This volume presents a fresh view of Huxley's rhetorical experiences and legacy and closely analyzes his battle with orthodox theology. Careful attention is given to his reliance on three confidants, his maiden public lecture in 1852, his debate with Bishop Wilberforce in 1860, and his 1876 lecture tour of the United States.

In this text, Cyril Bibby gathered Huxley's most significant writings on education.

This groundbreaking new source of international scope defines the essay as nonfictional prose texts of between one and 50 pages in length. The more than 500 entries by 275 contributors include entries on nationalities, various categories of essays such as generic (such as sermons, aphorisms), individual major works, notable writers, and periodicals that created a market for essays, and particularly famous or significant essays. The preface details the historical development of the essay, and the alphabetically arranged entries usually include biographical sketch, nationality, era, selected writings list, additional readings, and anthologies

Embrace science and keep your faith. For many, God has been banished from scientific inquiry. Only natural forces are at work in our world. Science succeeds without the supernatural. But can everything be explained by natural causes? In What Does Nature Teach Us about God?, Kirsten Birkett rethinks the relation between nature, science, and faith. God and science are not simply two rival answers to your questions. The Creator makes sense of the creation. Science is only truly possible with God. You can engage with science without losing sight of your Creator. The emQuestions for Restless Minds series applies God's word to today's issues. Each short book faces tough questions honestly and clearly, so you can think wisely, act with conviction, and become more like Christ.

'Arvid Ågren has undertaken the most meticulously thorough reading of the relevant literature that I have ever encountered, deploying an intelligent understanding to pull it into a coherent story. As if that wasn't enough, he gets it right.' (Richard Dawkins) To many evolutionary biologists, the central challenge of their discipline is to explain adaptation, the appearance of design in the living world. With the theory of evolution by natural selection, Charles Darwin elegantly showed how a purely mechanistic process can achieve this striking feature of nature. Since then, the way many biologists have thought about evolution and natural selection is as a theory about individual organisms. Over a century later, a subtle but radical shift in perspective emerged with the gene's-eye view of evolution in which natural selection was conceptualized as a struggle between genes for replication and transmission to the next generation. This viewpoint culminated with the publication of The Selfish Gene by Richard Dawkins (Oxford University Press, 1976) and is now commonly referred to as selfish gene thinking. The gene's-eye view has subsequently played a central role in evolutionary biology, although it continues to attract controversy. The central aim of this accessible book is to show how the gene's-eye view differs from the traditional organismal account of evolution, trace its historical origins, clarify typical misunderstandings and, by using examples from contemporary experimental work, show why so many evolutionary biologists still consider it an indispensable heuristic. The book concludes by discussing how selfish gene thinking fits into ongoing debates in evolutionary biology, and what they tell us about the future of the gene's-eye view of evolution. The Gene's-Eye View of Evolution is suitable for graduate-level students taking courses in evolutionary biology, behavioural ecology, and evolutionary genetics, as well as professional researchers in these fields. It will also appeal to a broader, interdisciplinary audience from the social sciences and humanities including philosophers and historians of science.

Bloomsbury, Modernism, and the Reinvention of Intimacy integrates studies of six members and associates of the Bloomsbury group into a rich narrative of early twentieth century culture, encompassing changes in the demographics of private and public life, and Freudian and sexological assaults on middle-class proprieties Jesse Wolfe shows how numerous modernist writers felt torn between the inherited institutions of monogamy and marriage and emerging theories of sexuality which challenged Victorian notions of maleness and femaleness. For Wolfe, this ambivalence was a primary source of the Bloomsbury writers' aesthetic strength: Virginia Woolf, D. H. Lawrence, and others brought the paradoxes of modern intimacy to thrilling life on the page. By combining literary criticism with forays into philosophy, psychoanalysis, sociology, and the avant-garde art of Vienna, this book offers a fresh account of the reciprocal relations between culture and society in that key site for literary modernism known as Bloomsbury.

There is a vacuum of philosophy to make sense of a world dominated by a disorderly global economy, by science and engineering, by ideologies, and by popular culture. There is a vacuum of law to bring order to relations between states that are more threatening than they have ever been. Thomas More’s Utopia (1516) re-thought everything in another difficult new world. Philip Allott’s Eutopia (2016) reclaims the best of human thought to empower us in making a better human world.

Originally published in 1979, the central focus of this study is the concept of culture as employed by English literary intellectuals over the preceding 100 years, a period characterized by a constant process of re-definition and change. The tradition of criticism in which these intellectuals wrote represented the artistic imagination as a moral force in society and a fundamental mechanism for social change. The author traces this tradition through the writings of various English intellectuals, using the three main figures of Matthew Arnold, F. R. Leavis and Raymond Williams to elucidate the concept. She shows, through the writings of their contemporaries, how the concept was employed and modified, and her analysis ranges from J. S. Mill, John Ruskin and William Morris, through George Bernard Shaw, D. H. Lawrence, T. S. Eliot and R. H. Tawney to Richard Hoggard, Richard Wollheim and R. S. Peters. By discussing the questions of the role of art in society and examining their treatment by different groups of intellectuals, the author has supplied a basis for a forceful critique of the quality of life in modern industrial society. This book will be of interest to students of literature, cultural history and the sociology of culture.