ABSTRACT This article contrasts Francis Bacon’s understanding of civil war, sedition, and rebellion with that of his near contemporaries and predecessors, especially Montaigne, Bodin, Machiavelli, Alberico Gentili and Edward Forset. The article contends that for Bacon, civil war, sedition, and rebellion are the antitheses of good government and that which prudent policy aims to avoid. The article further argues that for Bacon as sedition and its extremities are caused by poverty and discontentment, and these, in Bacon’s view, are the result (...) of overpopulation or ‘surcharge of people’, Bacon’s view for the avoidance of civil war aims at policies of outward expansion in the form of colonies and wars of aggression, both of which aim to reduce the metropole’s own population and therewith its propensity to civil war. The article argues that a consideration of Bacon on civil war in particular will shed considerable light on the ideological origins of the British Empire which have often been ignored – where some contemporary political theorists and historians are keen to link ideologies of empire to corresponding positions in political anthropology. A consideration of Bacon’s thought on civil war will show, instead, the article contends, that for key ideological originators of imperial justifications, imperial projects have their origin in domestic politics and the avoidance of civil war. (shrink)

Three of Aristophanes' eleven extant comedies use the typical comic device of role reversal to imagine worlds in which women are "on top." Freed from the social constraints which keep them enclosed within the house and silent in the public realms of discourse and action, women are given a field and context on the comic stage. They issue forth to lay their plans, concoct their plots, and exercise their power over men.The Lysistrate and the Ecclesiazousae stage of the intrusion of (...) women into the public spaces of Athens, the Acropolis and Agora, respectively, as an intrusion into the political and economic life of the city. The Thesmophoriazousae, however, resituates the battle of the sexes in another domain, that of aesthetics, and, more precisely, that of theatre itself. Instead of the collective confrontation of men and women, the play directs the women's actions against a single male target, the tragic poet, Euripides.Froma I. Zeitlin, an associate professor of classics at Princeton University, is the author of several articles on Greek tragedy and on the ancient novel. Her monograph, Under the Sign of the Shield: Language, Structure, and the Son of Oedipus in Aeschylus' "Seven against Thebes," is forthcoming, and she is presently completing The Divided World: Gender and System in Aescylean Drama. (shrink)

In the contemporary world, voices are caught up in fundamentally different realms of discourse, practice, and culture: between sounding and nonsounding, material and nonmaterial, literal and metaphorical. In The Voice as Something More, Martha Feldman and Judith T. Zeitlin tackle these paradoxes with a bold and rigorous collection of essays that look at voice as both object of desire and material object. Using Mladen Dolar’s influential A Voice and Nothing More as a reference point, The Voice as Something More reorients (...) Dolar’s psychoanalytic analysis around the material dimensions of voices—their physicality and timbre, the fleshiness of their mechanisms, the veils that hide them, and the devices that enhance and distort them. Throughout, the essays put the body back in voice. Ending with a new essay by Dolar that offers reflections on these vocal aesthetics and paradoxes, this authoritative, multidisciplinary collection, ranging from Europe and the Americas to East Asia, from classics and music to film and literature, will serve as an essential entry point for scholars and students who are thinking toward materiality. (shrink)

kerekh 1. ha-Ṭov ṿeha-raʻ -- kerekh 2. Maḥshavah ṿe-shirah (2 v.).

In this book Irving Zeitlin re-examines the work of this important philosopher and considers how we should assess Nietzsche's claims today.

A study of the last drama of Aeschylus' trilogy concerned with the fortunes of the house of Laius that ends with the story of Oedipus' sons, the enemy brothers, who self-destruct in mutual fratricide but thereby save the besieged city of Thebes. The book's findings, however, far exceed these limits to explore the relationships between language and kinship, as between family and city, self and society, and Greek ideas about the nature of human development and identity.

Richard Faber, the author of learned studies of Novalis, Vergil, Brecht, and Carl Schmitt, is aware that this is not the first book he has published with the same title. ad Jacob Taubes, the title...