Presupposing that all knowledge is the study of a unitary order of nature, the author maintains that the study of literature should be included within the larger field of evolutionary theory. He outlines four elementary concepts in evolutionary theory, and he argues that these concepts should regulate our understanding of literature. On the basis of these concepts, he repudiates the antirealist and irrationalist views that, under the aegis of “poststructuralism,” have dominated academic literary studies for the past two decades. He (...) examines the linkage between poststructuralism and standard social science, and he speculates about the ideological and disciplinary motives that have hitherto impeded evolutionary study in both the social sciences and the humanities. Finally, he distinguishes literature from science and argues that literary criticism integrates elements of both. (shrink)

How far has the Darwinian revolution come? To what extent have evolutionary ideas penetrated into the social sciences and humanities? Are the “science wars” over? Or do whole blocs of disciplines face off over an unbridgeable epistemic gap? To answer questions like these, contributors to top journals in 22 disciplines were surveyed on their beliefs about human nature, culture, and science. More than 600 respondents completed the survey. Scoring patterns divided into two main sets of disciplines. Genetic influences were emphasized (...) in the evolutionary social sciences, evolutionary humanities, psychology, empirical study of the arts, philosophy, economics, and political science. Environmental influences were emphasized in most of the humanities disciplines and in anthropology, sociology, education, and women's or gender studies. Confidence in scientific explanation correlated positively with emphasizing genetic influences on behavior, and negatively with emphasizing environmental influences. Knowing the current actual landscape of belief should help scholars avoid sterile debates and ease the way toward fruitful collaborations with neighboring disciplines. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Human Nature in Nineteenth-Century British Novels:Doing the MathJoseph Carroll, Jonathan Gottschall, John A. Johnson, and Daniel J. KrugerIThree broad ambitions animate this study. Building on research in evolutionary social science, we aimed (1) to construct a model of human nature—of motives, emotions, features of personality, and preferences in marital partners; (2) use that model to analyze some specific body of literary texts and the responses of readers to (...) those texts, and (3) produce data—information that could be quantified and could serve to test specific hypotheses about those texts.Evolutionary social science is still in the process of constructing a full and adequate model of human nature. Evolutionary social scientists know much already about how human reproductive behavior and human sociality fit into the larger pattern of human evolution. They still have much to learn, though, about the ways literature and the other arts enter into human nature. Our model of human nature draws on our knowledge of imaginative culture, integrates that knowledge with evolutionary theories of culture, and produces data that enable us to draw conclusions on an issue of broad significance for both literary study and evolutionary social science: the adaptive function of literature and the other arts.1In order to make advances in knowledge, it is necessary to choose some particular subject. Genetics is a basic science that applies to all organisms, but geneticists first got an empirical fix on their subject by focusing minutely, with Mendel, on peas, and, with Morgan, on fruit flies. In place of peas and flies, we have taken as our subject British novels of [End Page 50] the longer nineteenth century (Austen to Forster). As a literary topic, the subject is fairly broad, but our theoretical and methodological aims ultimately extend well beyond the specialist fields of British novels, the nineteenth century, British literature, narrative fiction, or even literary scholarship generally. This study is designed to engage the attention of literary scholars in all fields and also to engage the attention of social scientists. If it achieves its aims, this study would help persuade literary scholars that empirical methods offer rich opportunities for the advancement of knowledge about literature, and it would help persuade social scientists that the quantitative study of literature can shed important light on fundamental questions of human psychology and human social interaction. Our own research team combines these two prospective audiences. Two of us (Carroll and Gottschall) have been trained primarily as literary scholars, and two of us (Johnson and Kruger) primarily as social scientists.The focal point for this study is "agonistic" structure: the organization of characters into protagonists, antagonists, and minor characters. The central question in the study is this: does agonistic structure reflect evolved dispositions for forming cooperative social groups? Suppressing or muting competition within a social group enhances group solidarity and organizes the group psychologically for cooperative endeavor. Our chief hypothesis was that protagonists and good minor