Karen Engle

Contemporary international human rights law increasingly obligates states to heighten their criminalization of certain human rights violations, including gendered, racialized, and homophobic violence. This Element uses prison and police abolitionist thought to challenge this trend. It focuses on the European Court of Human Rights (ECtHR), arguing that the Court's reliance on punishment and policing threatens to undo earlier European approaches to criminal law and human rights that resonate with abolitionist thought. It also contends that the criminalization approach provides the Court with an alibi for not recognizing or attending to the deeply structural racialized, colonial, sexual, gendered, and homophobic violence in Europe, particularly but not only against Roma communities and Black and Muslim migrants. Encouraging human rights advocates and judges to take seriously prison and police abolition in Europe and elsewhere, the Element calls for the ECtHR to pave the way for an abolitionist-oriented turn among human rights courts.

Contemporary international human rights law increasingly obligates states to heighten their criminalization of certain human rights violations, including gendered, racialized, and homophobic violence. This Element uses prison and police abolitionist thought to challenge this trend. It focuses on the European Court of Human Rights (ECtHR), arguing that the Court's reliance on punishment and policing threatens to undo earlier European approaches to criminal law and human rights that resonate with abolitionist thought. It also contends that the criminalization approach provides the Court with an alibi for not recognizing or attending to the deeply structural racialized, colonial, sexual, gendered, and homophobic violence in Europe, particularly but not only against Roma communities and Black and Muslim migrants. Encouraging human rights advocates and judges to take seriously prison and police abolition in Europe and elsewhere, the Element calls for the ECtHR to pave the way for an abolitionist-oriented turn among human rights courts.

Imagine a house whose wiring is spliced and patchy with knob and tube, coiled like a serpent ready to strike and spark at any moment. Even if you have a fire trap behind your walls, the lights will turn on. In her memoir of a life lived in physical pain, Karen Engle asks whether and how language can capture what it’s like to be in a body that appears to work from the outside, when its internal systems operate through an ad hoc assemblage of garbled messaging, reroutings, and shaky foundations. A series of narrative reflections capture the myriad ways in which the chronic conditions its suffering subject. Contrary to claims that pain obliterates language – long a trope of writing about illness – Engle contends that the person with chronic pain is not hampered by a scarcity of language, but rather its excess: enervation by the unending waves of utterance. From a history of the word chronic and its shifting significance to meditations on multiple diagnoses and interactions with medical personnel, Chronic Conditions is a doctor’s case file through the looking glass of a creative writer, scholar, and patient. Engle explores, through medical research, literature, and art, how it feels to become attuned to the rhythms of perpetual and mysterious physical pain. At stake here is the search for a kind of writing that does not instrumentalize pain for allegorical or transcendental purposes. Chronic pain is not a sign of weakness, nor is it an opportunity for personal growth, Engle argues. Instead, it is entirely ordinary and deeply affecting.

Imagine a house whose wiring is spliced and patchy with knob and tube, coiled like a serpent ready to strike and spark at any moment. Even if you have a fire trap behind your walls, the lights will turn on. In her memoir of a life lived in physical pain, Karen Engle asks whether and how language can capture what it’s like to be in a body that appears to work from the outside, when its internal systems operate through an ad hoc assemblage of garbled messaging, reroutings, and shaky foundations. A series of narrative reflections capture the myriad ways in which the chronic conditions its suffering subject. Contrary to claims that pain obliterates language – long a trope of writing about illness – Engle contends that the person with chronic pain is not hampered by a scarcity of language, but rather its excess: enervation by the unending waves of utterance. From a history of the word chronic and its shifting significance to meditations on multiple diagnoses and interactions with medical personnel, Chronic Conditions is a doctor’s case file through the looking glass of a creative writer, scholar, and patient. Engle explores, through medical research, literature, and art, how it feels to become attuned to the rhythms of perpetual and mysterious physical pain. At stake here is the search for a kind of writing that does not instrumentalize pain for allegorical or transcendental purposes. Chronic pain is not a sign of weakness, nor is it an opportunity for personal growth, Engle argues. Instead, it is entirely ordinary and deeply affecting.

Contemporary feminist advocacy in human rights, international criminal law, and peace and security is gripped by the issue of sexual violence in conflict. But it hasn't always been this way. Analyzing feminist international legal and political work over the past three decades, Karen Engle argues that it was not inevitable that sexual violence in conflict would become such a prominent issue. Engle reveals that as feminists from around the world began to pay an enormous amount of attention to sexual violence in conflict, they often did so at the cost of attention to other issues, including the anti-militarism of the women's peace movement; critiques of economic maldistribution, imperialism, and cultural essentialism by feminists from the global South; and the sex-positive positions of many feminists involved in debates about sex work and pornography. The Grip of Sexual Violence in Conflict offers a detailed examination of how these feminist commitments were not merely deprioritized, but undermined, by efforts to address the issue of sexual violence in conflict. Engle's analysis reinvigorates vital debates about feminist goals and priorities, and spurs readers to question much of today's common sense about the causes, effects, and proper responses to sexual violence in conflict.

