For seven seasons, AMC's Mad Men captivated audiences with the story of Don Draper, an advertising executive whose personal and professional successes and failures took viewers on a roller coaster ride through America's tumultuous 1960s. More than just a television show about one of advertising's "bad boys," the series investigates the principles of the American regime, exploring whether or not the American Dream is a sustainable vision of human flourishing and happiness. This collection of essays investigates the show's engagement with the philosophic and political foundations of American democracy.

This book studies several of Mark Helprin's novels in terms of their relation to Dante's Divine Comedy. The authors demonstrate that A Soldier of the Great War, In Sunlight and in Shadow, and Winter's Tale substantially correspond to, respectively, Dante's Inferno, Purgatorio, and Paradiso. The author himself has acknowledged his debt to Dante and references to the Comedy appear throughout his works. It is not that Helprin's novels track their Dantean antecedents slavishly, or even follow the structure of the Canticles explicitly. Rather, the central arguments of Dante's three works are taken up by Helprin in his novels. In adopting Dante's essentially Platonic doctrine of mediation, Helprin's characters are fully instantiated human beings who also mediate and reveal the divine. In his engagement with Dante, Helprin affirms the core philosophical, theological and psychological arguments of the Comedy, and then modifies those arguments in a distinctly modern way. Specifically, Helprin focuses on human freedom as the necessary precondition for justice to exist, both for individuals and for societies. In the final chapter of the book, the authors turn to Helprin's Freddy and Fredericka. In this novel, Helprin both assumes Dante's argument, and then radically alters it, by pointing to the possibility of a just regime on earth, rather than one that exists merely in heaven. While accepting much of Dante's metaphysical argument, Helprin shows the virtues of liberal democracy as that form of political regime that is most able to unite human eros with eternal principles. In the end, Helprin's novels are remarkable for the way in which they advocate for ancient virtues, while insisting upon the distinctly modern liberal account of human freedom as the necessary foundation for human flourishing.

Recovering Hegel from the Critique of Leo Srauss offers a defense of modernity against the critique of the influential mid-twentieth century political philosopher, Leo Strauss. Strauss, whose influence on contemporary conservative political theory is well documented, discovered the ground of much of what he found wanting in contemporary political and social life to lie in the philosophy of the 19th century German philosopher, G. W. F. Hegel. Specifically, Strauss accused Hegel of being the greatest exponent of historicism and thus the relativism that afflicts modern thought. Ultimately, according to Strauss, this has led to the nihilism and general mediocrity that characterizes modern western culture. In this book, Sara MacDonald and Barry Craig examine Strauss s reading of Hegel and argue that in fact it is a mis-reading. Contrary to Strauss s interpretation, this book holds that Hegel was no relativist and in fact sought to show the compatibility of objective, eternal truth with modern human subjectivity. At the same time, it illustrates the way in which Hegel s thought prepared the ground for enlightened modern liberal democracies and also remains relevant to current social and political conversations."

This book explores the understanding of freedom developed in the later novels of celebrated Canadian author, David Adams Richards. Many reviewers highlight two interconnected features in Richards novels: a seemingly rigid determinism of setting and sociodemographics, and a resulting hopelessness. In contrast, Richards describes the quest of human life and the purpose of his novels as a search for freedom. This book explores the account of freedom that is developed through the course of four of Richards's works: The Friends of Meager Fortune, Mercy Among the Children, The Lost Highway, and Crimes Against My Brother. Following the Augustinian thread that informs Richards's writing, we argue that rather than presenting an understanding of human life that is bleak or hopeless, Richards instead reveals an argument wherein one's happiness and freedom is found in the midst of love.

Both critically and commercially successful filmmakers, the Coen brothers have written, produced, and directed numerous acclaimed films over the past three decades. Sara MacDonald and Barry Craig demonstrate that their comedies, in particular, which are often dismissed as mere entertainments, actually present substantial philosophic and political arguments. They examine five of the Coen brothers' comedies: Raising Arizona, Fargo, The Big Lebowski, O Brother, Where Art Thou, and Hail Caesar!. In those works, they discover insightful engagements with such ideas as questions of human freedom, the relationship of reason to religion, and the nature of liberal democracy in the American regime. They demonstrate how sometimes explicitly, but generally implicitly, the Coens draw on thinkers such as Homer, Plato, Dante, and Hegel, while simultaneously presenting popular entertainment.

