In this path breaking book one of America's most distinguished philosophers brilliantly explores the status and authority of law and the nature of political allegiance through close readings of three classic Hollywood Westerns: Howard Hawks' "Red River" and John Ford's "The Man Who Shot Liberty Valance" and "The Searchers". Robert Pippin treats these films as sophisticated mythic accounts of a key moment in American history: its 'second founding', or the western expansion. His central question concerns how these films explore classical problems in political psychology, especially how the virtues of a commercial republic gained some hold on individuals at a time when the heroic and martial virtues were so important. Westerns, Pippin shows, raise central questions about the difference between private violence and revenge and the state's claim to a legitimate monopoly on violence, and they show how these claims come to be experienced and accepted or rejected. Pippin's account of the best Hollywood Westerns brings this genre into the centre of the tradition of political thought, and his readings raise questions about political psychology and the political passions that have been neglected in contemporary political thought in favour of a limited concern with the question of legitimacy.
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Pippen是黑格爾與現代性專家（雖然他在這方面的書我半本都沒讀過），但是我喜歡他切入影片的態度：把影片當作複雜深刻的現象來剖析，即使談的是一些我們很常聽到的西部片。他將西部片分成三個階段（美國政治意識的三個階段）：自我神話—律法介入—神話劇場化很有說服力，可以跟洪席耶談曼一起讀
评分Pippen是黑格爾與現代性專家（雖然他在這方面的書我半本都沒讀過），但是我喜歡他切入影片的態度：把影片當作複雜深刻的現象來剖析，即使談的是一些我們很常聽到的西部片。他將西部片分成三個階段（美國政治意識的三個階段）：自我神話—律法介入—神話劇場化很有說服力，可以跟洪席耶談曼一起讀
评分不是特别满意，至少皮平不是把西部片和美国社会政治关系以及疆域与自我建构等等话题划入政治哲学范畴的第一人。
评分不是特别满意，至少皮平不是把西部片和美国社会政治关系以及疆域与自我建构等等话题划入政治哲学范畴的第一人。
评分不是特别满意，至少皮平不是把西部片和美国社会政治关系以及疆域与自我建构等等话题划入政治哲学范畴的第一人。
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