Contemporary feminist advocacy in human rights, international criminal law, and peace and security is gripped by the issue of sexual violence in conflict. But it hasn't always been this way. Analyzing feminist international legal and political work over the past three decades, Karen Engle argues that it was not inevitable that sexual violence in conflict would become such a prominent issue. Engle reveals that as feminists from around the world began to pay an enormous amount of attention to sexual violence in conflict, they often did so at the cost of attention to other issues, including the anti-militarism of the women's peace movement; critiques of economic maldistribution, imperialism, and cultural essentialism by feminists from the global South; and the sex-positive positions of many feminists involved in debates about sex work and pornography. The Grip of Sexual Violence in Conflict offers a detailed examination of how these feminist commitments were not merely deprioritized, but undermined, by efforts to address the issue of sexual violence in conflict. Engle's analysis reinvigorates vital debates about feminist goals and priorities, and spurs readers to question much of today's common sense about the causes, effects, and proper responses to sexual violence in conflict.

Around the world, indigenous peoples use international law to make claims for heritage, territory, and economic development. Karen Engle traces the history of these claims, considering the prevalence of particular legal frameworks and their costs and benefits for indigenous groups. Her vivid account highlights the dilemmas that accompany each legal strategy, as well as the persistent elusiveness of economic development for indigenous peoples. Focusing primarily on the Americas, Engle describes how cultural rights emerged over self-determination as the dominant framework for indigenous advocacy in the late twentieth century, bringing unfortunate, if unintended, consequences. Conceiving indigenous rights as cultural rights, Engle argues, has largely displaced or deferred many of the economic and political issues that initially motivated much indigenous advocacy. She contends that by asserting static, essentialized notions of indigenous culture, indigenous rights advocates have often made concessions that threaten to exclude many claimants, force others into norms of cultural cohesion, and limit indigenous economic, political, and territorial autonomy.Engle explores one use of the right to culture outside the context of indigenous rights, through a discussion of a 1993 Colombian law granting collective land title to certain Afro-descendant communities. Following the aspirations for and disappointments in this law, Engle cautions advocates for marginalized communities against learning the wrong lessons from the recent struggles of indigenous peoples at the international level.

Around the world, indigenous peoples use international law to make claims for heritage, territory, and economic development. Karen Engle traces the history of these claims, considering the prevalence of particular legal frameworks and their costs and benefits for indigenous groups. Her vivid account highlights the dilemmas that accompany each legal strategy, as well as the persistent elusiveness of economic development for indigenous peoples. Focusing primarily on the Americas, Engle describes how cultural rights emerged over self-determination as the dominant framework for indigenous advocacy in the late twentieth century, bringing unfortunate, if unintended, consequences. Conceiving indigenous rights as cultural rights, Engle argues, has largely displaced or deferred many of the economic and political issues that initially motivated much indigenous advocacy. She contends that by asserting static, essentialized notions of indigenous culture, indigenous rights advocates have often made concessions that threaten to exclude many claimants, force others into norms of cultural cohesion, and limit indigenous economic, political, and territorial autonomy.Engle explores one use of the right to culture outside the context of indigenous rights, through a discussion of a 1993 Colombian law granting collective land title to certain Afro-descendant communities. Following the aspirations for and disappointments in this law, Engle cautions advocates for marginalized communities against learning the wrong lessons from the recent struggles of indigenous peoples at the international level.

On September 11 more people clicked "on documentary news photographs than on pornography for the first (and only) time in the history of the Internet," reports writer David Levi Strauss. The archive of images associated with the tragic events of 9/11 merits careful analysis. Artist Damien Hirst has suggested that the attacks were designed to be viewed - "The thing about 9/11 is that it's kind of an artwork in its own right. It was wicked, but it was devised in this way for this kind of impact. It was devised visually." Starting from the tremendous fascination with images of 9/11, Karen Engle asks what, in the context of a national trauma, makes an image appropriate or scandalous, exploring how diverse visual media have been mobilized in political projects of identification and personal narratives of empathy. Focusing on themes of memory, mourning, and history, Engle examines sculptural, photographic, and new media responses to the 9/11 attacks in both contemporary and historical contexts, considers the public's reaction to these visual productions, and suggests that earlier presentations of America at war play a pivotal role in the representations of 9/11 in both official and popular media. Seeing Ghosts is a groundbreaking theoretical study of how we remember, how we mourn, and how images of a particular event influence our imagination of the future.

On September 11 more people clicked "on documentary news photographs than on pornography for the first (and only) time in the history of the Internet," reports writer David Levi Strauss. The archive of images associated with the tragic events of 9/11 merits careful analysis. Artist Damien Hirst has suggested that the attacks were designed to be viewed - "The thing about 9/11 is that it's kind of an artwork in its own right. It was wicked, but it was devised in this way for this kind of impact. It was devised visually." Starting from the tremendous fascination with images of 9/11, Karen Engle asks what, in the context of a national trauma, makes an image appropriate or scandalous, exploring how diverse visual media have been mobilized in political projects of identification and personal narratives of empathy. Focusing on themes of memory, mourning, and history, Engle examines sculptural, photographic, and new media responses to the 9/11 attacks in both contemporary and historical contexts, considers the public's reaction to these visual productions, and suggests that earlier presentations of America at war play a pivotal role in the representations of 9/11 in both official and popular media. Seeing Ghosts is a groundbreaking theoretical study of how we remember, how we mourn, and how images of a particular event influence our imagination of the future.