In this paper, I explore what Robert Clewis, in The Origins of Kant’s Aesthetics, suggests is an ‘analogy’ between humour and beauty. I do this by focusing on Kant’s concept of wit (Witz), which is central to both reflective judgement and humour. By exploring the concept of Witz as a distinctive kind of cognitive activity, I believe a case can be made that the origin of Kant’s mature aesthetic theory in the Critique of the Power of Judgement and his discovery of the principle of taste were, in part, a result of Kant’s thinking about Witz. I therefore share Clewis’s puzzlement about why, in the third Critique, humour, arguably the art of Witz, is not considered to be a beautiful art. I conclude by suggesting a possible reason why Kant thought that a judgement of humour is different from a judgement of beauty.

In this article, we examine the relationship between the World Health Organization International Health Regulations (IHR) and human rights and its implications for IHR reform, considering the evolution of human rights in the 2005 IHR, the role of human rights in IHR reforms and the implications of these reforms in key domains including equity and solidarity, medical countermeasures, core capacities, travel restrictions, vaccine certificates, social measures, accountability, and financing.

Racial justice is widely seen as a central moral and political ideal of our time, especially on the liberal-egalitarian left. And racial justice goes hand in hand with racial equality. The centrality of these ideals would be hard to justify if they had no bearing on material or economic inequality, or applied solely to semiotic and cultural issues. But we argue that, at present, the only plausible basis for understanding racial equality as a distinctive aim for the economic domain—rather than a mere implication of more general egalitarian or progressive principles—rests on minimal state, right-libertarian foundations. As such, racial equality is a strange focus for the left.

This essay reflects upon the last thirty-five years of public health law. Part One begins by discussing the growth and maturation of the field of public health law since the 1980s. Part Two examines current challenges facing public health law, focusing on those posed by the conservative legal movement and a judiciary that is increasingly skeptical of efforts to use law to improve health and mitigate health inequities. Part Three discusses potential responses to the increasingly perilous judicial climate, including thoughts that emerged from a convening held on the subject by the Act for Public Health Partnership in May 2024.

Cette réponse au forum des Annales consacré à mon livre Southern Europe in the Age of Revolutions est centrée sur le point de vue méridional de mon analyse, sur le cas de la Grèce dans ce contexte et sur la chronologie de l’âge des révolutions. Je souligne que la notion de « Sud » a été revendiquée par les révolutionnaires eux-mêmes au Portugal, en Espagne, au Piémont et à Naples, mais pas en Grèce. J’avance l’idée qu’une approche comparatiste permet d’envisager la révolution grecque non pas seulement comme une guerre d’indépendance, mais aussi comme un moment d’apprentissage politique. Enfin, je suggère que cette optique méridionale nous invite à intégrer ce que Franco Venturi a qualifié de « première crise » de l’Ancien Régime (1760-1770) dans la chronologie de l’âge des révolutions.

Seth Kim Cohen’s notion of non-cochlear sound art explores the idea of more-than-music, reframing sonic listening, shifting away from the aesthetic and towards the conceptual, reducing ‘the value of sonic pleasure in favor of a broader set of philosophical, social, political, and historical concerns’. While this notion holds academic and artistic merit, it does not acknowledge similar explorations in sound art within disabled and d/Deaf communities and developments within disability aesthetics. Works within the disability arts that fit into Kim-Cohen’s non-cochlear sound art were created prior to the publication of his 2009 text In the Blink of an Ear: Toward a Non-Cochlear Sound Art and have continued to develop since. This article discusses Kim-Cohen’s non-cochlear sound and asks the reader to view it alongside discussions of disability aesthetics and sound art works by Hard of Hearing (HoH) and d/Deaf artists. In doing so, it illustrates how disability art and aesthetics are inherently conceptual and sociopolitical and have not only been forgotten in discussion of non-cochlear sound art, but have also carved their own path.