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"In this volume, John Farrell shows that political utopias-societies with laws and customs designed to short-circuit the foibles of human nature for the benefit our collective existence-have a perennial opponent, the honor-based culture of aristocracy that dominated most of the world from ancient times into early modernity and whose status-based competitive psychology persists to the present day. While utopias aim at equality, the heroic imperative defends the need for personal and collective dignity. It asks the utopian, Do we really want to live in a world without struggle, without heroes, and without the stories they create? Because the utopian dilemma pits essential values against each other-equity versus freedom, dignity versus justice-few who confront it can simply take sides. Rather, the dilemma itself has been a generative stimulus for classic authors from Plato and Thomas More to George Orwell and Aldous Huxley. Farrell follows their struggles with the utopian dilemma and with each other, providing a deepened understanding of the moral and emotional dynamics of the western political imagination"--

"In this volume, John Farrell shows that political utopias-societies with laws and customs designed to short-circuit the foibles of human nature for the benefit our collective existence-have a perennial opponent, the honor-based culture of aristocracy that dominated most of the world from ancient times into early modernity and whose status-based competitive psychology persists to the present day. While utopias aim at equality, the heroic imperative defends the need for personal and collective dignity. It asks the utopian, Do we really want to live in a world without struggle, without heroes, and without the stories they create? Because the utopian dilemma pits essential values against each other-equity versus freedom, dignity versus justice-few who confront it can simply take sides. Rather, the dilemma itself has been a generative stimulus for classic authors from Plato and Thomas More to George Orwell and Aldous Huxley. Farrell follows their struggles with the utopian dilemma and with each other, providing a deepened understanding of the moral and emotional dynamics of the western political imagination"--

"Don Quixote is the first great modern paranoid adventurer.... Grandiosity and persecution define the characters of Swift's Gulliver, Stendhal's Julien Sorel, Melville's Ahab, Dostoyevsky's Underground Man, Ibsen's Masterbuilder Solness, Strindberg's Captain (in The Father), Kafka's K., and Joyce's autobiographical hero Stephen Dedalus.... The all-encompassing conspiracy, very much in its original Rousseauvian cast, has become almost the normal way of representing society and its institutions since World War Two, giving impetus to heroic plots and counter-plots in a hundred films and in the novels of Burroughs, Heller, Ellison, Pynchon, Kesey, Mailer, DeLillo, and others."—from Paranoia and ModernityParanoia, suspicion, and control have preoccupied key Western intellectuals since the sixteenth century. Paranoia is a dominant concern in modern literature, and its peculiar constellation of symptoms—grandiosity, suspicion, unfounded hostility, delusions of persecution and conspiracy—are nearly obligatory psychological components of the modern hero.How did paranoia come to the center of modern moral and intellectual consciousness? In Paranoia and Modernity, John Farrell brings literary criticism, psychology, and intellectual history to the attempt at an answer. He demonstrates the connection between paranoia and the long history of struggles over the question of agency—the extent to which we are free to act and responsible for our actions. He addresses a wide range of major authors from the late Middle Ages to the eighteenth century, among them Luther, Bacon, Cervantes, Descartes, Hobbes, Pascal, La Rochefoucauld, Swift, and Rousseau. Farrell shows how differently paranoid psychology looks at different historical junctures with different models of agency, and in the epilogue, "Paranoia and Postmodernism," he draws the implications for recent critical debates in the humanities