In Socrates on Friendship and Community, Mary P. Nichols addresses Kierkegaard's and Nietzsche's criticism of Socrates and recovers the place of friendship and community in Socratic philosophizing. This approach stands in contrast to the modern philosophical tradition, in which Plato's Socrates has been viewed as an alienating influence on Western thought and life. Nichols' rich analysis of both dramatic details and philosophic themes in Plato's Symposium, Phaedras, and Lysis shows how love finds its fulfilment in the reciprocal relation of friends. Nichols also shows how friends experience another as their own and themselves as belonging to another. Their experience, she argues, both sheds light on the nature of philosophy and serves as a standard for a political life that does justice to human freedom and community.

Soviet authorities in 1987-1991 tried to encourage the union republics to use their diplomatic apparatuses, created by Stalin in 1944, to solicit foreign economic trade and aid. In many cases, union republics were able to draw upon diplomatic precedents established during the early Soviet period, or when they were independent states in the period 1918-1921. The many international contacts and ties the former union republics had established abroad helped them to promptly gain diplomatic recognition and establish diplomatic relations with many foreign states, mitigating to some degree the shock to the world order caused by the breakup of the Soviet Union.

By bringing together and critically engaging with accounts of certain themes in business and labour history, and utilizing original research, this book aims to widen understanding of industrial society and provide a background to further study and research in the area management and labour relations history.

In this edited collection of essays, ten experts in film philosophy explore the importance of transcendence for understanding cinema as an art form. They analyze the role of transcendence for some of the most innovative film directors: David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese. Meanwhile they apply concepts of transcendence from continental philosophers like Alain Badiou, Gilles Deleuze, Martin Heidegger, Michel Henry, Edmund Husserl, Karl Jaspers, Søren Kierkegaard, Maurice Merleau-Ponty, Friedrich Nietzsche, and Jean-Paul Sartre. Each of the ten chapters results in a different perspective about what transcendence means and how it is essential to film as an art medium. Several common threads emerge among the chapters. The contributors find that the limitations of human existence are frequently made evident in moments of transcendence, so as to bring characters to the margins of their assumed world. At other times, transcendence goes immanent, so as to emerge in experiences of the surprising nearness of being, as though for a radical intensification of life. Film can also exhibit “ciphers of transcendence” whereby symbolic events open us to greater realizations about our place in the world. Lastly, the contributors observe that transcendence occurs in film, not simply from isolated moments forced into a storyline, but in a manner rooted within an ontological rhythm peculiar to the film itself.

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.

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.

Short Stories and Political Philosophy: Power, Prose, and Persuasion explores the relationship between fictional short stories and the classic works of political philosophy. This edited volume addresses the innovative ways that short stories grapple with the same complex political and moral questions, concerns, and problems studied in the fields of political philosophy and ethics. The volume is designed to highlight the ways in which short stories may be used as an access point for the challenging works of political philosophy encountered in higher education. Each chapter analyzes a single story through the lens of thinkers ranging from Plato and Aristotle to Max Weber and Hannah Arendt. The contributors to this volume do not adhere to a single theme or intellectual tradition. Rather, this volume is a celebration of the intellectual and literary diversity available to students and teachers of political philosophy. It is a resource for scholars as well as educators who seek to incorporate short stories into their teaching practice.

This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world.