All six episodes from the tenth series of the BBC sci-fi comedy, following the interstellar exploits of Lister (Craig Charles), the last human in the universe, his hologram colleague Rimmer (Chris Barrie), android Kryten (Robert Llewellyn) and Cat (Danny John-Jules). In this series, Rimmer is torn when he receives an SOS distress call from a ship commanded by his all-conquering brother, Howard (Mark Dexter); Lister loses Rimmer in a game of poker to a group of biologically engineered life forms; and the crew become marooned in Britain in 23 AD, which leads to an encounter with a very important historical figure. The episodes are: 'Trojan', 'Fathers and Suns', 'Lemons', 'Entangled', 'Dear Dave' and 'The Beginning'.

Complete eighth series of the BBC sci-fi comedy, about Lister (Craig Charles), the last human in the universe, his hologram colleague Rimmer (Chris Barrie), android Kryten (Robert Llewellyn) and Cat (Danny John-Jules). In this series, the nanobots have completely rebuilt Red Dwarf and her crew, and Lister and Rimmer find themselves under arrest by the Captain for destroying Starbug. Stuck in prison, the crew have to find a way to defeat a strange entity that is destroying the ship. Episodes are: 'Back in the Red (Part 1)'; 'Back in the Red (Part 2)'; 'Back in the Red (Part 3)'; 'Cassandra'; 'Krytie TV'; 'Pete'; 'Pete II'; and 'Only the Good...'

All six episodes from the tenth series of the BBC sci-fi comedy, following the interstellar exploits of Lister (Craig Charles), the last human in the universe, his hologram colleague Rimmer (Chris Barrie), android Kryten (Robert Llewellyn) and Cat (Danny John-Jules). In this series, Rimmer is torn when he receives an SOS distress call from a ship commanded by his all-conquering brother, Howard (Mark Dexter); Lister loses Rimmer in a game of poker to a group of biologically engineered life forms; and the crew become marooned in Britain in 23 AD, which leads to an encounter with a very important historical figure. The episodes are: 'Trojan', 'Fathers and Suns', 'Lemons', 'Entangled', 'Dear Dave' and 'The Beginning'.

Paul wrote 2 Corinthians with a heavy heart, wrestling to maintain his relationship with the young church that he established. The way that Paul handled this painful situation provides an example for us today. When should we reconcile, and when should we walk away? How do we cut ties with darkness--whether in ourselves or in others? In this volume from the Transformative Word series, edited by Craig Bartholomew, John D. Barry explores how we deal with such scars in light of Jesus' example.

Both critically and commercially successful filmmakers, the Coen brothers have written, produced, and directed numerous acclaimed films over the past three decades. Sara MacDonald and Barry Craig demonstrate that their comedies, in particular, which are often dismissed as mere entertainments, actually present substantial philosophic and political arguments. They examine five of the Coen brothers' comedies: Raising Arizona, Fargo, The Big Lebowski, O Brother, Where Art Thou, and Hail Caesar!. In those works, they discover insightful engagements with such ideas as questions of human freedom, the relationship of reason to religion, and the nature of liberal democracy in the American regime. They demonstrate how sometimes explicitly, but generally implicitly, the Coens draw on thinkers such as Homer, Plato, Dante, and Hegel, while simultaneously presenting popular entertainment.

Recovering Hegel from the Critique of Leo Srauss offers a defense of modernity against the critique of the influential mid-twentieth century political philosopher, Leo Strauss. Strauss, whose influence on contemporary conservative political theory is well documented, discovered the ground of much of what he found wanting in contemporary political and social life to lie in the philosophy of the 19th century German philosopher, G. W. F. Hegel. Specifically, Strauss accused Hegel of being the greatest exponent of historicism and thus the relativism that afflicts modern thought. Ultimately, according to Strauss, this has led to the nihilism and general mediocrity that characterizes modern western culture. In this book, Sara MacDonald and Barry Craig examine Strauss's reading of Hegel and argue that in fact it is a mis-reading. Contrary to Strauss's interpretation, this book holds that Hegel was no relativist and in fact sought to show the compatibility of objective, eternal truth with modern human subjectivity. At the same time, it illustrates the way in which Hegel's thought prepared the ground for enlightened modern liberal democracies and also remains relevant to current social and political conversations.