The New York Times bestselling author of Darwin's Doubt, Stephen Meyer, presents groundbreaking scientific evidence of the existence of God, based on breakthroughs in physics, cosmology, and biology.

Beginning in the late 19th century, many intellectuals began to insist that scientific knowledge conflicts with traditional theistic belief--that science and belief in God are at war. Philosopher of science Stephen Meyer challenges this view by examining three scientific discoveries with decidedly theistic implications. Building on the case for the intelligent design of life that he developed in Signature in the Cell and Darwin's Doubt, Meyer demonstrates how discoveries in cosmology and physics coupled with those in biology help to establish the identity of the designing intelligence behind life and the universe.

Meyer argues that theism--with its affirmation of a transcendent, intelligent and active creator--best explains the evidence we have concerning biological and cosmological origins. Previously Meyer refrained from attempting to answer questions about who might have designed life. Now he provides an evidence-based answer to perhaps the ultimate mystery of the universe. In so doing, he reveals a stunning conclusion: the data support not just the existence of an intelligent designer of some kind--but the existence of a personal God.

Signature in the Cell is a defining work in the discussion of life's origins and the question of whether life is a product of unthinking matter or of an intelligent mind. For those who disagree with ID, the powerful case Meyer presents cannot be ignored in any honest debate. For those who may be sympathetic to ID, on the fence, or merely curious, this book is an engaging, eye-opening, and often eye-popping read -- American Spectator

Named one of the top books of 2009 by the Times Literary Supplement (London), this controversial and compelling book from Dr. Stephen C. Meyer presents a convincing new case for intelligent design (ID), based on revolutionary discoveries in science and DNA. Along the way, Meyer argues that Charles Darwin's theory of evolution as expounded in The Origin of Species did not, in fact, refute ID. If you enjoyed Francis Collins's The Language of God, you'll find much to ponder--about evolution, DNA, and intelligent design--in Signature in the Cell.

The New York Times bestselling author of Darwin's Doubt, Stephen Meyer, presents groundbreaking scientific evidence of the existence of God, based on breakthroughs in physics, cosmology, and biology.

Beginning in the late 19th century, many intellectuals began to insist that scientific knowledge conflicts with traditional theistic belief--that science and belief in God are at war. Philosopher of science Stephen Meyer challenges this view by examining three scientific discoveries with decidedly theistic implications. Building on the case for the intelligent design of life that he developed in Signature in the Cell and Darwin's Doubt, Meyer demonstrates how discoveries in cosmology and physics coupled with those in biology help to establish the identity of the designing intelligence behind life and the universe.

Meyer argues that theism--with its affirmation of a transcendent, intelligent and active creator--best explains the evidence we have concerning biological and cosmological origins. Previously Meyer refrained from attempting to answer questions about who might have designed life. Now he provides an evidence-based answer to perhaps the ultimate mystery of the universe. In so doing, he reveals a stunning conclusion: the data support not just the existence of an intelligent designer of some kind--but the existence of a personal God.

When Charles Darwin finished The Origin of Species, he thought that he had explained every clue, but one. Though his theory could explain many facts, Darwin knew that there was a significant event in the history of life that his theory did not explain. During this event, the Cambrian explosion, many animals suddenly appeared in the fossil record without apparent ancestors in earlier layers of rock.

In Darwin's Doubt, Stephen C. Meyer tells the story of the mystery surrounding this explosion of animal life--a mystery that has intensified, not only because the expected ancestors of these animals have not been found, but because scientists have learned more about what it takes to construct an animal. During the last half century, biologists have come to appreciate the central importance of biological information--stored in DNA and elsewhere in cells--to building animal forms.

Expanding on the compelling case he presented in his last book, Signature in the Cell, Meyer argues that the origin of this information, as well as other mysterious features of the Cambrian event, are best explained by intelligent design, rather than purely undirected evolutionary processes.

Lavish musical soundtracks contributed a special grandeur to the new widescreen, stereophonic sound movie experience of postwar biblical epics such as Samson and Delilah, Ben-Hur, and Quo Vadis. In Epic Sound, Stephen C. Meyer shows how music was utilized for various effects, sometimes serving as a vehicle for narrative plot and at times complicating biblical and cinematic interpretation. In this way, the soundscapes of these films reflected the ideological and aesthetic tensions within the genre, and more generally, within postwar American society. By examining key biblical films, Meyer adeptly engages musicology with film studies to explore cinematic interpretations of the Bible during the 1940s through the 1960s.

The Oxford Handbook of Music and Medievalism provides a snapshot of the diverse ways in which medievalism--the retrospective immersion in the images, sounds, narratives, and ideologies of the European Middle Ages--powerfully transforms many of the varied musical traditions of the last two centuries. Thirty-three chapters from an international group of scholars explore topics ranging from the representation of the Middle Ages in nineteenth-century opera to medievalism in contemporary video game music, thereby connecting disparate musical forms across typical musicological boundaries of chronology and geography. While some chapters focus on key medievalist works such as Orff's Carmina Burana or Peter Jackson's Lord of the Rings films, others explore medievalism in the oeuvre of a single composer (e.g. Richard Wagner or Arvo Pärt) or musical group (e.g. Led Zeppelin). The topics of the individual chapters include both well-known works such as John Boorman's film Excalibur and also less familiar examples such as Eduard Lalo's Le Roi d'Ys. The authors of the chapters approach their material from a wide array of disciplinary perspectives, including historical musicology, popular music studies, music theory, and film studies, examining the intersections of medievalism with nationalism, romanticism, ideology, nature, feminism, or spiritualism. Taken together, the contents of the Handbook develop new critical insights that venture outside traditional methodological constraints and provide a capstone and point of departure for future scholarship on music and medievalism.

Stephen C. Meyer details the intricate relationships between the operas Der Freischütz and Euryanthe, and contemporary discourse on both the Germany of the imagination and the new nation itself. In so doing, he presents excerpts from a wide range of philosophical, political, and musical writings, many of which are little known and otherwise unavailable in English. Individual chapters trace the multidimensional concept of German and foreign opera through the 19th century. Meyer's study of Der Freischütz places the work within the context of emerging German nationalism, and a chapter on Euryanthe addresses the opera's stylistic and topical shifts in light of changing cultural and aesthetic circumstances. As a result, Meyer argues that the search for a new German opera was not merely an aesthetic movement, but a political and social critique as well.