The overall aim of the volume is to explore the relation of Socratic philosophizing, as Plato represents it, to those activities to which it is typically opposed. The essays address a range of figures who appear in the dialogues as distinct "others" against whom Socrates is contrasted-most obviously, the figure of the sophist, but also the tragic hero, the rhetorician, the tyrant, and the poet. Each of the individual essays shows, in a different way, that the harder one tries to disentangle Socrates' own activity from that of its apparent opposite, the more entangled they become. Yet, it is only by taking this entanglement seriously, and exploring it fully, that the distinctive character of Socratic philosophy emerges. As a whole, the collection sheds new light on the artful ways in which Plato not only represents philosophy in relation to what it is not, but also makes it "strange" to itself. It shows how concerns that seem to be raised about the activity of philosophical questioning (from the point of view of the political community, for example) can be seen, upon closer examination, to emerge from within that very enterprise. Each of the essays then goes on to consider how Socratic philosophizing can be defined, and its virtues defended, against an attack that comes as much from within as from without. The volume includes chapters by distinguished contributors such as Catherine Zuckert, Ronna Burger, Michael Davis, Jacob Howland, and others, the majority of which were written especially for this volume. Together, they address an important theme in Plato's dialogues that is touched upon in the literature but has never been the subject of a book-length study that traces its development across a wide range of dialogues. One virtue of the collection is that it brings together a number of prominent scholars from both political science and philosophy whose work intersects in important and revealing ways. A related virtue is that it treats more familiar dialogues (Republic, Sophist, Apology, Phaedrus) alongside some works that are less well known (Theages, Major Hippias, Minor Hippias, Charmides, and Lovers). While the volume is specialized in its topic and approach, the overarching question-about the potentially troubling implications of Socratic philosophy, and the Platonic response-should be of interest to a broad range of scholars in philosophy, political science, and classics.

First published in 1988. This thought-provoking volume offers a constructive critical anal ysis of family therapy for its neglect of the self in the system, and provides a therapeutic approach to clinical problems that takes into account both individual and family dynamics. The author shows that by elevating the metaphor of the system to dogma, family therapy has lost sight of much of the richness and complicating influence of personal feeling, motivation, and conflict, resulting in a proliferation of esoteric, abstract theories and highly mechanistic, technical interventions. The Self in the System describes a different reality that is often overlooked: no matter how much their behavior is coordinated within the system, family members remain separate individuals with private hopes and ambitions, motives and expectations, quirks and foibles, and potentials for creative work. This book provides a unique approach that develops a better understanding of family members' individual experiences, and helps in enhancing their personal responsibility and ability to solve their own interactional problems within the family system. The approach, however, is not just another version of psychoanalytic family therapy, but rather one that utilizes the best tools of family therapy and the most useful ideas from individual psychology and psychodynamic psychotherapy. Chapters cover such important topics as finding the family and losing the self; the problem of change; working with interaction; the effective use of empathy; making assessments that include both the whole family system and the psychology of its members; interac tional psychodynamics; a practical guide to object relations theory; how to develop understanding; and working with resistance.

The overall aim of the volume is to explore the relation of Socratic philosophizing, as Plato represents it, to those activities to which it is typically opposed. The essays address a range of figures who appear in the dialogues as distinct "others" against whom Socrates is contrasted-most obviously, the figure of the sophist, but also the tragic hero, the rhetorician, the tyrant, and the poet. Each of the individual essays shows, in a different way, that the harder one tries to disentangle Socrates' own activity from that of its apparent opposite, the more entangled they become. Yet, it is only by taking this entanglement seriously, and exploring it fully, that the distinctive character of Socratic philosophy emerges. As a whole, the collection sheds new light on the artful ways in which Plato not only represents philosophy in relation to what it is not, but also makes it "strange" to itself. It shows how concerns that seem to be raised about the activity of philosophical questioning (from the point of view of the political community, for example) can be seen, upon closer examination, to emerge from within that very enterprise. Each of the essays then goes on to consider how Socratic philosophizing can be defined, and its virtues defended, against an attack that comes as much from within as from without. The volume includes chapters by distinguished contributors such as Catherine Zuckert, Ronna Burger, Michael Davis, Jacob Howland, and others, the majority of which were written especially for this volume. Together, they address an important theme in Plato's dialogues that is touched upon in the literature but has never been the subject of a book-length study that traces its development across a wide range of dialogues. One virtue of the collection is that it brings together a number of prominent scholars from both political science and philosophy whose work intersects in important and revealing ways. A related virtue is that it treats more familiar dialogues (Republic, Sophist, Apology, Phaedrus) alongside some works that are less well known (Theages, Major Hippias, Minor Hippias, Charmides, and Lovers). While the volume is specialized in its topic and approach, the overarching question-about the potentially troubling implications of Socratic philosophy, and the Platonic response-should be of interest to a broad range of scholars in philosophy, political science, and classics.

