This collection of essays, offered in honor of the distinguished career of prominent political philosophy professor Clifford Orwin, provides a wide context in which to consider the rise of "humanity" as one of the chief modern virtues. A relative of-and also a replacement for-formerly more prominent other-regarding virtues like justice and generosity, humanity and later compassion become the true north of the modern moral compass. Contributors to this volume consider various aspects of this virtue, by comparison with what came before and with attention to its development from early to late modernity, and up to the present.

Professions are institutions which, through their small size, self-governing elements, and sense of social mission, can assist in maintaining a sound civic culture. As mediating institutions in our democratic society that are neither entirely birthed by the state nor are entirely private, the individual professions-such as the legal and education professions, journalism, economics, architecture, or the military-arguably present practical avenues through which to teach civic behavior and to restore Americans' broken trust. This volume on the professions and civic life undertakes a unique and timely examination of twelve individual professions to see how each affects the character of American citizenship and the civic culture of the nation through their practices and ethos. Among the questions each essay in the volume addresses are: What is distinctive-or not-about the specific profession as it came to be practiced in the United States? Given the specialized knowledge, training, and sometimes licensing of a profession, what do the professions perceive to be their role in promoting the larger common good? How can we bring professionals' expert knowledge to bear on social problems in an open and deliberative way? Is the ethic of a particular profession as it understands itself today at odds with the American conception of self-government and a healthy civic life? Through analysis of these questions, each chapter presents a rich treatment of how the twelve longstanding professions of political science, teaching, the law, the military, economics, medicine, journalism, literature, science, architecture, music, and history help support and challenge the general public's civic behavior in general and their attachment to the American regime in particular.

In Gilligan Unbound, a distinguished Shakespeare scholar and literary critic proves once and for all that popular culture can be every bit as complex, meaningful, and provocative as the most celebrated works of literature-and a lot more fun. Paul Cantor analyzes and interprets a wide variety of classic television programs with the same seriousness, care, and creativity as he would Hamlet or Macbeth to reveal how dramatically America's image of itself has evolved from the 1960s to the present. Cantor demonstrates how, during the 1960s, Gilligan's Island and Star Trek reflected America's faith in liberal democracy and our willingness to project it universally. Gilligan's Island, Cantor argues, is based on the premise that a representative group of Americans could literally be dumped in the middle of nowhere and still prevail under the worst of circumstances. Star Trek took American optimism even further by trying to make the entire galaxy safe for democracy. Despite the famous Prime Directive, Captain Kirk and his crew remade planet after planet in the image of an idealized 1960s America. With the end of the Cold War and the onset of unprecedented globalizing forces, faith in the American way of life has wavered. Contrary to the claims of those unacquainted with the cartoon, Cantor shows why The Simpsons is actually a powerful defense of the nuclear family and local communities, which has grown out of our growing disillusionment with national politics. In The X-Files we witness the treacherous workings of a government conspiracy, conveying the geopolitical anxiety that has emerged with the collapse of the clear-cut ideological polarities of the Cold War. By observing such trends in American popular culture, Cantor concludes that what had originally appeared to be the ultimate triumph of liberal democracy may in fact signal the beginning of a new phase of history, in which traditional forms of political organization have become obsolete and are being replaced by new global networks. Gilligan Unbound is a celebration of the profound possibilities offered by the study of pop culture. Cantor, without condescending to either his readers or his subject matter, rescues the serious study of popular culture from academic jargon and incomprehensible prose. See for yourself why his award-winning essays on professional wrestling and The Simpsons have attracted worldwide attention, and why the National Enquirer calls him a 'top prof.'

For forty years, Harvey Mansfield has been worth reading. Whether plumbing the depths of MachiavelliOs Discourses or explaining what was at stake in Bill ClintonOs impeachment, MansfieldOs work in political philosophy and political science has set the standard. In Educating the Prince, twenty-one of his students, themselves distinguished scholars, try to live up to that standard. Their essays offer penetrating analyses of Machiavellianism, liberalism, and America., all of them informed by MansfieldOs own work. The volume also includes a bibliography of MansfieldOs writings.

This volume is a collection of essays by various contributors in honor of the late Laurence Berns, Richard Hammond Elliot Tutor Emeritus at St. John's College, Annapolis. The essays address the literary, political, theological, and philosophical themes of his life's work as a scholar, teacher, and constant companion of the "great books." Included are essays interpreting biblical books, as well as books by Homer, Herodotus, Aeschylus, Sophocles, Euripides, Plato, Virgil, Dante, Spinoza, Milton, Rousseau, Darwin, Dostoevsky, Nietzsche, Camus, and H.G. Wells. Like their honoree, the essayists aim at understanding such books as their authors wished them to be understood-for the light they shed on universal and timeless questions about God, nature, and human life which animated the authors themselves and which they saw fit to share, elegantly and eloquently, with thoughtful readers. Each essay is, in its way, a model of how to read and reflect on the writings of the great authors.

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?

