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By Richard A. Posner

Hailed in its first variation as an “outstanding paintings, as stimulating because it is intellectually unusual” (New York Times), legislations and Literature has handily lived as much as the Washington Post’s prediction that the e-book could “remain crucial analyzing for a few years to come.” This 3rd variation, widely revised and enlarged, is the single accomplished book-length therapy of the sector. It keeps to stress the basic modifications among legislation and literature, that are rooted within the various social features of criminal and literary texts. however it additionally explores components of mutual illumination and expands its variety to incorporate new subject matters reminiscent of the harsh and weird punishments clause of the structure, unlawful immigration, surveillance, international warming and bioterrorism, and plagiarism. during this version, literary works from classics through Homer, Shakespeare, Milton, Dostoevsky, Melville, Kafka, and Camus to modern fiction by means of Tom Wolfe, Margaret Atwood, John Grisham, and Joyce Carol Oates come lower than Richard Posner’s scrutiny, as does the movie The Matrix. The booklet is still the main transparent, acute account of the intersection of legislations and literature.

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For a positive assessment of Cozzens’s legal fictions (primarily The Just and the Unjust), see Henry B. Cushing and Ernest F. Roberts, “Law and Literature: The Contemporary Image of the Lawyer,” 6 Villanova Law Review 451 (1961). Reflections of Law in Literature l 37 in­suf­fi­ciently worldly wise to handle senior administrative responsibilities, like Coates matures in the course of the novel by meeting the challenges of ev­eryday life. If either novel were about the professional challenges of its protagonists—if it showed lawyers correcting their legal errors or generals correcting their military errors—neither would have much appeal even to members of those professions.

A person has to have a limited body and hence a limited appetite, but the corporation can transcend these limits. Just as the corporation, saviorlike, takes upon itself the liability of its investors, it also takes on their desires and keeps them safe from satiation.  531; footnotes omitted) Behind these wild and whirling words lurks a Depression-­era fear of over­ production—a theme of another literary work that Binder and Weisberg do not discuss, Aldous Huxley’s Brave New World (see chapter 10 of this book).

Posner, Cardozo: A Study in Reputation, ch. 4 (1990). Taylor elaborates his Darwinian view of cultural survival in a later book, Cultural Selection (1996). 14. Taylor, note 11 above, ch. 7. 15. See, for example, Beverley, note 9 above; Louis A. Montrose, “Professing the Renaissance: The Poetics and Politics of Culture,” in The New Historicism 15 (H. Aram Veeser ed. 1989). The pretensions of postmodern literary theorists to be engaged in revolutionary political action are ridiculed by Stanley Fish (himself a postmodern literary theorist) in his book Professional Correctness: Literary Studies and Political Change (1995).

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