s first monograph offers a rich and dynamic approach to conceptualizing restitution in the aftermath of atrocious state violence.She focuses on Germany's practice of Wiedergutmachung (or what she translates to "making-good-again") after the Second World War to examine how the concept of restitution is not confined to the courtroom.Rather, across six chapters (an introduction, four chapters, and a conclusion), Petersen shows that visual culture, literature, and architecture all play critical roles in producing conceptions of "making-good-again" that have legal ramifications outside state or private law.Chapter 1 outlines the theoretical and methodological approach that informs her substantive chapters.Petersen begins by exploring the etymologies and histories of "restitution" and "Wiedergutmachung" in the German context from the medieval period through to the twentieth century, the First World War, and then the aftermath of the Second World War.These terms have broad connotations, from material compensation to victims to memorialization.In Petersen's work, "making-good-again" is an active, material, and ongoing process that continues after legislation is written, cases are closed, artwork is complete, and texts have been published.She emphasizes the ongoing life of these objects as they continue to engage with the public and are experienced by others.Thus, the "making-again" in "making-good-again" plays a significant role in her intervention.Chapter 2, "Glossing Restitution," explores the genre of glossatorial writing through the work of jurist, Walter Schwarz.Legal gloss (commentary written in the margins of legal texts) is read by Petersen as a unique genre that requires attention as both a literary and legal form.She takes the reader through her journey to the archives at the Berliner Stadtbibliothek (Berlin City Library) to sift through entries of the journal, Rechtsprechung zum Wiedergutmachungsrecht (RzW; Jurisprudence in Restitution Law).She offers original translations of Schwarz's glosses and analyzes the form and content down to the typesetting.She attends to the placement of text on the margins and the italicized font that make the "glosses . .. self-contained memorials-framed and entombed on the page" (40).Throughout these glossatorial entries, Schwarz comments on German restitution cases in an enigmatic way.
Bahar Banaei (Tue,) studied this question.