In lieu of an abstract, here is a brief excerpt of the content:Darwin Meets Literary TheoryEllen DissanayakeEvolution and Literary Theory, by Joseph Carroll; xi & 518 pp. Columbia: University of Missouri Press, 1995, $44.95.In my experience, most literary theorists, even those who participate in conferences called “Literature and Science,” know little about evolution, and don’t want to know. For them, “science” means information theory, chaos or catastrophe theory, fractals, pataphysics, “autopoeisis” or self-organization, emergence, cyborgs, hypertext, virtual signs and other aspects (...) of sci-fi, or techno-politics. (I encountered these subjects at a comparative literature conference I attended in March 1995.) These “scientific” positions are used as trendy metaphors for talking about chance, uncertainty, accident, ideology, and multidimensionality in literary works or in the aims of their authors. In other words, the buzzwords of contemporary science become one more angle from which to view or project another facet onto the glassy, self-reflective edifice of contemporary literary theory, rather than a means from which to shatter it and build again from scratch with more earthy, substantial materials. Joseph Carroll’s book provides the view and the means for this genuinely new and constructive (if initially destructive) possibility.It is ironic that in the present critical climate the very virtues of the book might be seen by some as faults—e.g., the lucid, elegant writing and the erudition and interdisciplinarity of the work as a whole. Carroll [End Page 229] writes clearly, authoritatively, without jargon, and with frequent, delicious wit. His values, aims, explanations, evidence, and criticisms are concisely and plainly stated. This is in marked contrast to the enigmatic and idiosyncratic nature of much recent criticism, and might have the initially disorienting effect of returning to earth and breathing pure oxygen after one has become accustomed to the thin and rarefied atmosphere of remote, icy peaks.Carroll offers wide-ranging and illuminating discussions of standard literary and critical works from both the European and Anglo-American tradition over the past several centuries, and refers to dozens of writers from diverse periods and nationalities. Additionally he enlists, and criticizes where appropriate, ideas from such diverse nonliterary figures as Darwin himself and writers about Darwin, T. H. Huxley, Konrad Lorenz, John Bowlby, Sir John Eccles, the prominent sociobiologists and evolutionary psychologists, S. J. Gould, Richard Lewontin, Derek Bickerton, Piaget, Karl Popper, Thomas Kuhn, Clifford Geertz, H. J. Eysenck, Cardinal Newman, Thorstein Veblen, Trotsky, Raymond Williams, and Richard Rorty, among others.One can be forgiven for wishing to forego an exploration of this demanding array of knowledge argued from the unfamiliar perspective of evolutionary biology. For in order seriously to consider Carroll’s new way of looking at human endeavor (including literature) one must also look critically at what was laboriously mastered during all those years of graduate school and tenure-driven writing for publication. No one wants to be persuaded to give up a view of the world that has been mastered with painstaking diligence. Still less does anyone want to spend time with something that according to conventional academic wisdom is downright wrong-headed. This is really the challenge of Carroll’s book—because such minor matters as the plain unfashionable title, clear writing, impressive erudition, and dated or forgotten thinkers can be overcome if the stakes are high enough.I wish to suggest that the stakes are high enough and that the time is right for this inevitable change of viewpoint. Along with others in diverse fields such as cognitive and developmental psychology, personality theory, neurology, medicine, sociology, political science, epistemology, cultural anthropology, ethics, and linguistics, I find the Darwinian perspective to offer the most comprehensive and viable possibility for an understanding of human behavior and culture, including the arts. Joseph Carroll admirably articulates this position and applies it to literary theory. I invite scholars who think that evolutionary explanations [End Page 230] are erroneous, dangerous, reductionist, simplistic, or irrelevant to read Carroll and deal seriously with his arguments. His book should be the central text for theory classes and seminars, as well as the subject of conferences. Those who would dismiss it should have the courage and curiosity to lay aside their misgivings and have a look. Especially those who are dissatisfied with the surfeit... (shrink)

