For decades, scholars and judges have assumed that federal habeas corpus review of state court criminal convictions should focus on the individual rights of habeas petitioners and that the federal courts should ask whether a state prisoner is being unlawfully detained because the state violated his individual federal rights. This individualized approach to federal habeas review is expensive, time-consuming, and woefully ineffective in stopping states from violating defendants’ federal rights. Indeed, many states systematically violate criminal defendants’ federal rights with impunity. This Article proposes a new conception of federal habeas review under which the federal courts focus on states, not on individual petitioners. Federal habeas relief should be available when, but only when, a state routinely violates its criminal defendants’ federal rights as part of a systemic practice. Reconfiguring federal habeas corpus review to focus on states and systemic practices would reduce redundancy, increase efficiency, and be more respectful of state institutions while, at the same time, recovering one of the original and now lost purposes of federal habeas corpus review.
California Law Review: CURRENT ISSUE
February 2009, Vol. 97, No. 1
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The California Law Review is the preeminent legal publication at the UC Berkeley School of Law.
Founded in 1912, CLR publishes six times per year on a variety of engaging topics in legal scholarship.
The law review is edited and published entirely by students at Berkeley Law.
Founded in 1912, CLR publishes six times per year on a variety of engaging topics in legal scholarship.
The law review is edited and published entirely by students at Berkeley Law.
This Article attacks the foundations of moral rights scholarship, law,
and theory. The author focuses on the moral right of “integrity,”
called “the heart of the moral rights doctrine,” which allows an artist
to prevent modification, and in some cases, destruction of his art
work. Her argument is that moral rights actually endanger art in the
name of protecting it. Indeed, the argument challenges the key
assumptions of virtually all moral rights scholarship: that moral
rights are crucial for the flourishing of art and that, if anything, we
need a more robust moral rights doctrine. But moral rights scholars
have overlooked a dramatic problem: The conception of “art” embedded in
moral rights law has become obsolete. The author attempts to show that
moral rights are premised on the precise conception of “art” that
artists have been rebelling against for the last forty years. Moral
rights law thus purports to protect art, but does so by enshrining a
vision of art that is directly at odds with contemporary artistic
practice. As a result, the law is on a collision course with the very
art it seeks to defend.