characters would form communities of cooperative endeavor and that antagonists would exemplify dominance behavior. If this hypothesis proved correct, the ethos reflected in the agonistic structure of the novels would replicate the egalitarian ethos of hunter-gatherers, who stigmatize and suppress status-seeking in potentially dominant individuals. If suppressing dominance in hunter-gatherers fulfills an adaptive social function, and if agonistic structure in the novels engages the same social dispositions that animate hunter-gatherers, our study would lend support to the hypothesis that literature fulfills an adaptive social function.2One of our chief working hypotheses is that when readers respond to characters in novels, they respond in much the same way, emotionally, as they respond to people in everyday life. They like or dislike them, admire them or despise them, fear them, feel sorry for them, or are amused by them. In writing fabricated accounts of human behavior, novelists select and organize their material for the purpose of generating such responses, and readers willingly cooperate with this purpose. They participate vicariously in the experiences depicted and form personal opinions about the qualities of the characters. Authors and readers [End Page 51] thus collaborate in producing a simulated experience of emotionally responsive evaluative judgment. If agonistic structure is a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

In this article, I consider the importance of philosophy in the dialogue between religious believers and non-believers. I begin by arguing that a new epistemology of epistemic peer disagreement is required if the dialogue is to progress. Rather than viewing the differences between the positions as due to a deficit of understanding, I argue that differences result from the existential anchoring of such enquiries in life projects and the under-determination of interpretations by experience. I then explore a central issue which (...) is often implicit in these dialogues, namely the ontological status of God-world relations. Drawing on the reflections of Hegel on the infinite and the finite, I argue that his version of panentheism provides an insightful way to conceptualise God-world relations that avoids both dualistic and monistic approaches and helps to explicate a holistic ontology of transcendence from within the world of experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 295-313 [Access article in PDF] The Ecology of Victorian Fiction Joseph Carroll I In the past ten years or so, ecological literary criticism--that is, criticism concentrating on the relationship between literature and the natural environment--has become one of the fastest-growing areas in literary study. Ecocritics now have their own professional association, their own academic journal, and an impressive bibliography of scholarly studies. (...) Ecocritical scholars divide their attention between "nature writing" and ecological themes within all literature. In other words, some scholars write on Thoreau, John Muir, Aldo Leopold, and Annie Dillard; others write on topics such as the representation of nature in romantic poetry, the American West as a symbol, metaphors of landscape, or Dante's Inferno as a polluted ecosystem. Ecocritics have a distinct subject matter, and they share in a certain broad set of attitudes, values, and public policy concerns, but they do not yet have a firmly established framework of commonly accepted theoretical principles. In the absence of any overarching theory, ecocritics have usually sought to incorporate their ecological subject matter within other, already established theoretical schools: feminism, Bakhtin's dialogism, Lacanian psychoanalysis, or English romantic and American transcendentalist, idealist philosophy. Most commonly, ecocritics have affiliated themselves with the standard contemporary blend of Foucauldian ideological criticism--a blend that is vaguely Marxist and Freudian, generally radical, and strongly tinctured with deconstructive irrationalism and textualism. 1Given its specialized themes and topics and its ready affiliation with the standard theoretical blend, ecocriticism might seem little more than a special topic area within the general field of contemporary [End Page 295] literary study. But ecocritics do not see their approach that way. They share in a feeling of being at the forefront of critical response to an urgent practical problem of world-historical magnitude: the prospect of irreversible environmental devastation. They thus have a strong sense of a political mission, and they often feel that the urgency of their environmental concerns should sanction realigning the canon to give much greater prominence to nature writers and to the study of ecological themes. In their view, the natural world claims a special status as the ultimate ground and frame of all existence. It is an object of peculiar veneration and of primary experiential importance.The special conceptual status of ecology as a theme and a topic necessarily raises a question about its theoretical import. If the subject of ecocriticism is the relation of literature and the natural world, and if this relation is more important and more elemental than any other concern, does it not follow that ecocriticism should