The debate between science and religion is never out of the news: emotions run high, fuelled by polemical bestsellers like The God Delusion and, at the other end of the spectrum, high-profile campaigns to teach 'Intelligent Design' in schools. Yet there is much more to the debate than the clash of these extremes. As Thomas Dixon shows in this balanced and thought-provoking introduction, many have seen harmony rather than conflict between faith and science. He explores not only the key philosophical questions that underlie the debate, but also the social, political, and ethical contexts that have made 'science and religion' such a fraught and interesting topic in the modern world, offering perspectives from non-Christian religions and examples from across the physical, biological, and social sciences.. Along the way, he examines landmark historical episodes such as the trial of Galileo by the Inquisition in 1633, and the famous debate between 'Darwin's bulldog' Thomas Huxley and Bishop Wilberforce in Oxford in 1860. The Scopes 'Monkey Trial' in Tennessee in 1925 and the Dover Area School Board case of 2005 are explained with reference to the interaction between religion, law, and education in modern America. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Today there is a thriving 'emotions industry' to which philosophers, psychologists and neuroscientists are contributing. Yet until two centuries ago 'the emotions' did not exist. In this path-breaking study Thomas Dixon shows how, during the nineteenth century, the emotions came into being as a distinct psychological category, replacing existing categories such as appetites, passions, sentiments and affections. By examining medieval and eighteenth-century theological psychologies and placing Charles Darwin and William James within a broader and more complex nineteenth-century setting, Thomas Dixon argues that this domination by one single descriptive category is not healthy. Overinclusivity of 'the emotions' hampers attempts to argue with any subtlety about the enormous range of mental states and stances of which humans are capable. This book is an important contribution to the debate about emotion and rationality which has preoccupied western thinkers throughout the eighteenth and nineteenth centuries and has implications for contemporary debates.
There is a persistent myth about the British: that we are a nation of stoics, with stiff upper lips, repressed emotions, and inactive lachrymal glands. Weeping Britannia - the first history of crying in Britain - comprehensively debunks this myth. Far from being a persistent element in the 'national character', the notion of the British stiff upper lip was in fact the product of a relatively brief and militaristic period of our past, from about 1870 to 1945. In earlier times we were a nation of proficient, sometimes virtuosic moral weepers. To illustrate this perhaps surprising fact, Thomas Dixon charts six centuries of weeping Britons, and theories about them, from the medieval mystic Margery Kempe in the early fifteenth century, to Paul Gascoigne's famous tears in the semi-finals of the 1990 World Cup. In between, the book includes the tears of some of the most influential figures in British history, from Oliver Cromwell to Margaret Thatcher (not forgetting George III, Queen Victoria, Charles Darwin, and Winston Churchill along the way). But the history of weeping in Britain is not simply one of famous tear-stained individuals. These tearful micro-histories all contribute to a bigger picture of changing emotional ideas and styles over the centuries, touching on many other fascinating areas of our history. For instance, the book also investigates the histories of painting, literature, theatre, music and the cinema to discover how and why people have been moved to tears by the arts, from the sentimental paintings and novels of the eighteenth century and the romantic music of the nineteenth, to Hollywood weepies, expressionist art, and pop music in the twentieth century. Weeping Britannia is simultaneously a museum of tears and a philosophical handbook, using history to shed new light on the changing nature of Britishness over time, as well as the ever-shifting ways in which we express and understand our emotional lives. The story that emerges is one in which a previously rich religious and cultural history of producing and interpreting tears was almost completely erased by the rise of a stoical and repressed British empire in the late nineteenth century. Those forgotten philosophies of tears and feeling can now be rediscovered. In the process, readers might perhaps come to view their own tears in a different light, as something more than mere emotional incontinence.
The year was 1865. With the close of the Civil War, there began for the South, an era of even greater turmoil. In The Clansman, his controversial 1905 novel, later the basis of the motion picture The Birth of a Nation, Thomas Dixon, describes the social, political, and economic disintegration that plagued the South during Reconstruction, depicting the rise of the Ku Klux Klan and the reactions of two families to racial conflict. This study in social history was alternatively praised and damned by contemporary critics. As historian Thomas D. Clark notes in his introduction, the novel "opened wider a vein of racial hatred which was to poison further an age already in social and political upheaval. Dixon had in fact given voice in his novel to one of the most powerful latent forces in the social and political mind of the South." For modern readers, The Clansman probes the roots of the racial violence that still haunts our society.
Thomas Dixon was a lawyer, North Carolina state legislator, Baptist minister, lecturer, and novelist. This novel, an abridgement by Cary Wintz was originally published in 1905. It reflects turn-of-the-century attitudes most southerners had about Republican rule during Reconstruction.
" Today, Thomas Dixon is perhaps best known as the author of the best-selling early twentieth-century trilogy that included the novel The Clansman (1905), which provided the core narrative for D.W. Griffith's groundbreaking and still-controversial film The Birth of a Nation. It was The Sins of the Father, however, that Dixon regarded as the most aesthetically satisfying child of his Ku Klux Klan saga. In this novel he telescopes the trilogy's sprawling historical canvas into one tightly scripted narrative. A best-seller in 1912, the novel's themes of interracial sex and incest outraged many upon its publication. Nearly a century later, Dixon's work is undergoing a critical reevaluation. A new introduction by Steven Weisenburger lends a valuable historical and critical perspective to this important and divisive classic of American literature. Thomas Dixon (1864-1946) was born in Shelby, North Carolina. He is also the author of The Clansman and The Flaming Sword. Steven Weisenburger, Mossiker Chair in Humanities at Southern Methodist University, is the author of several books, including Modern Medea: A Family Story of Slavery and Child- murder from the Old South.