In The Origin of Species (1859) Darwin challenged many of the most deeply-held beliefs of the Western world. Arguing for a material, not divine, origin of species, he showed that new species are achieved by "natural selection." The Origin communicates the enthusiasm of original thinking in an open, descriptive style, and Darwin's emphasis on the value of diversity speaks more strongly now than ever. As well as a stimulating introduction and detailed notes, this edition offers a register of the many (...) writers referred to by Darwin in the text. (shrink)

The place of religion in society has changed profoundly in the last few centuries, particularly in the West. In what will be a defining book for our time, Taylor takes up the question of what these changes mean, and what, precisely, happens when a society becomes one in which faith is only one human possibility among others.

Perhaps the most readable and accessible of the great works of scientific imagination, The Origin of Species sold out on the day it was published in 1859. Theologians quickly labeled Charles Darwin the most dangerous man in England, and, as the Saturday Review noted, the uproar over the book quickly "passed beyond the bounds of the study and lecture-room into the drawing-room and the public street." Yet, after reading it, Darwin's friend and colleague T. H. Huxley had a different reaction: (...) "How extremely stupid not to have thought of that." Based largely on Darwin's experience as a naturalist while on a five-year voyage aboard H.M.S. Beagle, The Origin of Species set forth a theory of evolution and natural selection that challenged contemporary beliefs about divine providence and the immutability of species. A landmark contribution to philosophical and scientific thought, this edition also includes an introductory historical sketch and a glossary Darwin later added to the original text. Charles Darwin grew up considered, by his own account, "a very ordinary boy, rather below the common standard of intellect." A quirk of fate kept him from the career his father had deemed appropriate--that of a country parson--when a botanist recommended Darwin for an appointment as a naturalist aboard H.M.S. Beagle from 1831 to 1836. Darwin is also the author of the five-volume work Zoology of the Voyage of the Beagle (1839) and The Descent of Man (1871). (shrink)

"All art should become science and all science art; poetry and philosophy should be made one." Friedrich Schlegel's words perfectly capture the project of the German Romantics, who believed that the aesthetic approaches of art and literature could reveal patterns and meaning in nature that couldn't be uncovered through rationalistic philosophy and science alone. In this wide-ranging work, Robert J. Richards shows how the Romantic conception of the world influenced (and was influenced by) both the lives of the people who (...) held it and the development of nineteenth-century science. Integrating Romantic literature, science, and philosophy with an intimate knowledge of the individuals involved—from Goethe and the brothers Schlegel to Humboldt and Friedrich and Caroline Schelling—Richards demonstrates how their tempestuous lives shaped their ideas as profoundly as their intellectual and cultural heritage. He focuses especially on how Romantic concepts of the self, as well as aesthetic and moral considerations—all tempered by personal relationships—altered scientific representations of nature. Although historians have long considered Romanticism at best a minor tributary to scientific thought, Richards moves it to the center of the main currents of nineteenth-century biology, culminating in the conception of nature that underlies Darwin's evolutionary theory. Uniting the personal and poetic aspects of philosophy and science in a way that the German Romantics themselves would have honored, The Romantic Conception of Life alters how we look at Romanticism and nineteenth-century biology. (shrink)

Did Newton "unweave the rainbow" by reducing it to its prismatic colors, as Keats contended? Did he, in other words, diminish beauty? Far from it, says Dawkins--Newton's unweaving is the key too much of modern astronomy and to the breathtaking poetry of modern cosmology. Mysteries don't lose their poetry because they are solved: the solution often is more beautiful than the puzzle, uncovering deeper mystery. (The Keats who spoke of "unweaving the rainbow" was a very young man, Dawkins reminds us.) (...) With the wit, insight, and spellbinding prose that have made his books worldwide bestsellers, Dawkins addresses the most important and compelling topics in modern science, from astronomy and genetics to language and virtual reality, and combines them in a landmark statement of the human appetite for wonder. This is the book that Richard Dawkins was meant to write: a brilliant assessment of what science is (and what it isn't), a tribute to science "not because it is useful (though it is), but but because it is uplifting, in the same way as the best poetry is uplifting.". (shrink)

Focusing on the rise of the mechanistic idea that we can know the natural world only by distancing ourselves from it, Berman shows how science acquired its ...

