Ilya Repin: They Did Not Expect Him, 1884-88Introductory Note by Igor ShoikhedbrodE.B. Pashukanis (1891-1937) is best known for his General Theory of Law and Marxism (1924), where he offered an original account of the genesis of the legal form under generalized conditions
The contemporary figure of the foreigner is not judged for what they do, but for the fact of who they are. In regimes of crimmigration, guilt no longer follows the act—it precedes it. It attaches to presence, to mobility, to
The 13 February 2026 decision of the High Court inHuda Ammori v Secretary of State for the Home Department that the Home Secretary’s decision to proscribe Palestine Action was unlawful, provides a fascinating insight into the abuse of UK
As individuals participating in the open rescue of animals increasingly adopt strategies of civil disobedience and “voluntary prosecution,” courts are pressed to adjudicate the definition of intent itself within an anthropocentric legal structure that excludes animals from moral and juridical
Val was a proper old-school scholar, interested in ideas for their own sake and driven to understand and respond to the injustices of the world. As a serious intellectual she was not interested in academic trends or popularity, but in
I feel honored to have been invited to comment on Valerie Kerruish’s The Wrong of Law, a book bringing a great range of methodological approaches to bear on a problematic of great interest to me. The book’s focal point is the
In one of the moving tributes to Valerie Kerruish posted on Critical Legal Thinking[1] shortly after her passing away, Emilios Christidoulidis wrote that “(h)er magnum opus The Wrong of Law, which she spent the last two decades of her life writing, remains devastatingly unfinished.”
Stephen Connelly There is an implicit assumption in jurisprudential reasoning that this reason, as form, is without inconsistency. Error is procedural: it results either from misrecognition of the ‘true’ law, from ignorance of the true facts, or from misapplication of
There is an image by M.C. Escher in which a staircase rises in perfect geometrical order, each step aligned, each angle exact — yet the ascent loops back upon itself. The movement is continuous, coherent, even rigorous; what unsettles is