Political science is becoming ever more reliant on abstract statistical models and almost divorced from human judgment, hope, and idealism. William Shakespeare offers the political scientist an antidote to this methodological alienation, this self-imposed exile from the political concerns of citizens and politicians. Shakespeare, the most quoted author in the English-speaking world, presents his characters as rulers, citizens, and statesmen of the most famous regimes, governed by their respective laws and shaped by their respective political and social institutions. The actions, deliberations, mistakes, and successes of his characters reveal the limitations and strengths of their regimes, whether they be Athens, Rome, or England. The contributors to this volume, esteemed scholars of political science, show us that Shakespeare's poetic imagination displays the very essence of politics and inspires valuable reflection on the fundamental questions of statesmanship and political leadership. Perspectives on Shakespeare's Politics explores such themes as classical republicanism and liberty, the rule of law and morality, the nature and limits of statesmanship, and the character of democracy.

Political science is becoming ever more reliant on abstract statistical models and almost divorced from human judgment, hope, and idealism. William Shakespeare offers the political scientist an antidote to this methodological alienation, this self-imposed exile from the political concerns of citizens and politicians. Shakespeare, the most quoted author in the English-speaking world, presents his characters as rulers, citizens, and statesmen of the most famous regimes, governed by their respective laws and shaped by their respective political and social institutions. The actions, deliberations, mistakes, and successes of his characters reveal the limitations and strengths of their regimes, whether they be Athens, Rome, or England. The contributors to this volume, esteemed scholars of political science, show us that Shakespeare's poetic imagination displays the very essence of politics and inspires valuable reflection on the fundamental questions of statesmanship and political leadership. Perspectives on Shakespeare's Politics explores such themes as classical republicanism and liberty, the rule of law and morality, the nature and limits of statesmanship, and the character of democracy.

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.

This rich and varied collection of essays addresses some of the most fundamental human questions through the lenses of philosophy, literature, religion, politics, and theology. Peter Augustine Lawler and Dale McConkey have fashioned an interdisciplinary consideration of such perennial and enduring issues as the relationship between nature and history, nature and grace, reason and revelation, classical philosophy and Christianity, modernity and postmodernity, repentance and self-limitation, and philosophy and politics. These tensions are explored through the works of such eminent thinkers as Aristotle, Augustine, and Tocqueville, but the contributors engage a wide variety of texts from popular culture, American literature Flannery O'Connor receives notable attention and social theory to create a remarkably comprehensive, if far from harmonious, introduction to political philosphy today."

Literary works, through their very personal means of characterization, reveal the direct effect of politics on individuals in a way a political treatise cannot. The distinguished contributors to this volume share the belief that Shakespeare is the author who most effectively sets forth the multifarious pageant of politics. Shakespeare's rich canon presents monarchy and republic, tyrant and king, thinker and soldier, and Christian and pagan. The twelve essays in Shakespeare's Political Pageant discuss a broad range of Shakespeare's dramatic poetry from the perspective of the political theorist. This innovative book demonstrates the immense value of seeing Shakespeare's plays in the context of political philosophy. It will be an important source for students and scholars of both political science and literature.

The many con men, gangsters, and drug lords portrayed in popular culture are examples of the dark side of the American dream. Viewers are fascinated by these twisted versions of heroic American archetypes, like the self-made man and the entrepreneur. Applying the critical skills he developed as a Shakespeare scholar, Paul A. Cantor finds new depth in familiar landmarks of popular culture. He invokes Shakespearean models to show that the concept of the tragic hero can help us understand why we are both repelled by and drawn to figures such as Vito and Michael Corleone or Walter White. Beginning with Huckleberry Finn and ending with The Walking Dead, Cantor also uncovers the link between the American dream and frontier life. In imaginative variants of a Wild West setting, popular culture has served up disturbing -- and yet strangely compelling -- images of what happens when people move beyond the borders of law and order. Cantor demonstrates that, at its best, popular culture raises thoughtful questions about the validity and viability of the American dream, thus deepening our understanding of America itself.

This collection of essays, offered in honor of the distinguished career of prominent political philosophy professor Clifford Orwin, provides a wide context in which to consider the rise of "humanity" as one of the chief modern virtues. A relative of-and also a replacement for-formerly more prominent other-regarding virtues like justice and generosity, humanity and later compassion become the true north of the modern moral compass. Contributors to this volume consider various aspects of this virtue, by comparison with what came before and with attention to its development from early to late modernity, and up to the present.

In this useful guide, Paul Cantor provides a clearly structured introduction to Shakespeare's most famous tragedy. Cantor examines Hamlet's status as tragic hero and the central enigma of the delayed revenge in the light of the play's Renaissance context. He offers students a lucid discussion of the dramatic and poetic techniques used in the play. In the final chapter he deals with the uniquely varied reception of Hamlet on the stage and in literature generally from the seventeenth century to the present day.