identify itself as a matrix for all literary study? To put the question operationally, in what way could ecology, as a subject matter and a concept, generate a theory of literature? Since the relation between organisms and natural environments is a necessary precondition of all experience, one could reasonably argue that the special topic of ecocriticism is more elemental than the topics of feminism, Marxism, or any other form of political criticism, and that the basic physical conditions of organic life take conceptual precedence over semiotics and theories of "culture" and "discourse."I shall argue that ecology cannot by itself generate a theory of literature or serve as the basis for a theory of literature, but I shall also argue that responsiveness to the sense of place is an elemental component of the evolved human psyche and that it thus can and should be integrated into a Darwinian literary theory. E. O. Wilson's notion of "biophilia" provides a Darwinian alternative to the ecological transcendentalism of "deep ecology," and the evolutionary epistemology of Konrad Lorenz provides a Darwinian rationale for locating the human psyche within its physical world. In constructing a bridge between the evolutionary epistemology of Lorenz and the idea of place within verbal narrative, I shall make use of a new branch of Darwinian aesthetics, Joseph Anderson's "ecological" version of "cognitive film theory."In order to illustrate the ways in which setting can be integrated into a Darwinian literary criticism, in the latter part of the essay... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Human Nature in Nineteenth-Century British Novels:Doing the MathJoseph Carroll, Jonathan Gottschall, John A. Johnson, and Daniel J. KrugerIThree broad ambitions animate this study. Building on research in evolutionary social science, we aimed (1) to construct a model of human nature—of motives, emotions, features of personality, and preferences in marital partners; (2) use that model to analyze some specific body of literary texts and the responses of readers to (...) those texts, and (3) produce data—information that could be quantified and could serve to test specific hypotheses about those texts.Evolutionary social science is still in the process of constructing a full and adequate model of human nature. Evolutionary social scientists know much already about how human reproductive behavior and human sociality fit into the larger pattern of human evolution. They still have much to learn, though, about the ways literature and the other arts enter into human nature. Our model of human nature draws on our knowledge of imaginative culture, integrates that knowledge with evolutionary theories of culture, and produces data that enable us to draw conclusions on an issue of broad significance for both literary study and evolutionary social science: the adaptive function of literature and the other arts.1In order to make advances in knowledge, it is necessary to choose some particular subject. Genetics is a basic science that applies to all organisms, but geneticists first got an empirical fix on their subject by focusing minutely, with Mendel, on peas, and, with Morgan, on fruit flies. In place of peas and flies, we have taken as our subject British novels of [End Page 50] the longer nineteenth century (Austen to Forster). As a literary topic, the subject is fairly broad, but our theoretical and methodological aims ultimately extend well beyond the specialist fields of British novels, the nineteenth century, British literature, narrative fiction, or even literary scholarship generally. This study is designed to engage the attention of literary scholars in all fields and also to engage the attention of social scientists. If it achieves its aims, this study would help persuade literary scholars that empirical methods offer rich opportunities for the advancement of knowledge about literature, and it would help persuade social scientists that the quantitative study of literature can shed important light on fundamental questions of human psychology and human social interaction. Our own research team combines these two prospective audiences. Two of us (Carroll and Gottschall) have been trained primarily as literary scholars, and two of us (Johnson and Kruger) primarily as social scientists.The focal point for this study is "agonistic" structure: the organization of characters into protagonists, antagonists, and minor characters. The central question in the study is this: does agonistic structure reflect evolved dispositions for forming cooperative social groups? Suppressing or muting competition within a social group enhances group solidarity and organizes the group psychologically for cooperative endeavor. Our chief hypothesis was that protagonists and good minor characters would form communities of cooperative endeavor and that antagonists would exemplify dominance behavior. If this hypothesis proved correct, the ethos reflected in the agonistic structure of the novels would replicate the egalitarian ethos of hunter-gatherers, who stigmatize and suppress status-seeking in potentially dominant individuals. If suppressing dominance in hunter-gatherers fulfills an adaptive social function, and if agonistic structure in the novels engages the same social dispositions that