"Aristocrat" and "The Community" are dialogues that take place among friends through the course of a night. "Aristocrat" is concerned with what it means to want to rule, with the comparison of aristocracy to democracy, and with duty. The friends begin by touching upon excellence, aristocracy's traditional claim to rule. They soon come to question whether there are in fact but two true claims to rule - force, or a system of belief. In addition they ponder their commitment to "the cause," a potentially transpolitical cause. "Aristocrat" attempts to answer several "whats" - what is "the cause," what does it involve, and what does it mean to serve. "The Community" attempts to demonstrate a "how" - how to create the new city, a new city determined to set itself apart from the outside world. Discussions of the degree to which quality can be controlled from above, and debates over the degree of control versus freedom that would make the city an ideal place to live, are interwoven with a concern for viability - represented by the Bank, whose interests it seems must always be taken into account. Is the creation of an ideal community an effort that is doomed to be utopian?

The Narrative Forms of Southern Community contains close readings of five narratives - Augustus Baldwin Longstreet's Georgia Scenes, John Pendleton Kennedy's Swallow Barn, Thomas Nelson Page's In Ole Virginia, William Alexander Percy's Lanterns on the Levee, and William Faulkner's Light in August - that attempt to mediate or negotiate the social tensions inherent in the stratified world they represent."--BOOK JACKET.

This study of gender and power in Victorian Britain is the first book to examine the contribution made by women to the public culture of the British aristocracy in the 19th century. Based on a wide range of archival sources, it explores the roles of aristocratic women in public life, from their country estates to the salons of Westminster and the royal court. Reynolds also shows that a partnership of authority between men and women was integral to aristocratic life, thus making an important contribution to the "separate spheres" debate. Moreover, she reveals in full the crucial role that these women played at all levels of political activity--from local communities to the national electoral process. The book is both a lively portrait of women's experiences in modern Britain and a corrective to the view of the upper-class Victorian woman as a passive social butterfly.

This book, written by the author of the celebrated volume Six Guns and Society, explains why the myth of the Wild West is popular around the world. It shows how the cultural icon of the Wild West speaks to deep desires of individualism and liberty and offers a vision of social contract theory in which a free and equal individual (the cowboy) emerges from the state of nature (the wilderness) to build a civil society (the frontier community). The metaphor of the Wild West retained a commitment to some limited government (law and order) but rejected the notion of the fully codified state as too oppressive (the corrupt sheriff). Compelling and magnificently suggestive, the book unpacks one of the core icons of our time.

This book depicts the long rich life and wide ranging work of Count Athanasius Raczyński (1788–1874). By exploring his complex personality, his processes of thought and his accomplishments, it reveals a man at once a wealthy aristocrat, a Pole in the Prussian diplomatic service, an active participant in and perceptive observer and critical commentator on political life, a connoisseur and art collector of European renown, and the author of ground breaking studies on German and Portuguese art – in short a distinguished and fascinating nineteenth century figure.

Revisiting over fifty years of post-structuralist, post-modernist, and Existentialist readings of Nietzsche, this study offers an incisive, scholarly deconstruction and critique of apolitical and individualist readings and interpretations of Nietzsche’s philosophical corpus. Specifically, it views the German thinker as partaking of a larger intellectual tradition: the 19th century Western European reactionary, conservative, and counter-revolutionary tradition. The work combines genealogical and historical investigation with analysis of Nietzsche’s life-long philosophical and ideological struggle against the forces of modernity, as embodied by feminism, socialism, nationalism, and democratic liberalism, beginning with his implicit critique of the Paris Commune in his first work, The Birth of Tragedy, all the way to his scathing critiques of progress and socialism in his last works, and his incipient formulation of a new, anti-revolutionary politics. A synthesis and development of the few scholars of the past decade who have also seen Nietzsche as a conservative and deeply political thinker, is also provided here, whilst the book simultaneously argues for the revolutionary and anti-Eurocentric implications of the German thinker’s critique of historicism and of inevitable historical progress. It is an excellent resource for both scholars and lay readers alike who want to learn something new about Nietzsche, and who are also critical of the apolitical conception of the great thinker that has prevailed in academia since the Second World War.