The Interpreter Of Silence
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Interpreter-mediated Police Interviews
This book shows how participation of interpreters as mediators changes the dynamics of police interviews, particularly with regard to power struggles and competing versions of events. The analysis of interaction offers insights into language in the legal process.
Treaty Interpretation by the WTO Appellate Body
This book analyzes how the Appellate Body uses particular principles of general international law in interpreting the WTO covered agreements. It deals equally with general international law and WTO law. The aim is to explain how the Appellate Body interprets and applies customary international law on treaty interpretation in dealing with the WTO covered agreements. The main concern is to analyze the judicial reasoning and ways of justifying judicial decision-making. In particular, it answers the question of how the Appellate Body explains its reading of WTO treaty language. It is argued that the Appellate Body has interpreted the WTO covered agreements in a contextual and effective manner, an approach that corresponds with general international law. The character of the WTO covered agreements has, nevertheless, confronted the Appellate Body with some questions of interpretation that were until recently unexplored or neglected by other courts and tribunals. In that sense, the Appellate Body has contributed to the development of general international law on treaty interpretation, or at least to its practice. WTO law is primarily treaty law, but increasingly soft law and broader themes and values from other disciplines, such as governance, variable geometry and legitimacy, are introduced and discussed. Customary international law - with the exception of the principles of treaty interpretation - and general principles of law are often seen as excluded entirely. An ancillary theme of this proposed monograph is the extent to which customary international law and general principles of law have penetrated WTO law through the technique of treaty interpretation.
The Interpreter
'The Interpreter isn't merely the sequel to New Finnish Grammar and The Last of the Vostyachs: it is a singular and deeply felt thesis, a warped manifesto of sorts, derived from a career spent immersed in languages. For Marani is up to his old tricks. Like in its predecessors, the novel comes dripping in satire, but this time of a more avowedly self reflexive nature... A primordial, universal language is the trick, and it is this which, and it is this with which Marani's interpreter, the shape-shifter at the heart of this masked ball of a novel, purports to have 'infected' Felix. His 'incomprehensible blather' might in fact be 'the ancient language of Eden, the one in which the serpent spoke to Adam'. Marani's ideas are typically far-reaching and provocative.' Thea Lenarduzzi in The Times Literary Supplement 'This is more of a romp than the other two novels, more comedic, albeit a very dark kind of comedy; part investigation into the properties of language, part thriller. The only lead Bellamy has is a list of seemingly random cities: Vancouver, San Diego, Papeete, Vladivostok, Odessa ... At one point he is sent to a sinister therapeutic institution, where patients are taught languages unknown to them in order to address their problems (Bellamy is assigned Romanian. Each language has its own therapeutic effect, but “English is the language of cowards and queers,” says an inmate angrily at one point, which is certainly a new way of looking at it). When we find out what links the list of cities together we realise that we have, in a most enjoyable way, been subject to a kind of superior shaggy dog story. Marani understands the appeal of the idea of the primordial language, but knows well enough that it is a Snark, a chimera, which is why the novel ends the way it does, why it is deliberately not as haunting as Grammar and Vostyachs, and also why Marani says this is the last time he’ll address the subject in fiction. It is excellently translated by Judith Landry, who I hope is not suffering like Marani’s characters.' Nick Lezard's Choice in The Guardian