Aesthetics, like other philosophical subjects, has historically made use of «top down» methods. Recent discoveries in genetics, evolutionary psychology, paleoarchaeology, and neuroscience call for a new «naturalistic» or «bottom up» perspective. Combining these fields with behavioral biology and ethnoarts studies, I offer seven premises that underlie a new understanding of evolved predispositions of the brain/mind that all artists use to attract attention, sustain interest, and create, mold, and shape emotion. I describe aesthetic «primitives» in somatic and behavioral modalities, suggesting that (...) these were present in early sapiens and continue to influence human art making and aesthetic response today. Keywords: Aesthetic Mind; Neuroaesthetics, evolutionary aesthetics, cognitive aesthetics, evolution of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 335-346 [Access article in PDF] Aesthetic Incunabula Ellen Dissanayake Incunabula n. pl. (f. L swaddling clothes, cradle): Early stages of development of a thing.Over the past thirty years, developmental psychologists have discovered remarkable cognitive abilities in young infants. Before these investigations, common pediatric wisdom accepted that apart from a few innate "reflexes"--for crying, suckling, clinging, startling--babies were pretty much tabulae rasae for (...) their elders to inscribe as they (and their cultures) decreed. Today, however, it is well established that newborns come into the world with decided preferences and motivations, so that one can speak intelligently of "neonatal" (or even "fetal") psychology. 1The demonstrable existence of inherent psychological capacities in newborns and infants has important implications for twenty-first-century literary theory, which--also over the past thirty years--has operated under the theoretical assumption that all knowledge and experience are mediated by culture and that there is therefore no "natural" psychological or emotional experience. Yet if, as infant psychology confirms, babies in every culture show the same or similar cognitive abilities and preferences and the same or similar motivations and emotional responses, it is necessary to modify the dogmatic assertion that all experience, including literary response, is socially constructed. Rather, adult psychology and experience grow from and build upon inborn motives and preferences. Literary theorists can no longer ignore contemporary knowledge in psychobiology, ethology, and evolutionary psychology that directly pertains to conceptualizing their subject.The innate capacities of newborns predispose them specifically for social and emotional interaction with others, not simply for soliciting [End Page 335] their physical care. For example, newborns prefer human faces to any other sight (high-contrast colors, cartoon characters, cute stuffed animals) and human voices to any other sound (soft music, tinkling bells, The Chipmunks). 2 They can imitate face, mouth, and hand movements and respond appropriately to another person's emotional expressions of sadness, fear, and surprise. 3 At birth, infants can estimate and anticipate intervals of time and temporal sequences and remember these temporal patterns, categorizing them both in time and space and in terms of affect and arousal. 4 By six weeks of age, these perceptual and cognitive abilities of normal infants permit them to engage with adult partners in complex communicative interchanges--the playful behavior that is commonly or colloquially called "babytalk."Babytalk is not the trival or inane pastime that it might superficially seem but, rather, a cradle in which nascent psychosocial capacities can emerge and be developed. Interestingly for literary theory, babytalk achieves these effects through fundamentally aesthetic means. Adult-infant engagements are noteworthy for their use of stylization (formalization or simplification), repetition, exaggeration, and elaboration in visual, vocal, and gestural modalities. I call these "aesthetic incunabula"--that is, sources (or early developmental stages) of the operations used by artists in all media to attract attention and to provoke and manipulate emotional response. The existence of sensitivities to such features in the first months of life suggests that humans are born with natural (innate, universal) predispositions for aesthetic engagement from which cultures and individuals can go on to create their myriad elaborated forms of artistic expression.Although babytalk varies in minor details among individuals and cultures, it can be described in all instances as a multimedia performance. That is, it contains not only "talk" (or the characteristic high-pitched, undulant, breathy, patterned, repetitive vocalizations with pauses called "motherese," "parentese," or "infant-directed speech"). Along with the utterances are peculiarly stereotyped, repetitive, and exaggerated facial expressions (such as widened eyes, uplifted eyebrows, sustained open mouth, and smiles), head movements (e.g., distinct bobs backwards, slow rhythmic nods, movement toward and away from the baby), and gestures (such as touching, stroking, and rhythmic pats) to which infants respond with their own vocal sounds and face and body movements and, in many societies, sustained mutual gaze.Babytalk is not only a performance, but a duet that incorporates both synchrony of behavior and alternation (or turn-taking)--activities that [End Page 336] are made possible by the infant's remarkable inborn sensitivity to temporal sequence and pattern. Microanalyses of videotaped interactions (at 24... (shrink)

