Is God a delusion? Are science and Christian faith incompatible? Ten scientists tell their stories. Test of Faith is an innovative new resource designed for use by small groups wishing to explore big issues raised by science for both faith and ethics. It introduces a wide range of hot topics including: * Are science and Christianity in conflict? * Has the Big Bang pushed God out of the universe? * Is evolution compatible with religious faith? * Is cloning ethical? * Are humans no more than biological machines? Contributors include: Dr Francis Collins, Professor Alister McGrath, Dr Ard Louis, Dr Jennifer Wiseman, Professor Bill Newsome, Rev Dr John Polkinghorn, Rev Dr Alasdair Coles, Dr Deborah B. Haarsma, Professor Rosalind Picard, Professor John Bryant. Test of Faith is designed to enable non-specialists to join the discussion. It allows small groups to unpack these issues, and discuss them at a level and pace that suits the group. It is flexible so that users can choose the topics that they want to cover. This Leader's Guide accompanies the Test of Faith DVD, and provides all the content of the Study Guide plus suggested responses to questions, critical background information, and opportunities for taking these issues further.
Is God a delusion? Are science and Christian faith incompatible? Ten scientists tell their stories. Test of Faith is an innovative new resource designed for use by small groups wishing to explore big issues raised by science for both faith and ethics. It introduces a wide range of hot topics including: * Are science and Christianity in conflict? * Has the Big Bang pushed God out of the universe? * Is evolution compatible with religious faith? * Is cloning ethical? * Are humans no more than biological machines? Contributors include: Dr Francis Collins, Professor Alister McGrath, Dr Ard Louis, Dr Jennifer Wiseman, Professor Bill Newsome, Rev Dr John Polkinghorn, Rev Dr Alasdair Coles, Dr Deborah B. Haarsma, Professor Rosalind Picard, Professor John Bryant. Test of Faith is designed to enable non-specialists to join the discussion. It allows small groups to unpack these issues, and discuss them at a level and pace that suits the group. It is flexible so that users can choose the topics that they want to cover. This Leader's Guide accompanies the Test of Faith DVD, and provides all the content of the Study Guide plus suggested responses to questions, critical background information, and opportunities for taking these issues further.
One of the many unforeseen consequences of the fall of the Soviet Union has been the sudden collapse of the domestic film industry, probably the most privileged mass cultural medium of the Soviet Union. By the mid-1980s, some 150 feature films were produced annually for audiences numbering nearly four billion per year. Since 1991, however, cinema attendance has plummeted by a factor of at least one hundred, and the remnants of the once huge audiences now watch an overwhelming number of imported, mostly American, films. Revolt of the Filmmakers is the first account of Russia's film industry since this disastrous decline. According to Faraday, who was film correspondent for The Moscow Times during the mid-1990s, the turning point came during the years of perestroika, when Russian filmmakers achieved an unprecedented degree of freedom from managerial control. They immediately used their newfound liberty to dismantle the industry's central administrative structures in the name of artistic autonomy. Filmmakers were at last free to follow their own aesthetic criteria, and many began to orient their work entirely toward critical acclaim at festivals. But the unintended result of this revolution in the name of art was the alienation of the mass Russian audience. Today some filmmakers are attempting to regain a mass audience by celebrating and mythologizing national cultural identity, but the Russian film industry has never fully recovered from the "revolt" of the filmmakers. For this book Faraday has interviewed Russian filmgoers, critics, directors, and other industry insiders. Among those directors whose work he considers are Alexei Balabanov (The Castle), Nikita Mikhalkov (Burnt by the Sun), Karen Shaknazarov (American Daughter), Pyotr Todorovsky (Moscow Country Nights), and Marina Tsurtsumia (Only Death Comes for Sure). He also draws upon documentary evidence, including the Russian press and the diaries of Andrei Tarkovsky (The Sacrifice, Solaris). Few predicted that the loosening of state ideological and institutional controls would threaten the survival of Russia's once-mighty film industry. Even today Lenin's often-quoted, if apocryphal, declaration that "cinema is the most important of all the arts" remains emblazoned over the gateway to Mosfilm studios--but its relevance is in doubt at the start of a new millennium.
Michael Faraday's social origins, his thought processes, his methods of experimentation, and his religion have all been subjects of exhaustive analysis by historians and philosophers of science. One aspect of his work, which provides unique insight into his career path and the way in which his mind worked, has not received much emphasis outside the realm of academic professionals: namely, his writing. The Philosopher's Tree: Michael Faraday's Life and Work in His Own Words is an illustrated anthology of Faraday's writings compiled with commentary by Professor Peter Day, the director of the Royal Institution of Great Britain. From when he was a teenage apprentice bookbinder until his final resignation from the Royal Institution due to failing memory, Faraday wrote voluminously and his output took many forms. Apart from letters, Faraday kept journals (both scientific and personal); as a practicing scientist, he wrote articles in learned journals; as an adviser to the government and to many other agencies, he wrote reports; and as a supremely successful communicator (especially to young people), he left lecture notes and transcripts. All of these writings add life, color, and depth of focus to the stereotypical scientific colossus. Although Faraday's life was largely lived within what might appear to be very narrow geographical confines (just a few miles around 21 Albemarle Street in London's West End), his professional, social, and family relationships were extensive and diverse, and his responses to them equally complex. Through all the forms of expression that his multifaceted career required of him, one fact shines clearly: not only is Faraday one of the world greatest scientists, he showed enviable quality as a writer.
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