Political correctness if one of the primary enemies of freedom of thought in higher education today, undermining our ability to acquire, transmit, and process knowledge. Political correctness limits the variation of ideas by an ideologically driven concern for hue rather than view. This volume is not simply another rant; there are good data here, along with well-crafted, hard-to-ignore logical interpretations and arguments. It is the sort of work that those who adhere to idea-limiting notions of the university will try to trivialize. That alone should make it important reading. --Michael Schwartz, president emeritus, Kent State University and Cleveland State University

In this useful guide, Paul Cantor provides a clearly structured introduction to Shakespeare's most famous tragedy. Cantor examines Hamlet's status as tragic hero and the central enigma of the delayed revenge in the light of the play's Renaissance context. He offers students a lucid discussion of the dramatic and poetic techniques used in the play. In the final chapter he deals with the uniquely varied reception of Hamlet on the stage and in literature generally from the seventeenth century to the present day.

Popular culture often champions freedom as the fundamentally American way of life and celebrates the virtues of independence and self-reliance. But film and television have also explored the tension between freedom and other core values, such as order and political stability. What may look like healthy, productive, and creative freedom from one point of view may look like chaos, anarchy, and a source of destructive conflict from another. Film and television continually pose the question: Can Americans deal with their problems on their own, or must they rely on political elites to manage their lives? In this groundbreaking work, Paul A. Cantor explores the ways in which television shows such as Star Trek, The X-Files, South Park, and Deadwood and films such as The Aviator and Mars Attacks! have portrayed both top-down and bottom-up models of order. Drawing on the works of John Locke, Adam Smith, Alexis de Tocqueville, and other proponents of freedom, Cantor contrasts the classical liberal vision of America -- particularly its emphasis on the virtues of spontaneous order -- with the Marxist understanding of the "culture industry" and the Hobbesian model of absolute state control. The Invisible Hand in Popular Culture concludes with a discussion of the impact of 9/11 on film and television, and the new anxieties emerging in contemporary alien-invasion narratives: the fear of a global technocracy that seeks to destroy the nuclear family, religious faith, local government, and other traditional bulwarks against the absolute state.

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At the heart of Austrian economics is the concept of "spontaneous order." What appears to be chaotic in the social interaction of vast numbers of individuals in the marketplace in fact reflects a deeper order, what Adam Smith calls "the invisible hand." The free market produces more rational results than any form of central planning because markets use self-correcting mechanisms to adapt to perpetually changing economic conditions. This book explores the idea that spontaneous order is the concept that can bridge the economic and cultural realms. Austrian economics and literature deal with the same world - the concrete human world of open-ended and infinite possibility. In both Austrian economics and literature, human beings reveal their natures only in concrete acts of choice - the deepest expression of their freedom. In addition to developing a new framework for understanding and interpreting literature, this book offers rich new readings of a wide range of literary classics from many different nations. Drawing upon years of interdisciplinary experience in literature and economics, the contributors open up fresh perspectives on works as traditional as Cervantes's Don Quijote and as contemporary as Okri's The Famished Road.

Paul A. Cantor first probed Shakespeare's Roman plays Coriolanus, Julius Caeser, and Antony and Cleopatra in his landmark Shakespeare's Rome (1976). With Shakespeare's Roman Trilogy, he now argues that these plays form an integrated trilogy that portrays the tragedy not simply of their protagonists but of an entire political community. Cantor analyzes the way Shakespeare chronicles the rise and fall of the Roman Republic and the emergence of the Roman Empire. The transformation of the ancient city into a cosmopolitan empire marks the end of the era of civic virtue in antiquity, but it also opens up new spiritual possibilities that Shakespeare correlates with the rise of Christianity and thus the first stirrings of the medieval and the modern worlds. More broadly, Cantor places Shakespeare's plays in a long tradition of philosophical speculation about Rome, with special emphasis on Machiavelli and Nietzsche, two thinkers who provide important clues on how to read Shakespeare's works. In a pathbreaking chapter, he undertakes the first systematic comparison of Shakespeare and Nietzsche on Rome, exploring their central point of contention: Did Christianity corrupt the Roman Empire or was the corruption of the Empire the precondition of the rise of Christianity? Bringing Shakespeare into dialogue with other major thinkers about Rome, Shakespeare's Roman Trilogy reveals the true profundity of the Roman Plays.

For more than forty years, Paul Cantor's Shakespeare's Rome has been a foundational work in the field of politics and literature. While many critics assumed that the Roman plays do not reflect any special knowledge of Rome, Cantor was one of the first to argue that they are grounded in a profound understanding of the Roman regime and its changes over time. Taking Shakespeare seriously as a political thinker, Cantor suggests that his Roman plays can be profitably studied in the context of the classical republican tradition in political philosophy. In Shakespeare's Rome, Cantor examines the political settings of Shakespeare's Roman plays, Coriolanus and Antony and Cleopatra, with references as well to Julius Caesar. Cantor shows that Shakespeare presents a convincing portrait of Rome in different eras of its history, contrasting the austere republic of Coriolanus, with its narrow horizons and martial virtues, and the cosmopolitan empire of Antony and Cleopatra, with its "immortal longings" and sophistication bordering on decadence.

Hamlet's tragic hero status and the central enigma of the delayed revenge are considered in light of the play's historical position between Christian tragedy and the Renaissance concept of heroic epic.