Two important criticisms of contemporary liberalism turn to Aristotle's political thought for support - that which advocates participatory democracy, and that sympathetic to the rule of a virtuous or philosophic elite. In this commentary on Aristotle's politics the author explores how Aristotle offers political rule as an alternative to both the rule of aristocratic virtue and an unchecked participatory democracy. Writing in lucid prose, she offers an interpretation grounded in a close reading of the text, and combining a respectful and patient attempt to understand Aristotle in his own terms with a wide, sympathetic, and argumentative reading in the secondary literature.

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?

Casablanca is a movie about love and loss, virtue and vice, good and evil, duty and treachery, courage and weakness, friendship and hate. It is a story that ends well, but only because the main characters make a heartbreaking choice. Casablanca is perhaps the most widely viewed motion picture ever made, often finishing on critics' lists second only to Citizen Kane. What accounts for its continuing popularity? What chord does it strike with audiences? What lesson does Casablanca teach Americans about themselves? What influence does popular culture have on public mores? The contributors to Political Philosophy Comes to Rick's take up these questions, finding that Casablanca raises many of the most important issues of political philosophy. Perhaps Casablanca has an enduring quality because it, like political philosophy, raises questions of human life - the nature of love, friendship, courage, honor, responsibility, and justice.

Casablanca is a movie about love and loss, virtue and vice, good and evil, duty and treachery, courage and weakness, friendship and hate. It is a story that ends well, but only because the main characters make a heartbreaking choice. Casablanca is perhaps the most widely viewed motion picture ever made, often finishing on critics' lists second only to Citizen Kane. What accounts for its continuing popularity? What chord does it strike with audiences? What lesson does Casablanca teach Americans about themselves? What influence does popular culture have on public mores? The contributors to Political Philosophy Comes to Rick's take up these questions, finding that Casablanca raises many of the most important issues of political philosophy. Perhaps Casablanca has an enduring quality because it, like political philosophy, raises questions of human life - the nature of love, friendship, courage, honor, responsibility, and justice.

Alexis de Tocqueville asserted that America had no truly great literature, and that American writers merely mimicked the British and European traditions of the eighteenth and nineteenth centuries. This new edited collection masterfully refutes Tocqueville's monocultural myopia and reveals the distinctive role American poetry and prose have played in reflecting and passing judgment upon the core values of American democracy. The essays, profiling the work of Mark Twain, F. Scott Fitzgerald, John Updike, Edith Wharton, Walt Whitman, Henry James, Willa Cather, Walker Percy, and Tom Wolfe, reveal how America's greatest writers have acted as society's most ardent cheerleaders and its most penetrating critics. Christine Dunn Henderson's exciting new work offers literature as a portal through which to view the philosophical principles that animate America's political order and the mores which either reinforce or undermine them.

For too long, the films of Woody Allen have been interpreted as expressions of deconstructionism, nihilism, and postmodern angst. In this pathbreaking new book, distinguished writer Mary P. Nichols challenges these assumptions by arguing that Allen's entire body of work, from Play It Again, Sam to Mighty Aphrodite, is actually an attempt to explore and reconcile the tension between art and life. As witty and complex as its subject, Reconstructing Woody shows why Allen, despite his recent personal turmoil, is immensely concerned with human ethics, goodness, and virtue. Ardent fans and strident detractors will view Woody Allen's films from an entirely new perspective.

This collection of original essays by prominent scholars of political theory contends that contemporary ideas of feminism have reached a theoretical impasse because they are unable to reconcile tensions between principles such as equality and difference. Finding A New Feminism places modern concepts of feminism within the historical context of political thought and uses feminism as a lens through which to examine the strengths and weaknesses of liberal democracy, both in practice and in theory. By reconsidering classic works of literature, philosophy, and political theory, the authors identify certain deficiencies of liberal democracy but do not call for its complete abandonment. Instead, they present a new theory of feminism that fosters the reconciliation of conflicting and competing principles, as well as the private and public realms of women's lives. This is compulsory reading for students and scholars of political and feminist theory.

