The Iliads And Odysses Of Homer Translated Out Of Greek Into English By Thomas Hobbes With A Large Preface Concerning The Virtues Of An Heroic Poem And The Life Of Homer By J Wallin

Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.

In Natural Rights and the New Republicanism, Michael Zuckert proposes a new view of the political philosophy that lay behind the founding of the United States. In a book that will interest political scientists, historians, and philosophers, Zuckert looks at the Whig or opposition tradition as it developed in England. He argues that there were, in fact, three opposition traditions: Protestant, Grotian, and Lockean. Before the English Civil War the opposition was inspired by the effort to find the "one true Protestant politics--an effort that was seen to be a failure by the end of the Interregnum period. The Restoration saw the emergence of the Whigs, who sought a way to ground politics free from the sectarian theological-scriptural conflicts of the previous period. The Whigs were particularly influenced by the Dutch natural law philosopher Hugo Grotius. However, as Zuckert shows, by the mid-eighteenth century John Locke had replaced Grotius as the philosopher of the Whigs. Zuckert's analysis concludes with a penetrating examination of John Trenchard and Thomas Gordon, the English "Cato," who, he argues, brought together Lockean political philosophy and pre-existing Whig political science into a new and powerful synthesis. Although it has been misleadingly presented as a separate "classical republican" tradition in recent scholarly discussions, it is this "new republicanism" that served as the philosophical point of departure for the founders of the American republic.

This wide-ranging and provocative book locates the origin of political science in the everyday world of ancient Greek life, thought, and culture. Arlene Saxonhouse contends that the Greeks, confronted by the puzzling diversity of the physical world, sought an unseen and unifying force that would constrain and explain it. This drive toward unity did more than place the mind over the senses: it led the Greeks to play down the very real differences - in particular the female, the family, and sexuality - in both their political and personal lives. While the dramatists and Plato captured the tragic consequences of trying to do so, it was not until Aristotle and his Politics did the Greek world - and its heirs - have a true science of politics, one capable of embracing diversity and accommodating conflict. Much of the book's force derives from Saxonhouse's masterful interweaving of Greek philosophy and drama, her juxtaposition of the thought of the pre-Socratics, Plato, and other philosophers to the cultural life revealed by such dramatists as Aristophanes and Aeschylus. Her approach opens up fresh understandings of such issues as the Greeks' fear of the feminine and their attempts to ignore the demands that gender, reproduction, and the family inevitably make on the individual and the family. The Fear of Diversity represents an important contribution to political philosophy, classics, and gender studies.

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.