animate hunter-gatherers, our study would lend support to the hypothesis that literature fulfills an adaptive social function.2One of our chief working hypotheses is that when readers respond to characters in novels, they respond in much the same way, emotionally, as they respond to people in everyday life. They like or dislike them, admire them or despise them, fear them, feel sorry for them, or are amused by them. In writing fabricated accounts of human behavior, novelists select and organize their material for the purpose of generating such responses, and readers willingly cooperate with this purpose. They participate vicariously in the experiences depicted and form personal opinions about the qualities of the characters. Authors and readers [End Page 51] thus collaborate in producing a simulated experience of emotionally responsive evaluative judgment. If agonistic structure is a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aestheticism, Homoeroticism, and Christian Guilt in The Picture of Dorian GrayJoseph CarrollSince the advent of the poststructuralist revolution some thirty years ago, interpretive literary criticism has suppressed two concepts that had informed virtually all previous literary thinking: (1) the idea of the author as an individual person and an originating source for literary meaning, and (2) the idea of "human nature" as the represented subject and common frame of (...) reference for literary depictions. Under the tutelage of Barthes, Derrida, and Foucault, literary critics learned to speak of authors, characters, settings, and plots not as individuals situated in a natural world but as discursive formations constituted by the circulation of linguistic, cultural, and ideological energies. In the three decades during which poststructuralism has dominated academic literary study, a different kind of revolution—evolutionary, Darwinian, and naturalistic—has been transforming the social sciences. Sociobiology, evolutionary psychology, Darwinian anthropology, behavioral ecology, cognitive archaeology, and behavioral genetics do not all agree with one another in every respect, but they are all nonetheless aspects or phases of a common research program. The central working hypothesis in this program is that the human species, like all other species, has evolved in an adaptive relation to its environment and that as a consequence it has a distinct, genetically transmitted, species-typical set of characteristics—anatomical, physiological, hormonal, neurological, and behavioral. That set of characteristics is what in common language is meant by "human nature." Literature has always given us subjectively evocative depictions of human nature, and Darwinian social science is now giving us a more comprehensive and scientifically precise account of it. The sense of [End Page 286] individual agency is one crucial aspect of human nature, and that aspect is now being explored in complementary ways by personality psychology and by cognitive neuroscience.1Over the past decade or so, a scattered handful of literary scholars has broken away from the dominant poststructuralist paradigm and has sought to make use of the new scientific information on human nature.2 The simplest and most obvious way to use this information is to examine the behavior depicted in literary texts and to correlate that behavior with "human universals," that is, with forms of behavior that appear in every known culture and that thus appear to be embedded in the nature of the species. Seeking depictions of universals has produced valuable results for literary study, but this first move in Darwinian criticism does not exhaust the range of possibility in the analysis of literary meaning. Human nature is complex and sometimes divided against itself; individuals vary, and some variations depart from species-typical patterns, even in the most adaptively crucial aspects of survival and reproduction. Moreover, literary meaning involves more than the represented subject matter. Authors imbue texts with meanings and affects peculiar to themselves; authors engage in communicative transactions with audiences; and texts have formal and aesthetic properties that are not reducible to represented subject matter. All of these aspects of the total literary situation are part of literary meaning, and all of them can and should fall within the range of analysis available to Darwinian literary study.3Oscar Wilde's The Picture of Dorian Gray offers two special challenges to Darwinian criticism. First, the novel is saturated with homoerotic sexual feeling, and it thus defies any simple reading in terms of behavior oriented to reproductive success. Second, the central conflicts in the novel involve two competing visions of human nature, and in their conceptual structure neither of those visions corresponds very closely to the quasi-Darwinian conceptual structure implicit in most realist and naturalist fiction. One vision derives from the aestheticist doctrines of Walter Pater, and the other from a traditional Christian conception of the soul. Pater's ideas about human motives and the human moral character are at variance both with Christianity and with Darwinism. Christianity and Darwinism share certain concepts of the human moral and social character, but they couch those concepts in different idioms, and they would invoke wholly different causal explanations for how human nature came to be the way it is. Wilde does not develop his themes in Darwinian terms, but the novel can still be read [End Page... (shrink)

