The U.S. Constitution is clear on the appointment of executive officials: the president nominates, the Senate approves. But on the question of removing those officials, the Constitution is silent--although that silence has not discouraged strenuous efforts to challenge, censure, and even impeach presidents from Andrew Jackson to Bill Clinton. As J. David Alvis, Jeremy D. Bailey, and Flagg Taylor show, the removal power has always been and continues to be a thorny issue, especially as presidential power has expanded dramatically during the past century.

Linking this provocative issue to American political and constitutional development, the authors recount removal power debate from the Founding to the present day. Understanding the historical context of outbreaks in the debate, they contend, is essential to sorting out the theoretical claims from partisan maneuvering and sectional interests, enabling readers to better understand the actual constitutional questions involved.

After a detailed review of the Decision of 1789, the book examines the initial assertions of executive power theory, particularly by Thomas Jefferson and Andrew Jackson, then the rise of the argument for congressional delegation, beginning with the Whigs and ending with the impeachment of Andrew Johnson. The authors chronicle the return of executive power theory in the efforts of Presidents Grant, Hayes, Garfield, and Cleveland, who all battled with Congress over removals, then describe the emergence of new institutional arrangements with the creation of independent regulatory commissions. They conclude by tracking the rise of the unitarians and the challenges that this school has posed to the modern administrative state.

Although many scholars consider the matter to have been settled in 1789, the authors argue that a Supreme Court case as recent as 2010--"Free Enterprise Fund v. Public Company Accounting Oversight Board"--shows the extent to which questions surrounding removal power remain unresolved and demand more attention. Their work offers a more nuanced and balanced account of the debate, teasing out the logic of the different institutional perspectives on this important constitutional question as no previous book has.

Shakespeare's plays explore a staggering range of political topics, from the nature of tyranny, to the practical effects of Christianity on politics and the family, to the meaning and practice of statesmanship. From great statesmen like Burke and Lincoln to the American frontiersman sitting by his rustic fire, those wrestling with the problems of the human soul and its confrontation with a puzzling world of political peril and promise have long considered these plays a source of political wisdom. The chapters in this volume support and illuminate this connection between Shakespearean drama and politics by examining a matter of central concern in both domains: the human soul. By depicting a bewildering variety of characters as they seek happiness and self-knowledge in the context of differing political regimes, family ties, religious duties, friendships, feuds, and poetic inspirations, Shakespeare illuminates the complex interdynamics between self-rule and political governance, educating readers by compelling us to share in the struggles of and relate to the tensions felt by each character in a way that no political treatise or lecture can. The authors of this volume, drawing upon expertise in fields such as political philosophy, American government, and law, explore the Bard's dramatization of perennial questions about human nature, moral virtue, and statesmanship, demonstrating that reading his plays as works of philosophical literature enhances our understanding of political life and provides a source of advice and inspiration for the citizens and statesmen of today and tomorrow.

This volume provides a fresh perspective on current democratic theory and practice by recovering the rich evaluations of democracy in the history of political thought. Each author addresses a single thinker's reflections on the virtues and defects of democracy and the relationship between democracy and other regimes. Together, these essays explore the tensions within the democratic way of life that arise from an attachment to equality, liberty, citizenship, law, and the divine. Above all, this work aims at recovering a more complex understanding of democracy, connecting the perennial questions of political philosophy to the perplexities and crises of modern democracy.

This volume provides a fresh perspective on current democratic theory and practice by recovering the rich evaluations of democracy in the history of political thought. Each author addresses a single thinker's reflections on the virtues and defects of democracy and the relationship between democracy and other regimes. Together, these essays explore the tensions within the democratic way of life that arise from an attachment to equality, liberty, citizenship, law, and the divine. Above all, this work aims at recovering a more complex understanding of democracy, connecting the perennial questions of political philosophy to the perplexities and crises of modern democracy.

Shakespeare's plays explore a staggering range of political topics, from the nature of tyranny, to the practical effects of Christianity on politics and the family, to the meaning and practice of statesmanship. From great statesmen like Burke and Lincoln to the American frontiersman sitting by his rustic fire, those wrestling with the problems of the human soul and its confrontation with a puzzling world of political peril and promise have long considered these plays a source of political wisdom. The chapters in this volume support and illuminate this connection between Shakespearean drama and politics by examining a matter of central concern in both domains: the human soul. By depicting a bewildering variety of characters as they seek happiness and self-knowledge in the context of differing political regimes, family ties, religious duties, friendships, feuds, and poetic inspirations, Shakespeare illuminates the complex interdynamics between self-rule and political governance, educating readers by compelling us to share in the struggles of and relate to the tensions felt by each character in a way that no political treatise or lecture can. The authors of this volume, drawing upon expertise in fields such as political philosophy, American government, and law, explore the Bard's dramatization of perennial questions about human nature, moral virtue, and statesmanship, demonstrating that reading his plays as works of philosophical literature enhances our understanding of political life and provides a source of advice and inspiration for the citizens and statesmen of today and tomorrow.

In Print the Legend: Politics, Culture, and Civic Virtue in the Films of John Ford, a collection of writers explore Ford's view of politics, popular culture, and civic virtue in some of his best films: Drums Along the Mohawk, The Searchers, The Man Who Shot Liberty Valance, Stagecoach, How Green Was My Valley, and The Last Hurrah. John Ford, more than most motion picture directors, invites his viewers into a serious discussion of these themes. For instance, one can consider Plato's timeless question 'What is justice?' in The Man Who Shot Liberty Valance, vengeance as classical Greek tragedy in The Searchers, or ethnic politics in The Last Hurrah. Ford's films never grow stale or seem dated because he continually probes the most important questions of our civic culture: what must we do to survive, prosper, pursue happiness, and retain our common decency as a regime? Further, viewing them from a distance of time, we are subtly invited to ask whether anything has been lost or gained since Ford celebrated the civic virtues of an earlier America. Is Ford's America an idealized America or a lost America?

In Print the Legend: Politics, Culture, and Civic Virtue in the Films of John Ford, a collection of writers explore Ford's view of politics, popular culture, and civic virtue in some of his best films: Drums Along the Mohawk, The Searchers, The Man Who Shot Liberty Valance, Stagecoach, How Green Was My Valley, and The Last Hurrah. John Ford, more than most motion picture directors, invites his viewers into a serious discussion of these themes. For instance, one can consider Plato's timeless question "What is justice?" in The Man Who Shot Liberty Valance, vengeance as classical Greek tragedy in The Searchers, or ethnic politics in The Last Hurrah. Ford's films never grow stale or seem dated because he continually probes the most important questions of our civic culture: what must we do to survive, prosper, pursue happiness, and retain our common decency as a regime? Further, viewing them from a distance of time, we are subtly invited to ask whether anything has been lost or gained since Ford celebrated the civic virtues of an earlier America. Is Ford's America an idealized America or a lost America?