Titlebook: ‘Brave New World‘: Contexts and Legacies; Jonathan Greenberg,Nathan Waddell Book 2016 The Editor(s) (if applicable) and The Author(s) 2016

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What Huxley Got Wrong,lism, where a presupposed structural model of social life seemed to leave little scope for human agency at all. In line with this, social processes, and particularly processes of meaning-making, seemed to have little relevance to social order. Steady growth in the scope and confidence of proponents

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The Brave New World of Mothering,hemes: the continuing cultural premium placed on youthfulness; and the pathologisation of the visible signs of ageing in skincare advertising aimed at women, compared to a very different communicative approach taken to male-targeted advertisements, where signs of ageing are acceptable—even positivel

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,‘My Hypothetical Islanders’: The Role of Islands in Aldous Huxley’s , and ,,ld as perceived by the parent, correlate more strongly with parent worries over smartphone use than the adult-related variables do. And, importantly, family atmosphere matters: Children who feel that it is easy to talk with their parents about what they experience online, have parents who feel subst

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,‘Words Without Reason’: State Power and the Moral Life in ,, is impossible — contrary to what is sometimes asserted — to claim that there is a steady march towards more freedom. Sometimes, there are periods when basic freedoms are restricted by those in power, and it may happen that the more idealistic a president or a ruler is in his own mind, the more dang

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and the moral life. The volume also includes a ‘Foreword’ written by David Bradshaw, one of the world’s top Huxley scholars. Timely and consistently illuminating, this collection is essential reading for students, critics, and Huxley enthusiasts alike.?.978-1-349-68558-5978-1-137-44541-4

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Dynamic Pricing for Sports Ticketsutopian dream of the perfect society that devolves into the dystopian nightmare of the totalitarian state.’. Technocracy—rule or government by a class of technical specialists—is in these terms an object of Huxley’s satire, something the text queries rather than celebrates. And yet at other times Hu

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