What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work--a collection of newly commissioned essays by leading scholars of classical political philosophy and literature--offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held conceptions of the playwright (...) and his political-philosophical views. (shrink)

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.".

This collection of essays, offered in honor of the distinguished career of prominent political philosophy professor Clifford Orwin, brings together internationally renowned scholars to provide a wide context and discuss various aspects of the virtue of “humanity” through the history of political philosophy.

This collection of essays, offered in honor of the distinguished career of prominent political philosophy professor Clifford Orwin, brings together internationally renowned scholars to provide a wide context and discuss various aspects of the virtue of “humanity” through the history of political philosophy.

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.

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. (shrink)

David Lowenthal offers a serious treatment of the idea that Shakespeare was a serious thinker, indeed a philosopher who chose to develop his ideas in dramatic form. Readers accustomed to contemporary Shakespeare criticism may be puzzled by Lowenthal’s book. He makes no effort to historicize his discussion of Shakespeare and never invokes the unholy trinity of race, class, and gender in analyzing the plays. Compared to new historicist, feminist, Marxist, and deconstructionist critics of Shakespeare, Lowenthal may seem to be a (...) naive reader; he is looking for what he can read out of the plays, not what he can read into them. Grounding himself in the older tradition of Shakespeare criticism, from Ben Jonson to Samuel Johnson, from Samuel Taylor Coleridge to A. C. Bradley, Lowenthal views the playwright as a source of genuine wisdom. He assumes that Shakespeare knew what he was doing and was fully in control of his dramatic material, shaping his plays into artistic wholes that allow him to raise fundamental questions about the human condition. (shrink)

Chapter Six defends one of the most offensive shows in television history—South Park—against its many critics. It argues that the vulgarity, obscenity, and blasphemy of the show have deep roots in a tradition of philosophical comedy that stretches back to such figures as Aristophanes, Rabelais, and Mark Twain. Comedy is by nature transgressive, and South Park derives its bite and its energy from the way it violates contemporary norms of political correctness. The chapter focuses on episodes of South Park that (...) defend large corporations against the charge that they compete unfairly. Instead, the show suggests that small businesses enlist government on their side to ban outside competition and thereby to restrict consumer choice artificially. The chapter analyzes South Park as consciously libertarian in its viewpoint; the show rejects both liberals and conservatives insofar as they seek to restrict freedom. (shrink)

Chapter Seven discusses Edgar Ulmer's The Black Cat as the creation of a high modernist European émigré working in a lowbrow American genre, the horror movie. Ulmer portrays a self-destructive generation of Europeans permanently scarred by the horrors of World War I. Into their world, he introduces a young American couple on their honeymoon, who, in their naïveté, are almost destroyed by the mad Europeans, but escape their satanic clutches in the end. Hoping to succeed in his newly adopted homeland, (...) Ulmer seems to turn his back on his European heritage as a dead end, and yet he cannot help suggesting the cultural superiority of his sophisticated European characters. The Black Cat takes its place in a long line of European works critical of American culture, while at the same time raising serious doubts about Europe's future in the 1930s. (shrink)