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/php/sworks.php?rec=true&UID=7124 Bentham, Jeremy. A Fragment on Government. 1776.
/php/sworks.php?rec=true&UID=8311 Adams, John. Thoughts on Government. 1776.
/php/sworks.php?rec=true&UID=10473 Heaney, Seamus. The Government of the Tongue. 1988.
/php/sworks.php?rec=true&UID=2402 Mill, John Stuart. Representative Government. 1861.
/php/sworks.php?rec=true&UID=8505 Locke, John. Two Treatises of Government. 1690.
Locke’s Two Treatises of Government is commonly called the founding text of liberalism, and it is held to be a classic statement of the theories of natural rights, the social contract, private property, and consent as the ground of legitimate government. This is an appropriate characterisation in the context of analytical political theory, and the text is studied chiefly by political scientists and philosophers. It is less appropriate as an historical categorisation. To its contemporaries the book belonged to a recognisable tradition of radical Protestant theories of resistance, the tradition of the Scottish Reformers, such as George Buchanan in his The Law of Kingship among the Scots (1579), of the French Huguenots, such as Phillippe du Mornay in his Defence of Liberty Against Tyrants (1579), and of the defenders of the Long Parliament in the English Civil War, such as Henry Parker in his Observations (1642). It is striking that several works in this t
/php/sworks.php?rec=true&UID=15987 Sidney, Algernon. Discourses concerning Government. 1698.
/php/sworks.php?rec=true&UID=20799 Gogol, Nikolai. The Government Inspector [Revizor]. 1836.
The reputation as a dramatist of Nikolai Gogol (1809-52) rests almost entirely on one play, his five-act comedy Revizor [ The Government Inspector or The Inspector General ], which is widely acknowledged as a masterpiece and in which he succeeds in fusing disparate elements into a meticulously crafted whole. This is at once a hilarious comedy and a serious satire on corruption and greed; sparkling wit and knockabout farce are counter-pointed by a sense of despair at human folly. Its setting is at once familiar and disconcertingly surreal; moving at lightning pace, it casts us into an often nightmarish world, both eerie and fantastical, that nevertheless never entirely loses touch with reality. It is peopled by larger-than-life grotesques who are yet neither types, nor cartoon figures, but credibly, deeply, human. Set in “a provincial town, somewhere in Russia”, the action, uncomplicated by a sub-plot, covers less than two full days and is satisfyi