Caretaker-infant attachment is a complex but well-recognized adaptation in humans. An early instance of (or precursor to) attachment behavior is the dyadic interaction between adults and infants of 6 to 24 weeks, commonly called "babytalk." Detailed analysis of 1 minute of spontaneous babytalk with an 8-week infant shows that the poetic texture of the mother’s speech—specifically its use of metrics, phonetics, and foregrounding—helps to shape and direct the baby’s attention, as it also coordinates the partners’ emotional communication. We hypothesize that (...) the ability to respond to poetic features of language is present as early as the first few weeks of life and that this ability attunes cognitive and affective capacities in ways that provide a foundation for the skills at work in later aesthetic production and response. By linking developmental social processes with formal cognitive aspects of art, we challenge predominant views in evolutionary psychology that literary art is a superfluous byproduct of adaptive evolutionary mechanisms or primarily an ornament created by sexual selection. (shrink)

In every known human society, some kind—usually many kinds—of art is practiced, frequently with much vigor and pleasure, so that one could at least hypothesize that “artifying” or “artification” is a characteristic behavior of our species. Yet human ethologists and sociobiologists have been conspicuously unforthcoming about this observably widespread and valued practice, for a number of stated and unstated reasons. The present essay is a position paper that offers an overview and analysis of conceptual issues and problems inherent in viewing (...) art and/or aesthetics as adaptive, and it presents a speculative account of a human behavior of art. (shrink)

Noting that the ethological notion of «making special» (now also called «artification») has gained attention in several fields, including aesthetic philosophy, a brief history is presented of its origin and development over forty years. Its origin is traced to «proto-aesthetic» elements of interactions that evolved in Middle Pleistocene mothers and infants: simplification or formalization, repetition, exaggeration, elaboration, and manipulation of expectation. These operations upon visual, vocal, and gestural modalities were subsequently used by individuals and cultures in creating and responding to (...) their various arts. Artification is a broader human proclivity than «art». Unlike other notions of art it does not imply beauty or skill although in its motivation to mark importance, the ordinary is made extraordinary. In its emphasis on preverbal, presymbolic, pancultural, participative, affective, and affinitive aspects of aesthetic cognition and behavior, the artification hypothesis provides further directions to cognitivist and neuroscientific studies in contemporary philosophical aesthetics. (shrink)

Human infants are born ready to respond to affiliative signals of a caretaker's face, body, and voice. This ritualized behavior in ancestral mothers and infants was an adaptation that gave rise to music and dance as exaptations for promoting group ritual and other social bonding behaviors, arguing for an evolutionary relationship between mother and infant bonding and both music and dance.

My association with Denis Dutton began almost exactly thirty years ago, at the 1981 American Society for Aesthetics (ASA) conference in Tampa, although in an inverse sort of way: he deliberately chose not to meet me.Let me explain. In late October 1981, I was a housewife living in Sri Lanka who certainly did not have the means to travel from South Asia to central Florida. The previous year, I had published a paper in the summer issue of the Journal of (...) Aesthetics and Art Criticism.1 Soon afterward, I received a letter in a somewhat shaky hand from a gentleman in New York, David Mandel, who identified himself as a former labor lawyer who was passionate about the subject of art and evolution, to the extent that he .. (shrink)

What “sort” of mind is required in order to be able to engage in aesthetic experiences? What are the marks of the aesthetic mind and which features distinguish aesthetic mental states? As humans, we are able not only to produce cognitions, feel emotions, use symbols, but also to engage in aesthetic and artistic experiences. How did our aesthetic mind arise over the course of evolution? Is it a by-product, or a side effect, of the development of our symbolic-linguistic competences or, (...) on the contrary, is precisely our aesthetic ability that allows the development of human language and symbolic thought? What is the relationship between the emergence of human modern mind and the origin of art? These are some of the challenging issues addressed during the International Conference The Aesthetic Mind and Origin of Art, held at the University of Florence, Department of Education, from January, 23rd to January 25th 2014. The essays collected in the present issue of «Aisthesis. Pratiche, linguaggi e saperi dell’estetico» mostly stem from talks originally delivered at the conference by leading researchers and international scholars across a wide range of disciplines. (shrink)

Visual (facial), tactile, and gestural, as well as vocal, elements of mother-infant interactions are each formalizations, repetitions, exaggerations, and elaborations of ordinary adult communicative signals of affiliation – suggesting ritualization. They are temporally organized and enable emotional coordination of the interacting pair. This larger view of motherese supports Falk's claim that the social-emotional elements of language are primary and suggests that language and music have common evolutionary foundations.

