George Kateb’s writings have been innovatory in exploring the fundamental quandary of how modern democracy—sovereignty vested in the many—might nevertheless protect, respect, promote, even celebrate the singular, albeit ordinary individual. His essays, often leading to unexpected results, have focused on many inter-related topics: rights, representation, constitutionalism, war, evil, extinction, punishment, privacy, patriotism, and more. This book focuses in particular on his thought in three key areas: Dignity These essays exhibit the breadth and complexity of Kateb’s notion of dignity and outline some implications for political theory. Rather than a solely moral approach to the theory of human rights, he elaborates a human-dignity rationale for the very worth of the human species Morality Here Kateb challenges the position that moral considerations are often too demanding to have a place in the rough-and-tumble of modern politics and political analysis. Rejecting common justifications for the propriety of punishment, he insists that state-based punishment is a perplexing moral problem that cannot be allayed by repairing to theories of state legitimacy. Individuality These essays gather some of Kateb’s rejoinders and correctives to common conceptions and customary critiques of the theory of democratic individuality. He explains that Locke’s hesitations and religious backtracking are instructive, perhaps as precursors for the ways in which vestigial beliefs can still cloud moral reasoning.

First published in 2001. Routledge is an imprint of Taylor & Francis, an informa company.

This book elaborates and defends the idea of law without the state. Animated by a vision of peaceful, voluntary cooperation as a social ideal and building on a careful account of non-aggression, it features a clear explanation of why the state is illegitimate, dangerous and unnecessary. It proposes an understanding of how law enforcement in a stateless society could be legitimate and what the optimal substance of law without the state might be, suggests ways in which a stateless legal order could foster the growth of a culture of freedom, and situates the project it elaborates in relation to leftist, anti-capitalist and socialist traditions.

Melodrama is the foundation of American cinema. It is, however, a poorly understood term. While it is a pervasive and persuasive dramatic mode, it is not tied to any specific moral or ideological system. It is not a singular genre; rather, it operates as a "genre generating machine" capable of determining the aesthetics and structure of the drama within many genres. Melodrama centers the conflict around the clash between good and evil and provides a sense of poetic justice--but the specific values embedded in notions of good and evil are determined by the culture, and they shift from nation to nation, region to region, and period to period. This book explores the "populist" westerns of the 1930s, the propaganda films that followed the Japanese attack on Pearl Harbor, and the popularity of Sax Rohmer's master villain Fu Manchu. "Melodramas of passion" and film noir also offer a challenge to melodrama with its seemingly alienated protagonists and downbeat endings. Yet, with few exceptions, Hollywood was able to assimilate these genres within its melodramatic imagination.