Aesthetics and the Environment presents fresh and fascinating insights into our interpretation of the environment. Traditional aesthetics is often associated with the appreciation of art, but Allen Carlson shows how much of our aesthetic experience does not encompass art but nature--in our response to sunsets, mountains or horizons or more mundane surroundings, like gardens or the view from our window. Carlson argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that (...) a scientific understanding of nature can enhance our appreciation of it, rather than denigrate it. (shrink)

Religion, science, and naturalism -- Perception and religious experience -- Panexperientialism, freedom, and the mind-body relation -- Naturalistic, dipolar theism -- Natural theology based on naturalistic theism -- Evolution, evil, and eschatology -- The two ultimates and the religions -- Religion, morality, and civilization -- Religious language and truth -- Religious knowledge and common sense.

Traditional aesthetics is often associated with the appreciation of art, Allen Carlson shows how much of our aesthetic experience does not encompass art but nature. He argues that knowledge of what it is we are appreciating is essential to having an appropriate aesthetic experience and that scientific understanding of nature can enhance our appreciation of it, rather than denigrate it.

This is a book about the aesthetics of wonder, about wonder as it figures in our relation to the visual world and to rare or new experiences.

If we arrange in chronological order the various statements Darwin made about God, creation, design, plan, law, and so forth, that I have discussed, there emerges a picture of a consistent development in Darwin's religious views from the orthodoxy of his youth to the agnosticism of his later years. Numerous sources attest that at the beginning of the Beagle voyage Darwin was more or less orthodox in religion and science alike.78 After he became a transmutationist early in 1837, he concluded (...) that the doctrine of secondary causes must be extented even to the history of life and that after the first forms of life were created, there was no further need for divine intervention, except where man was concerned. Man's body, he thought, was produced by the process of transmutation, but he believed for a time that man's soul was “superadded.” By mid-1838 he had become convinced that nothing, after the creation of life, was due to miracles. God works only through laws, which are capable of producing “every effect of evey kind which surrounds us.” The existence of man, the idea of God in man's mind, and the harmony of the whole system were in his eyes prearranged goals of deterministic laws imposed by God. Such a conception excludes the miracles on which Christianity depends; but it is not possible to say whether Darwin's loss of Christian faith, which occurred at about this same time, preceded and made possible his “materialism” or was rather caused or hastened by it.79 In the weeks after his reading of Malthus, Darwin's belief in a plan of creation gave way to the belief that God created matter and life and designed their laws, leaving the details, however, to the workings of chance. This remained his view until the 1860s.There is no exact parallel between this development of Darwin's religious views and the development of his ideas on evolution, but there is a general correspondence. When he believed in a plan of creation, Darwin's theory of transmutation did not depend on struggle or the selection of chance variations. Adaptation was, for him, an automatic response to environmental chance. From late 1838 to 1859 he believed in designed laws and chance, and this belief, too, has its parallel in his theory. The element of chance in natural selection meant that there could be no detailed plan,in which even man's idea of God would be a necessary outcome of nature's laws (man himself is not a necessary outcome of the working of natural selection).80 But Darwin still believed nature was programmed to achieve certain general ends. We might say that he believed in a general, though not a special, teleology. Natural selection was for him a law to maximize utility, creating useful organs, retaining vestiges for future use. For many years it was a law designed to produce organisms perfectly adapted to their environments. Only later did Darwin come to doubt even this sort of design in nature.81 One way of describing the development of Darwin's evolutionary thought is to say that it shows a gradual abandoning of his “theistic” assumptions, so that by the late 1860s his theory was informed to a slighter extent by notions of purpose and design than it was in 1838 or 1844 or 1859. (shrink)

Darwin the writer -- Learning to see : Darwin's prophetic apprenticeship on the Beagle voyage -- The prose of On the origin of species -- Surprise and paradox : Darwin's artful legacy -- Darwinian mind and Wildean paradox -- Hardy's Woodlanders and the Darwinian grotesque -- Coda : the comic Darwin.

Recent Darwin scholarship has provided grounds for recognising the Origin as a literary as well as a scientific achievement. While Darwin was an acute observer, a gifted experimentalist and indefatigable theorist, this essay argues that it was also crucial to his impact that the Origin transcended the putative divide between the scientific and the literary. Analysis of Darwin’s development as a writer between his journal-keeping on HMS Beagle and his construction of the Origin argues the latter draws on the pattern (...) of the Romantic or Kantian sublime. The Origin repeatedly uses strategies which challenge the natural-theological appeal to the imagination in conceiving nature. Darwin’s sublime coaches the Origin’s readers into a position from which to envision nature that reduces and contains its otherwise overwhelming complexity. As such, it was Darwin’s literary achievement that enabled him to fashion a new ‘habit of looking at things in a given way’ that is the centrepiece of the scientific revolution bearing his name. (shrink)