Several recent books have claimed to integrate literary study with evolutionary biology. All of the books here considered, except Robert Storey’s, adopt conceptions of evolutionary theory that are in some way marginal to the Darwinian adaptationist program. All the works attempt to connect evolutionary study with various other disciplines or methodologies: for example, with cultural anthropology, cognitive psychology, the psychology of emotion, neurobiology, chaos theory, or structuralist linguistics. No empirical paradigm has yet been established for this field, but important steps (...) have been taken, especially by Storey, in formulating basic principles, identifying appropriate disciplinary connections, and marking out lines of inquiry. Reciprocal efforts are needed from biologists and social scientists. (shrink)

This paper is a commentary comparing the evolutionary perspectives of Denis Dutton’s The Art Instinct (2009) and Stephen Davies’s The Artful Species (2012). Their topics thus necessarily overlap, but their books have different purposes and a different feel. Davies’s book is an academic exercise. He has no real arguments or claims of his own. Dutton wishes to demonstrate that evolutionary psychology can provide a satisfying naturalistic explanation of aesthetic experience. Neither Davies nor Dutton fully succeeds in his ambition. Davies extends (...) his scepticism well beyond a sensible account of the state of current knowledge about human evolution, and Dutton fails to recognize underlying theoretical differences in his main sources of theoretical inspiration. The limitations in these two works do not define the boundaries of current knowledge in evolutionary aesthetics. The most advanced and adequate concept in the evolutionary humanities is the idea that humans evolved the capacity to create imaginative virtual worlds and use those worlds to guide human behaviour. Both books being considered in this essay approach the idea of imaginative virtual worlds and almost grasp it. Before taking up that topic, the paper shall discuss two subsidiary issues: Dutton’s effort to incorporate sexual selection, and Davies’s sceptical negations about all evolutionary knowledge. (shrink)

Wuthering Heights has proved exceptionally elusive to interpretation. By foregrounding the idea of human nature, Darwinian literary theory provides a framework within which we can assimilate previous insights about Wuthering Heights , delineate the norms Brontë shares with her projected audience, analyze her divided impulses, and explain the generic forms in which those impulses manifest themselves. Brontë herself presupposes a folk understanding of human nature in her audience. Evolutionary psychology converges with that folk understanding but provides explanations that are broader (...) and deeper. In addition to its explanatory power, a Darwinian approach has a naturalistic aesthetic dimension that is particularly important for interpreting Wuthering Heights. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Human Revolution and the Adaptive Function of LiteratureJoseph CarrollIBefore the advent of purely culturalist ways of thinking in the early decades of the twentieth century, the idea of "human nature" was deeply ingrained in the literature and the humanistic social theory of the West.1 In the past three decades, ethology, sociobiology, and evolutionary psychology have succeeded in making the idea of "human nature" once again a commonplace of (...) public discourse, but the actual shape and content of human nature, even among Darwinian social scientists, remains controversial. Human nature is the product of evolution, and for Darwinians, concepts about the structure of human nature are necessarily bound up with concepts about the course of human evolution. My purpose in this essay will be to examine two chief alternatives in the current Darwinian understanding of human evolution and human nature, to advocate one of these alternatives, and to assess its implications for Darwinian literary study. One alternative can be identified with evolutionary psychology, and the other, the one I shall advocate, with evolutionary anthropology and cognitive archaeology. For the sake of economy, I shall refer to the former as the EP model and to the latter as the EACA model.In the late 1980s and early 1990s, the main theoretical controversy in Darwinian social science was that between the sociobiologists and Darwinian anthropologists, on the one side, and the evolutionary psychologists on the other. The point at issue was whether "fitness maximization" or the desire to maximize reproductive success could serve as a direct motive in human behavior. The sociobiologists tended to assume it could; the [End Page 33] evolutionary psychologists instead insisted that fitness maximization was mediated through "proximal mechanisms" such as the male desire for sex and the female desire to acquire resources from male sexual partners. In the arena of received professional opinion, the evolutionary psychologists won this debate, and evolutionary psychology