Dissanayake argues that art behaviors – which she characterizes first as patterns or syndromes of creation and response and later as rhythms and modes of mutuality – are universal, innate, old, and a source of intrinsic pleasure, these being hallmarks of biological adaptation. Art behaviors proved to enhance survival by reinforcing cooperation, interdependence, and community, and, hence, became selected for at the genetic level. Indeed, she claims that art is essential to the fullest realization of our human nature. I (...) make three criticisms: Dissanayake’s theory cannot account adequately for differences in the aesthetic value of artworks; the connections drawn between art and reproductive success are too stretched to account for art's production, nature, and reception; indeed, art enters the picture only because it is so thinly characterized that it remains in doubt that her topic is art as we understand it. (shrink)

Over the last several decades Ellen Dissanayake has developed an evolutionary theory of art that views all art as having evolved for the function of promoting group cohesion. This theory is not without its critics, yet it has received little empirical attention. In this article I propose a more modest formulation of Dissanayake’s hypothesis and proceed to test it using a cross-cultural analysis. I rely on the ethnographic databases of the electronic Human Relations Area Files as well (...) as the Standard Cross-Cultural Sample to compare proxies for group cohesion with measures of ritual art, a subset of art that I theoretically define. While my results cannot decisively prove or disprove Dissanayake’s hypothesis, they do lend empirical support to her views. This is promising not only for her views but for outlining ways of empirically testing other views in evolutionary aesthetics. (shrink)

American Academy of Pediatrics (AAP) and American College of Medical Genetics (ACMG) recently provided two recommendations about predictive genetic testing of children. The Clinical Sequencing Exploratory Research Consortium's Pediatrics Working Group compared these recommendations, focusing on operational and ethical issues specific to decision making for children. Content analysis of the statements addresses two issues: (1) how these recommendations characterize and analyze locus of decision making, as well as the risks and benefits of testing, and (2) whether the guidelines conflict or (...) come to different but compatible conclusions because they consider different testing scenarios. These statements differ in ethically significant ways. AAP/ACMG analyzes risks and benefits using best interests of the child and recommends that, absent ameliorative interventions available during childhood, clinicians should generally decline to order testing. Parents authorize focused tests. ACMG analyzes risks and benefits using the interests of the child and other family members and recommends that sequencing results be examined for additional variants that can lead to ameliorative interventions, regardless of age, which laboratories should report to clinicians who should contextualize the results. Parents must accept additional analysis. The ethical arguments in these statements appear to be in tension with each other. (shrink)

Ellen Meiksins Wood is a leading contemporary political theorist who has elaborated an innovative approach to the history of political thought, the social history of political theory .

A Hard-Hitting Critique... Brings Together Fine Essays That Speak Directly To The Underlying Assumptions Of Postmodernism And Offer A Stunning Critique Of Its Usefulness In Both Understanding And Critiquing The Current Historical Epoch. Contemporary Sociology.

On the Life of Abraham displays Philo's philosophical, exegetical, and literary genius at its best. Philo begins by introducing the biblical figures Enos, Enoch, Noah, Abraham, Isaac, and Jacob as unwritten laws. Then, interweaving literal, ethical, and allegorical interpretations, Philo presents the life and achievements of Abraham, founder of the Jewish nation, in the form of a Greco-Roman bios, or biography. Ellen Birnbaum and John Dillon explain why and how this work is important within the context of Philo's own (...) oeuvre, early Jewish and Christian exegesis, and ancient philosophy. They also offer a new English translation and detailed analyses, in which they elucidate the meaning of Philo's thought, including his perplexing notion that Israel's ancestors were laws in themselves. (shrink)

Inside Out takes people on a journey into terrain not often explored in animated films – the inner workings of the developing 11‐year‐old self. Inside Out takes a girl's emotional development as important, primary, and worthy of attention. Along the way, audiences come to appreciate that even though emotions often feel singular, solitary, and intense, some aspects of emotions are universal and cut across age, gender, and culture. The movie also highlights the social dimension of emotional expressiveness. The directors were (...) originally going to include many more emotions than the five core emotions they depict: joy, sadness, anger, disgust, and fear. The choice to focus on five primary emotions allows people to better appreciate how emotions are central to selfhood and how one's emotions influence his/her memories and self‐understanding. (shrink)

