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[...] I have had occasion in speaking of the career of Othello to invoke Montaigne's horrified fascination by the being's horror of itself, as if to say: life is human hard, but then let us not burden it further by choosing tragically to call it tragic where we are free to choose otherwise. I under…

[...] the thought that a certain line of horror films form a shadow genre of remarriage comedies, it will be necessary to distinguish the specifically pertinent films of horror from the sets of films merely meant to terrorize us. I am speaking of horror here as I do in The Claim of Reason, as a per…

I am trying to find a cause of Amanda's actions that I can believe in. To believe in her immediate partisan excitement ("instinctive" is the word she will use about Adam's male brutality) upon reading that a woman shot her husband ("Kill him?" Adam inquires; "Nope. Condition critical, though."), I …

The fullest description of what I take him to have in mind is given in, of all things, Matthew Arnold's Culture and Anarchy, in which Mill's praise of liberty is contested and from which, I suppose, Veblen got his characterization of the leisure class as the Barbarians (distinguishing these from th…

No work of serious social criticism was more on the minds of thinking Americans in the period preceding and during the thirties than Veblen's Theory of the Leisure Class. One can take The Philadelphia Story as a head-on attempt to discredit Veblen's assessment of aristocratic culture as characteriz…