is now the mainstream, establishment creed in Darwinian social science.2 Its hegemony is evidenced by a flood of popular expositions and textbooks. The majority of these expositions give little evidence that the authors are themselves alert to the speculative character of the fundamental concepts of their creed, and the chief tenets of the creed have often been reiterated in a naively uncritical way.The chief tenets of orthodox evolutionary psychology are (a) that the structure of the human mind stabilized during the Pleistocene (beginning about 1.6 million years ago); (b) that the human mind is "modular" in character—consisting of discrete bits of dedicated neural circuitry automatically activated by environmental releasers; (c) that human cognitive aptitudes and motivational structures are firmly adapted to the hunter-gatherer life-style of the Pleistocene—the "environment of evolutionary adaptedness" or EEA; and (d) that the adaptation to Pleistocene conditions carries with it, as a necessary corollary, a "mismatch" between the adapted human mind and all cultural ecologies more complex than that of hunter-gatherers. The core concept, the idea on which all the others depend, is that of the EEA:What we think of as all of human history—from, say, the rise of the Shang, Minoan, Egyptian, Indian, and Sumerian civilizations—and everything we take for granted as normal parts of life—agriculture, pastoralism, governments, police, sanitation, medical care, education, armies, transportation, and so on—are all the novel products of the last few thousand years. In contrast to this, our ancestors spent the last two million years as Pleistocene hunter-gatherers, and, of course, several hundred million years before that as one kind of forager or another. These relative spans are important because they establish which set of environments and conditions defined the adaptive problems the mind was shaped to cope with: Pleistocene conditions, rather than modern conditions.3For evolutionary psychologists, the difference between our Paleolithic ancestors and ourselves is a difference not in anatomical and neurological character but only in external "circumstances." In the EP model, the structure of the human mind at the present time and the structure [End Page 34] of the mind of, say, half a million years ago, would be the same. They would be equally the mind of the Pleistocene.The EP model of... (shrink)

EDITOR’S NOTE: Business Ethics Quarterly invited a number of scholars involved with BEQ over its first twenty years (especially in its early years, as editors or editorial board members) to offer their reflections on the past, present, and future of business ethics. The resulting comments, which appear below, are as diverse and eclectic as the group of scholars who have given their energies to BEQ over the years.

Angus Fletcher pitches his book to general readers. Though it consists of literary criticism, it is designed as a psychological self-help manual-literature as therapy. Fletcher's thera­peutic program is presented as an alternative to the kind of literary Darwinism that iden­tifies human nature as the basis for literature. He acknowledges the existence of human nature but aims at transcending it by promoting an Aquarian ethos of harmony and un­derstanding. He has some gifts of style, but the dominant voice in his stylistic (...) blend is that of the shill hawking a patent medicine. He presents himself as a modern sage who reveals an ancient but long-lost technique for using literature to boost happiness and well-being. Each of his 25 chapters identifies a distinct literary technique and uses popularized neuro­science to describe its supposedly beneficial psychological effects. Fletcher’s chains of rea­soning are habitually tenuous, and his exposition is littered with factual errors that betray ignorance of the books, genres, and periods he discusses. Despite its shortcomings, Fletch­er’s book has received encomiums from prestigious researchers, including the psychologist Martin Seligman and the neuroscientist Antonio Damasio. In evaluating Fletcher’s rhetor­ical style, analytic categories, Aquarian ethos, historical self-narrative, pattern of reasoning, and literary scholarship, this review essay reaches a more negative judgment about the value of his book. As an alternative to Fletcher’s book, I recommend a few evolutionary literary works for general readers. (shrink)

These two books on fictional narratives and neuroscience adopt cultural constructivist perspectives that reject the idea of evolved human motives and emotions. Both books contain information that could be integrated with other research in a comprehensive and empirically grounded theory of narrative, but they both fail to construct any such theory. In order to avoid subordinating the humanities to the sciences, Comer and Taggart avoid integrating their separate disciplines: neuroscience (Comer) and narrative theory (Tag­gart). They draw no significant conclusions from (...) the research they summarize. Armstrong subordinates neuroscience to the paradoxes of phenomenology and 4E cognition. His prose develops not by consecutive reasoning but by the repetitive intonation of paradoxical formulas. The failures in theoretical construction displayed by these two books run parallel with weaknesses in the interpretive criticism with which they illustrate their ideas. The different ways in which the books fail are sometimes comical but nonetheless instructive. The failures inadvertently point toward the radical changes in humanist thinking that would be necessary for success in integrating neuroscience and narrative theory. (shrink)