This essay examines Darwin's positiva use of theology in the first edition of the Origin of Species in three steps. First, the essay analyses the Origin's theological language about God's accessibility, honesty, methods of creating, relationship to natural laws and lack of responsibility for natural suffering; the essay contends that Darwin utilized positiva theology in order to help justify descent with modification and to attack special creation. Second, the essay offers critical analysis of this theology, drawing in part on Darwin's (...) mature ruminations to suggest that, from an epistemic point of view, the Origin's positiva theology manifests several internal tensions. Finally, the essay reflects on the relative epistemic importance of positiva theology in the Origin's overall case for evolution. The essay concludes that this theology served as a handmaiden and accomplice to Darwin's science. (shrink)

This is a philosophical exploration of the role of art and religion as sources of meaning in an increasingly material world dominated by science. Relating themes in the history of European philosophy to topics in contemporary philosophy, Gordon Graham investigates the idea that art has the potential to re-enchant an irreligious world.

In his Natural Theology, the eighteenth-century Anglican theologian William Paley compares a watch with objects in nature, arguing that “every manifestation of design, which existed in the watch, exists in the works of nature…” Charles Darwin read Paley's Natural Theology as a young man and offered natural selection as an alternative, naturalistic explanation of Paley's explanandum: the appearance of design in nature. Many of Paley's successors diverged from him in their approach to the living world. This chapter examines some of (...) these alternative approaches and the extent to which the literature of natural theology had trodden the path between Paley's watchmaker and Darwin's natural selection prior to the publication of the latter's Origin of Species. In particular, it focuses on the Bridgewater Treatises, a series of eight highly popular works published in the 1830s, which illustrate the far-reaching development that took place in natural theology in Britain during the early nineteenth century. (shrink)

Comparison of the six editions of the Origin of Species reveals a definite change in Darwin's propounded theory.Although the tone of the statements seems to become more positive in later editions, the change of thought indicates a certain inability of the original theory to stand up to criticism.

Darwin is well known for his wondrously ambiguous rhetoric. The author who used an ‘entangled bank’ as his metaphor for Nature and its complex relationships built up the substance of his text from a corresponding entanglement of unresolved theoretical relations. Ambiguous positions, arguments that seem to fold in on themselves, vacillations, contradictions, and pluralities of explanation suffuse Darwin's science and its constituent metascience. The Origin abounds in ambiguities with regard to the technical features of evolutionary biology. But the domain of (...) ambiguity I wish to address is Darwin's metaphysical stance. I want to approach the question of Darwin and secularization through what might be called the trope of ambiguity. My principle concern is with the origins of that ambiguity. These lie in the conflicting cultural and ideological resources Darwin used to construct the theory of natural selection. (shrink)

This chapter outlines a response to the world's thoroughgoing arbitrariness, looking at the poetry of Stéphane Mallarmé and the performances of Jean-Eugène Robert-Houdin and Mallarmé set out to remedy the predicament by creating an alternative world, one which exists only in and through poetry, one where everything has to be exactly what and where it is. He also provided his readers with a formal model and the skills required for the creation of their own. In pointing to their own fictionality, (...) the poems accustom their readers in the divided attitude required to believe in fictions they themselves have created. The chapter also notes that Jean-Eugène Robert-Houdin's magic performances work in exactly the same way. It concludes that self-reflexivity at large, a central feature of literary modernism, may have emerged from this need to re-enchant the world. (shrink)

This chapter argues that there is a variety of secular and conscious strategies for re-enchantment, held together by a common aim of filling a God-shaped void. The discussion also introduces three approaches to affirm the claim and offer a more nuanced understanding of the nature of modernity. The first is to reject the notion that any lingering enchantment within Western culture must of necessity be a relic (the binary approach). The second is to reject the notion that modernity is itself (...) enchanted, unbeknown to its subjects, in a deceptive and dangerous way (the dialectical approach). It is to accept, instead, the fact that modernity embraces seeming contraries, such as rationality and wonder, secularism and faith (antinomial). The third type of enchantment is the modern enchantment par excellence: one which simultaneously enchants and disenchants. (shrink)

This book explores the contemporary nature of Max Weber's work by looking in detail at his key concepts of rationalization and disenchantment. Thematic parallels are drawn between Weber's rationalization thesis and the critiques of contemporary culture developed by Jean-Francois Lyotard, Michel Foucault and Jean Baudrillard. It is suggested that these three 'postmoden' thinkers develop and respond to Weber's analysis of modernity by pursuing radical strategies of affirmation and re-enchantment. Examining the work of these three key thinkers in this way casts (...) new light both on postmodern theory and on Weber's sociology of rationalization. (shrink)