In this bold and innovative new work, Adrian Moore poses the question of whether it is possible for ethical thinking to be grounded in pure reason. In order to understand and answer this question, he takes a refreshing and challenging look at Kant’s moral and religious philosophy. Identifying three Kantian Themes – morality, freedom and religion – and presenting variations on each of these themes in turn, Moore concedes that there are difficulties with the Kantian view that morality can be governed by ‘pure’ reason. He does however defend a closely related view involving a notion of reason as socially and culturally conditioned. In the course of doing this, Moore considers in detail, ideas at the heart of Kant’s thought, such as the categorical imperative, free will, evil, hope, eternal life and God. He also makes creative use of the ideas in contemporary philosophy, both within the analytic tradition and outside it, such as ‘thick’ ethical concepts, forms of life and ‘becoming those that we are’. Throughout the book, a guiding precept is that to be rational is to make sense, and that nothing is of greater value to use than making sense.

California cultists, duplicitous damsels in distress, and dangerously high stakes conspire against Joe Quinn, a private eye who is beginnnig to feel more like a knight-errant Joe Quinn is cut adrift. He’s lost everything. His girl. His job. His place in the universe. A security head for a casino in Reno just can’t afford to have a gambling problem. Life takes a turn from tragic to strange when Quinn finds himself on the doorsteps of a religious cult’s tower in the remote California hills. Quinn hitched a ride from Reno but never thought he’d end up in a place like this. But a gambler has to play the hand he’s dealt. When one of the cultists asks Quinn to check on a man named Patrick O’Gorman and slides a not so small amount of money in his jacket, well, that’s just the sort of hand Quinn has been looking for. Thing is, Quinn soon finds out, O’Gorman disappeared under bizarre circumstances several years ago. For reasons he doesn’t entirely understand, perhaps for the sake of having a purpose, Quinn begins a lurid quest to uncover the truth. What he finds out instead is that there are just as many crazies outside the walls of a cultist tower as there are inside.

This collection of essays reassesses the importance of verse as a medium in the long eighteenth century, and as an invitation for readers to explore many of the less familiar figures dealt with, alongside the received names of the standard criticism of the period.

Hamlet is a twelve year-old boy who hangs out in cemeteries and has a black horse called Nightmare. Yorick is alive and well and teaching the gloomy little prince how to play with words. Young Hamlet worries that he will never be a good king because he thinks too much and doesn't like killing things or grabbing more land. Hamlet debates theology with Horatio and goes swimming with Ophelia but spends most of his time learning how to be a wise fool before Yorick mysteriously dies. Prince Hamlet is at once a stand-alone set of stories about a boy whose magical skills are intellectual and verbal and it is a canny foreshadowing of the major events and ideas in Shakespeare's most famous play. It turns out that Yorick is-as Harold Bloom observed-both Hamlet's true mother and his father.

This Arden edition of Hamlet, arguably Shakespeare's greatest tragedy, presents an authoritative, modernized text based on the Second Quarto text with a new introductory essay covering key productions and criticism in the decade since its first publication. A timely up-date in the 400th anniversary year of Shakespeare's death which will ensure the Arden edition continues to offer students a comprehensive and current critical account of the play, alongside the most reliable and fully-annotated text available.

Leading paleontologist J. David Archibald explores the rich history of visual metaphors for biological order from ancient times to the present and their influence on humans' perception of their place in nature, offering uncommon insight into how we went from standing on the top rung of the biological ladder to embodying just one tiny twig on the tree of life. He begins with the ancient but still misguided use of ladders to show biological order, moving then to the use of trees to represent seasonal life cycles and genealogies by the Romans. The early Christian Church then appropriated trees to represent biblical genealogies. The late eighteenth century saw the tree reclaimed to visualize relationships in the natural world, sometimes with a creationist view, but in other instances suggesting evolution. Charles Darwin's On the Origin of Species (1859) exorcised the exclusively creationist view of the "tree of life," and his ideas sparked an explosion of trees, mostly by younger acolytes in Europe. Although Darwin's influence waned in the early twentieth century, by midcentury his ideas held sway once again in time for another and even greater explosion of tree building, generated by the development of new theories on how to assemble trees, the birth of powerful computing, and the emergence of molecular technology. Throughout Archibald's far-reaching study, and with the use of many figures, the evolution of "tree of life" iconography becomes entwined with our changing perception of the world and ourselves.

Originally published in 1930, Wheel of Fire is the masterwork of the brilliant English scholar G. Wilson Knight in which he founds a new and influential school of Shakespearean criticism.

This book charts the evolution of metaphysics since Descartes and provides a compelling case for why metaphysics matters.

Arguing that belief in a universal human nature was as important to Shakespeare as to every other Renaissance writer, this book questions the central principle of postmodern Shakespeare criticism. Postmodernists insist that the notion of a defining human essence was alien to Shakespeare and his contemporaries and as radical anti-essentialists, the Elizabethans were, in effect, postmodernists before their time. Challenging this claim, this book demonstrates that for Shakespeare, as for every other humanist writer in this period, the key to all wise action was 'the knowledge of our selves and our human condition.'

Christopher Hitchens, described in the London Observer as “one of the most prolific, as well as brilliant, journalists of our time” takes on his biggest subject yet–the increasingly dangerous role of religion in the world. In the tradition of Bertrand Russell’s Why I Am Not a Christian and Sam Harris’s recent bestseller, The End Of Faith, Christopher Hitchens makes the ultimate case against religion. With a close and erudite reading of the major religious texts, he documents the ways in which religion is a man-made wish, a cause of dangerous sexual repression, and a distortion of our origins in the cosmos. With eloquent clarity, Hitchens frames the argument for a more secular life based on science and reason, in which hell is replaced by the Hubble Telescope’s awesome view of the universe, and Moses and the burning bush give way to the beauty and symmetry of the double helix.