Joseph Margolis, known for his considerable contributions to the philosophy of art and aesthetics, pragmatism, and American philosophy, has focused primarily on the troublesome concepts of culture, history, language, agency, art, interpretation, and the human person or self. For Margolis, the signal problem has always been the same: how can we distinguish between physical nature and human culture? How do these realms relate? _The Cultural Space of the Arts and the Infelicities of Reductionism_ identifies a conceptual tendency that can (...) be drawn from the work of the twentieth century's best-known analytic philosophers of art: Arthur Danto, Richard Wollheim, Kendall Walton, Nelson Goodman, Monroe Beardsley, Noël Carroll, and Jerrold Levinson, among others. This trend threatens to impoverish our grasp and appreciation of the arts by failing to do justice to the culturally informed nature of the arts themselves. Through his analysis, Margolis sets out to retrieve an adequate picture of the essential differences between physical nature and human culture—particularly through language, history, meaning, significance, the emergence of the human self or person, and the essential features of human life—all to explain how such difference bears on our perception of paintings and literature. Clearly argued and provocatively engaging, Margolis's work reestablishes what is essential to a productive encounter with art. (shrink)

The concepts of time and identity seem at once unproblematic and frustratingly difficult. Time is an intricate part of our experience -- it would seem that the passage of time is a prerequisite for having any experience at all -- and yet recalcitrant questions about time remain. Is time real? Does time flow? Do past and future moments exist? Philosophers face similarly stubborn questions about identity, particularly about the persistence of identical entities through change. Indeed, questions about the metaphysics of (...) persistence take on many of the complexities inherent in philosophical considerations of time. This volume of original essays brings together these two essentially related concepts in a way not reflected in the available literature, making it required reading for philosophers working in metaphysics and students interested in these topics. The contributors, distinguished authors and rising scholars, first consider the nature of time and then turn to the relation of identity, focusing on the metaphysical connections between the two, with a special emphasis on personal identity. The volume concludes with essays on the metaphysics of death, issues in which time and identity play a significant role. This groundbreaking collection offers both cutting-edge epistemological analysis and historical perspectives on contemporary topics. Contributors:_ _Harriet Baber, Lynne Rudder Baker, Ben Bradley, John W. Carroll, Reinaldo Elugardo, Geoffrey Gorham, Mark Hinchliff, Jenann Ismael, Barbara Levenbook, Andrew Light, Lawrence B. Lombard, Ned Markosian, Harold Noonan, John Perry, Harry S. Silverstein, Matthew H. Slater, Robert J. Stainton, Neil A. Tognazzini The hardcover edition does not include a dust jacket. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:JOSEPH MARGOLIS THE LOGIC AND STRUCTURES OF FICTIONAL NARRATIVE The fascination of fiction and narrative is plainly immense, sind current analyses are notably fresh and ingenious. But ifone were to venture a compendious account of die most strategic conceptual claims bearing on those notions, they might well be captured by the following three theses: (i) that fiction and narrative are logically quite distinct, without necessarily excluding one anodier; (...) (ii) that fictional worlds are no worlds at all; they are merely imagined to exist; and (iii) that events, whether actual or imagined, cannot be specified independently of the categories by which we identify them as the events they are, categories subject to change over time. What is intriguing about mese three claims is that they strike the ear as utterly commonplace and obvious. But that is dieir strength. For it would be a great convenience if the relevant puzzles generated by analytic philosophy, hermeneutics, the new narratology, semiotics and the like could be resolved, convincingly, by appeal to die implications of these diree homely trudis. In addition, diey affect one another in a rather complicated way, and, taken joindy, easily expose certain influential false starts. The import of (iii), for example, is notably ignored in die otherwise powerful analysis of narrative afforded by Gérard Genette. Its bearing on (i) utterly undermines the explicit dualism favored by Seymour Chatman, who is clearly influenced by Genette himself. The failure to mark die force of (i) and its analogue regarding poetry is most obvious in I. A. Richards's contrast between poetry and science, the work of the Prague circle, Northrop Frye's Anatomy of Criticism, and such recent speech-act theories of poetry and fiction as those proposed by Richard Ohmann, Monroe Beardsley, and Mary Louise Pratt. The corresponding failure widi respect to (ii) is clear in John Searle's theory of reference and in die ontological claims made by Nicholas Wolterstorff. The connection between (i) and (ii) is muddled most famously by G. E. Moore. These charges suggest die quarrelsome promise of the intended economy. But, as we shall see, they also lead in the direction of a more constructive theory of texts and their interpretation and of die constraints of narrative and style diat affect fiction. 