1342/43) and Bartolous of Saxoferrato (1314-57) and assesses their relative contributions as early proponents of popular sovereignty. Both are credited with having provided the legal justification for medieval popular government. Maiolo's cogent reconsideration of this primacy is an important addition to current medieval studies.