Each of us is controlled in some way by shame, one of the ugliest emotions in human experience. It saps our self-respect, builds walls between people, and forces us to create elaborate defenses to protect ourselves. This informative and practical analysis of the role of shame in our lives helps us to understand the root of our insecurity. Only by facing and coming to terms with our shame can we begin to resolve insecurities and become free to participate fully in life. Nichols discusses love and worth, the social sources of humiliation, the frustration of adolescence, and positive parenting, among other important topics, in this wonderful combination of clinical sophistication, common sense, and humanity

First published in 1988. This thought-provoking volume offers a constructive critical anal ysis of family therapy for its neglect of the self in the system, and provides a therapeutic approach to clinical problems that takes into account both individual and family dynamics. The author shows that by elevating the metaphor of the system to dogma, family therapy has lost sight of much of the richness and complicating influence of personal feeling, motivation, and conflict, resulting in a proliferation of esoteric, abstract theories and highly mechanistic, technical interventions. The Self in the System describes a different reality that is often overlooked: no matter how much their behavior is coordinated within the system, family members remain separate individuals with private hopes and ambitions, motives and expectations, quirks and foibles, and potentials for creative work. This book provides a unique approach that develops a better understanding of family members' individual experiences, and helps in enhancing their personal responsibility and ability to solve their own interactional problems within the family system. The approach, however, is not just another version of psychoanalytic family therapy, but rather one that utilizes the best tools of family therapy and the most useful ideas from individual psychology and psychodynamic psychotherapy. Chapters cover such important topics as finding the family and losing the self; the problem of change; working with interaction; the effective use of empathy; making assessments that include both the whole family system and the psychology of its members; interac tional psychodynamics; a practical guide to object relations theory; how to develop understanding; and working with resistance.

"That isn't what I meant!" Truly listening and being heard is far from simple, even between people who care about each other. This perennial bestseller--now revised and updated for the digital age--analyzes how any conversation can go off the rails and provides essential skills for building mutual understanding. Thoughtful, witty, and empathic, the book is filled with vivid stories of couples, coworkers, friends, and family working through tough emotions and navigating differences of all kinds. Learn ways you can: *Hear what people mean, not just what they say. *Share a difference of opinion without sounding dismissive. *Encourage uncommunicative people to open up. *Make sure both sides get heard in heated discussions. *Get through to someone who never seems to listen. *Ask for support without getting unwanted advice. *Reduce miscommunication in texts and online. From renowned therapist Michael P. Nichols and new coauthor Martha B. Straus, the third edition reflects the huge impact of technology and social media on relationships, and gives advice for talking to loved ones across social and political divides

In this edited collection of essays, ten experts in film philosophy explore the importance of transcendence for understanding cinema as an art form. They analyze the role of transcendence for some of the most innovative film directors: David Cronenberg, Karl Theodor Dreyer, Federico Fellini, Werner Herzog, Stanley Kubrick, David Lynch, Terrence Malick, Yasujiro Ozu, and Martin Scorsese. Meanwhile they apply concepts of transcendence from continental philosophers like Alain Badiou, Gilles Deleuze, Martin Heidegger, Michel Henry, Edmund Husserl, Karl Jaspers, Soren Kierkegaard, Maurice Merleau-Ponty, Friedrich Nietzsche, and Jean-Paul Sartre. Each of the ten chapters results in a different perspective about what transcendence means and how it is essential to film as an art medium. Several common threads emerge among the chapters. The contributors find that the limitations of human existence are frequently made evident in moments of transcendence, so as to bring characters to the margins of their assumed world. At other times, transcendence goes immanent, so as to emerge in experiences of the surprising nearness of being, as though for a radical intensification of life. Film can also exhibit "ciphers of transcendence" whereby symbolic events open us to greater realizations about our place in the world. Lastly, the contributors observe that transcendence occurs in film, not simply from isolated moments forced into a storyline, but in a manner rooted within an ontological rhythm peculiar to the film itself.

This volume brings Continental philosophical interpretations of Van Gogh into dialogue with one another to explore how for Van Gogh, art places human beings in their world, and yet in other ways displaces them, not allowing them to belong to that world.