John Burnham studies the history of changing patterns in the dissemination, or "popularization," of scientific findings to the general public since 1830. Focusing on three different areas of science -- health, psychology, and the natural sciences -- Burnham explores the ways in which this process of popularization has deteriorated. He draws on evidence ranging from early lyceum lecturers to the new math and argues that today popular science is the functional equivalent of superstition.

Placebo cures. Global warming. Extraterrestrial life. Psychokinesis. In a time when scientific claims can sound as strange as science fiction--and can have a profound effect on individual life or public policy--assessing the merits of a far-out, supposedly scientific idea can be as difficult as it is urgent. Into the breach between helpless gullibility and unyielding skepticism steps physicist Robert Ehrlich, with an indispensable guide to making sense of "scientific" claims. A series of case studies of some of the most controversial (and for the judging public, deeply vexing) topics in the natural and social sciences, Ehrlich's book serves as a primer for evaluating the evidence for the sort of strange-sounding ideas that can shape our lives. A much-anticipated follow-up to his popular Nine Crazy Ideas in Science, this book takes up issues close to readers' everyday reality--issues such as global warming, the dangers of cholesterol, and the effectiveness of placebos--as well as questions that resonate through (and beyond) civic life: Is intelligent design a scientific alternative to evolution? Is homosexuality primarily innate? Are people getting smarter or dumber? In each case, Ehrlich shows readers how to use the tools of science to judge the accuracy of strange ideas and the trustworthiness of ubiquitous "experts." As entertaining as it is instructive, his book will make the work of living wisely a bit easier and more reliable for scientists and nonscientists alike.

The assumption that museum exhibitions, particularly those concerned with science and technology, are somehow neutral and impartial is today being challenged both in the public arena and in the academy. The Politics of Display brings together studies of contemporary and historical exhibitions and contends that exhibitions are never, and never have been, above politics. Rather, technologies of display and ideas about 'science' and 'objectivity' are mobilized to tell stories of progress, citizenship, racial and national difference. The display of the Enola Gay, the aircraft which dropped the atomic bomb on Hiroshima is a well-known case in point. The Politics of Display charts the changing relationship between displays and their audience and analyzes the consequent shift in styles of representation towards interactive, multimedia and reflexive modes of display. The Politics of Display brings together an array of international scholars in the disciplines of sociology, anthropology and history. Examples are taken from exhibitions of science, technology and industry, anthropology, geology, natural history and medicine, and locations include the United States of America, Australia, the United Kingdom, France, the Netherlands and Spain. This book is an excellent contribution to debates about the politics of public culture. It will be of interest to students of sociology, anthropology, cultural studies, museum studies and science studies.

This work discusses whether Kuhn's The Structure of Scientific Revolutions was revolutionary. Steve Fuller argues that Kuhn held a profoundly conservative view of science and how one ought to study its history.

In A Great Duty>/I>L.B. Kuffert shows that the history of Canadian culture from the war to Canada's centenary is much richer and more complex than has previously been recognized. He looks at the responses of cultural critics to such topics as war, reconstruction, science, conformity, personality, and commemoration, catching outspoken observers in the act of synthesizing new interpretations of the contemporary world and protesting the dominance of mass-produced entertainment.English-Canadian cultural critics from across the political spectrum championed self-improvement, self-awareness, and lively engagement with one's surroundings, struggling to find a balance between the social benefits of democracy and modernization and what they considered the debilitating influence of the accompanying mass culture. They used print and broadcast media in an attempt to convince Canadians that choosing wisely between varieties of culture was an expression of personal and national identity, making cultural nationalism in Canada a "middlebrow" project. As Kuffert argues, "if English Canadians are today more familiar with the ways in which modern life and mass culture envelop and define them, if they live in a nation where private citizens and cultural institutions view the media as avenues of entertainment, as businesses, or as the means to construct identity, they should be aware of the role of wartime and post-war cultural critics" in creating those orientations toward culture.

When the term 'dinosaur' was coined in 1842, it referred to fragmentary British fossils. In subsequent decades, American discoveries—including Brontosaurus and Triceratops—proved that these so-called 'terrible lizards' were in fact hardly lizards at all. By the 1910s 'dinosaur' was a household word. Reimagining Dinosaurs in Late Victorian and Edwardian Literature approaches the hitherto unexplored fiction and popular journalism that made this scientific term a meaningful one to huge transatlantic readerships. Unlike previous scholars, who have focused on displays in American museums, Richard Fallon argues that literature was critical in turning these extinct creatures into cultural icons. Popular authors skilfully related dinosaurs to wider concerns about empire, progress, and faith; some of the most prominent, like Arthur Conan Doyle and Henry Neville Hutchinson, also disparaged elite scientists, undermining distinctions between scientific and imaginative writing. The rise of the dinosaurs thus accompanied fascinating transatlantic controversies about scientific authority.

As scholars debate the most appropriate way to teach evolutionary theory, Constance Areson Clark provides an intriguing reflection on similar debates in the not-too-distant past. Set against the backdrop of the Jazz Age, God—or Gorilla explores the efforts of biologists to explain evolution to a confused and conflicted public during the 1920s. Focusing on the use of images and popularization, Clark shows how scientists and anti-evolutionists deployed schematics, cartoons, photographs, sculptures, and paintings to win the battle for public acceptance. She uses representative illustrations and popular media accounts of the struggle to reveal how concepts of evolutionary theory changed as they were presented to, and absorbed into, popular culture. Engagingly written and deftly argued, God—or Gorilla offers original insights into the role of images in communicating—and miscommunicating—scientific ideas to the lay public.

This Handbook provides a comprehensive statement and reference point for theory, research and practice with regard to environment and communication, and it does this from a perspective which is both international and multi-disciplinary in scope. Offering comprehensive critical reviews of the history and state of the art of research into the key dimensions of environmental communication, the chapters of this handbook together demonstrate the strengths of multi-disciplinary and cross-disciplinary approaches to understanding the centrality of communication to how the environment is constructed, and indeed contested, socially, politically and culturally. Organised in five thematic sections, The Routledge Handbook of Environment and Communication includes contributions from internationally recognised leaders in the field. The first section looks at the history and development of the discipline from a range of theoretical perspectives. Section two considers the sources, communicators and media professionals involved in producing environmental communication. Section three examines research on news, entertainment media and cultural representations of the environment. The fourth section looks at the social and political implications of environmental communication, with the final section discussing likely future trajectories for the field. The first reference Handbook to offer a state of the art comprehensive overview of the emerging field of environmental communication research, this authoritative text is a must for scholars of environmental communication across a range of disciplines, including environmental studies, media and communication studies, cultural studies and related disciplines.

Shamos argues that a meaningful scientific literacy cannot be achieved in the first place, and the attempt is a misuse of human resources on a grand scale. He is skeptical about forecasts of "critical shortfalls in scientific manpower" and about the motives behind crash programs to get more young people into the science pipeline.