In this groundbreaking work, Ellen Meiksins Wood rewrites the history of political theory, from Plato to Rousseau. Treating canonical thinkers as passionately engaged human beings, Wood examines their ideas not simply in the context of political languages but as creative responses to the social relations and conflicts of their time and place. She identifies a distinctive relation between property and state in Western history and shows how the canon, while largely the work of members or clients of dominant classes, (...) was shaped by complex interactions among proprietors, labourers and states. Western political theory, Wood argues, owes much of its vigour, and also many ambiguities, to these complex and often contradictory relations. In this new edition, incorporating both volumes, the book takes us from classical antiquity to the age of enlightenement. In the first volume, Wood traces the development of the Western tradition from classical antiquity through to the Middle Ages in the perspective of social history--a significant departure not only from the standard abstract history of ideas but also from other contextual methods. In the second volume, Wood moves on to explore the formation of the modern state, the rise of capitalism, the Renaissance and Reformation, the scientific revolution and the Age of Enlightenment. In her focus on canonical thinkers through the ages, Wood illuminates a rich and provocative legacy of political ideas unmatched in Western history"--Publisher's website. (shrink)

All Christians read the Bible differently, pray differently, value their traditions differently, and give different weight to individual and corporate judgment. These differences are the basis of conflict. The question Christian ethics must answer, then, is, "What does the good life look like in the context of conflict?" In this new introductory text, Ellen Ott Marshall uses the inevitable reality of difference to center and organize her exploration of the system of Christian morality. What can we learn from Jesus' (...) creative use of conflict in situations that were especially attuned to questions of power? What does the image of God look like when we are trying to recognize the divine image within those with whom we are in conflict? How can we better explore and understand the complicated work of reconciliation and justice? This innovative approach to Christian ethics will benefit a new generation of students who wish to engage the perennial questions of what constitutes a faithful Christian life and a just society. (shrink)

Das vorliegende Open-Access-Buch zeigt, wie Kinder im Grundschulalter auf philosophische Gedanken reagieren. Diese werden den Kindern in Form von Kürzesttexten dargeboten. Auf Veranschaulichungen wird bewusst verzichtet. Dieser Zugang zum Philosophieren erscheint ungewöhnlich, wird doch in der Regel beim Philosophieren mit Kindern auf anschauliche Zugänge zurückgegriffen. Es zeigt sich jedoch, dass Kinder auf diese ungewöhnliche Einladung auf ebenso ungewöhnliche, eigenwillige und kreative Weise reagieren. Die vorliegende empirische Studie kommt mithin zu dem Ergebnis: Der Einsatz von Kürzesttexten erweist sich als lohnend. Die (...) Autorin Ellen Franziska Möller ist ausgebildete Lehrerin (Sek I und Sek II) für die Fächer Philosophie, praktische Philosophie und Physik. Zwischen 2019 und 2022 hat sie am Philosophischen Seminar der Universität zu Köln das Forschungsprojekt "Philosophie in der Primarstufe" vertreten. (shrink)

Our earliest mythologies tell us we all start as a little bit of dirt. These stories carry a profound message: each of us is born with a deep and abiding connection to the earth, one that many of us have lost touch with. The Silent Spring for today's environmental activists, this book offers an invitation to reestablish our relationship with nature to repair our damaged environment. Chapter 1 examines the threats to the planet's health through the lens of the human (...) energy system known as the chakras, describing how the broken first chakra relates to our disconnection from our biosphere. Chapter 2 shows how our current environmental crises--global warming, climate change, dwindling water resources, natural disasters such as wildfires and hurricanes--represent severe manifestations of our disconnection from the earth. Chapter 3 describes how the preponderance of oil in our culture--especially agribusiness--compounds this disconnection, from our dependence on other countries for our energy, to current issues of oil depletion, peak oil, and fracking, to the dumbing down of our agricultural polyculture. Chapter 4 explains how the most basic building blocks of our nourishment--seeds--are being compromised with a loss of biodiversity and rise of GMOs, and how that adversely affects the farmers whose sacred connection to the land has in many cases been severed. Chapter 5 describes the ways in which we as individuals can begin to wake up to climate activism as a spiritual practice. This chapter includes specific activities that you can use to implement change and heal your own connection to the earth. By learning and practicing ritual and understanding the earth's rhythms and seasonal rites of passage, each of us can find unique ways to heal our own connections and help others heal theirs. Chapter 6 looks at stories of how people are responding to their inner callings with generosity, innovation, and dedication--exactly the traits our nation and our planet need now. (shrink)