Businesses of all types and sizes throughout the United States, Mexico and beyond bring their disputes to Gardere's litigation team and receive practical, responsive, boutique-style attention in return. Our clients have access to the firepower and value of a well-known and highly-regarded Firm's capabilities and interdisciplinary strengths.
Gardere has a national and international energy practice formed around our Energy Industry Team, which is a multidisciplinary group of approximately 80 attorneys with diverse backgrounds, experience and skills specific to the energy industry. Our team includes attorneys who have served as in-house counsel for major energy companies, providing a depth of insight into our clients' needs, issues and concerns. We understand and regularly practice in virtually every sector of the energy, and we represent a wide variety of industry participants from multinational corporations to individuals.
From our offices in the United States and Mexico, our International Practice helps clients operate in today’s global economy. We have more than 30 professionals operating as a boutique within an Am Law 200 law firm and are able to provide focused service with the resources of a large firm. We understand that clients who are engaged in the global marketplace need lawyers who can operate seamlessly across multiple jurisdictions. Our international experts are multi-lingual, are culturally fluent and intimately familiar with various legal systems across the world, especially those in Latin America. Whether you need help with commercial transactions, regulatory matters, customs and import regulations, immigration matters, M&A and joint ventures, international disputes, or international tax planning, Gardere’s international team is here to assist you.
We represent domestic and foreign private funds in all aspects of fund formation, fund operations, platform and add-on acquisitions, and portfolio company operations. Our team has a reputation for being the go-to-lawyers for private equity funds, hedge funds, venture capital funds and family offices. We are known for our vast deal experience, the efficient way we staff and manage our work, and the way we maintain our relationships. We get deals done with sophisticated, strategic, and practical advice tailored to the needs of our clients.
*Not admitted to practice law.
At least as far back as Horace, humanists have postulated an inter-relationship of the arts (ut pictura poesis - as is painting so is poetry). But the exact nature of this inter-relationship has remained a matter of dispute. German writer and philosopher Gotthold Lessing (1729 -1781), for instance, stressed that the “similarity of effect” between the visual and literary arts did not imply coincidence because “the two arts differ both in the objects imitated as well as in the manner of imitation”. American art historian Rensselaer Lee (1898 – 1984), however, suggested - in apparent agreement with Sir Joshua Reynolds (1723 – 1792) - that the two art forms share a deep purpose: “the chief likeness of painting to poetry lay not in adherence to a set of precepts borrowed from the sister art, or in any imagined correspondences of form, but in ‘nobleness of conception’”. Despite these (and other) different ways of conceptualising a transarts relationship, there remains a strong sense that textual and modelling approaches to creation and representation can each inform the other. Here, I hope to test this assumption and - more particularly - consider whether a relationship between the visual, literary and performing arts extends to other disciplines, especially law (and legal texts).
One way to ease into our discussion is to remark on the many alignments between law and narrative, both of which are historically situated. As Professor Brook Thomas (University of California) states it, laws and literature both “grow out of a particular place and time”. This suggests that one way to examine the intersection of various narratives and laws is with the tools of historicism, whether traditional (e.g., the historical determinism of French historian and critic Hippolyte Taine (1828 - 1893) or “new” (e.g., the cultural poetics of American literary critic Stephen Greenblatt (1943 - ).
This formulation gets us to an important point: for Taine any historical artefact is situated within a causal stream. It is both producing and produced. Through reverse engineering of artefacts, then, we can learn something about how they issued and what they may have in turn influenced. Any document, then, “is simply a mould like a fossil shell, an imprint similar to one of those forms embedded in a stone by an animal which once lived and perished”. So just as we can study a fossil to form some idea of the animal that formed it, so may we study a document to comprehend its author. Under this way of thinking, a document can be described as a momentary fix and snapshot of then-extant cultural cross-currents. Thus, contra strict textual constructionists, “[i]t is a mistake to study [a] document as if it existed alone by itself. That is treating things merely as a pedant, and you subject yourself to the illusions of a book-worm” (Taine).
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