162 Joseph Margolis163 Fiction, we say, differs from reality as well as from legend. But in speaking thus, we betray an understandable confidence that these three kinds of"world"— or, these three worlds — are conceptually well-behaved and open to straightforward demarcation. Once more, we slip altogether too easily between talking about certain worlds and about the narrative accounts by which we do so. What distinguishes fictional reference? we ask, and what is a fictional world? The best way to proceed here is to begin with strong intuitions and to trace dieir systematic consequences in order to test how far they are unassailable — or whether and where they must yield to others that are more accommodating. One particularly promising equivocation is the following. We speak of fictional worlds as possible (but not actual) worlds; but even if what is possible in a fictional world corresponds (in some sense) to what is possible in the actual world, it is not, as such, a possibility of or at the actual world. The "possible worlds" idiom is fundamentally and doubly equivocal. For, a "possible world" signifies either what is merely logically or conceptually compossible, or what (under suitably referential, predicative, causal, and similar constraints) is compossible specifically with respect to the actual world (or some part of it). Certainly, Balzac's La Cousine Bette "presents" an imaginary world that is internally coherent and compossible. One might even say, ignoring its fictive nature, diat such a world — or events very much like those of the story — is compossible with a certain portion of the actual world of nineteenth-century France. But Lewis Carroll's Alice in Wonderfond, though it scrupulously presents a coherent world of compossible events, does not present a world compossible with the actual world. And, on certain views at least, Thomas Mann's The Transposed Heads presents a possible world that is a conceptual impossibility. There is, however, no need to quarrel about particular cases... (shrink)

Mayer, Caruso, and Salovey provide useful updates to the EI ability model and related concepts. However, they do not acknowledge conceptual limitations with the MSCEIT proportion scoring algorithm. In our view, failure to recognize these limitations has impeded refinements to the EI ability model and delayed support for positioning EI within the Cattell-Horn-Carroll three-stratum theory of intelligence. Fully appreciating algorithm-related issues justifies the reanalysis of MSCEIT data and may expand the range of metrics that are available to refine EI (...) theory. (shrink)

Joseph Hannon has expressed a most surprising objection to Aquinas scholar Prof William E. Carroll in his latest paper “Theological Objections to a Metaphysicalist Interpretation of Creation.” The main claim is that Prof. Carroll misunderstands Aquinas' doctrine of creatio ex nihilo by reducing it to a metaphysical notion, rather than considering it in its full theological sense. In this paper I show Hannon's misinterpretation of Carroll's and Thomas Aquinas' thought, particularly by stressing the dependence that the (...) doctrine of providence through secondary causes has on the doctrine of creatio ex nihilo. (shrink)

Theories of discourse bring to realism new ideas about how knowledge develops and how representations of reality are influenced. We gain an understanding of the conceptual aspect of social life and the processes by which meaning is produced. This collection reflects the growing interest realist critics have shown towards forms of discourse theory and deconstruction. The diverse range of contributions address such issues as the work of Derrida and deconstruction, discourse theory, Eurocentrism and poststructuralism. What unites all of the contributions (...) is a sense that it is essential to provide a realist alternative to the hitherto dominance of social constructionism, hermeneutics and postmodernism, over many of the issues discussed. By developing a realist perspective the different authors attempt to embed discourse within the structured nature of the reality of the world. Realism can situate language, discourse and ideology within context specific, or 'causally efficacious' circumstances. Realism can help to uncover issues of power, representation, and subjectivity and how discursive and other social practices produce real effects. This can help us understand the manner in which social structures are reproduced through various forms of ideology and discourse. And by knowing this, we can start to address questions concerning human emancipation and how the world is to be transformed. (shrink)

A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a (...) new approach. (shrink)

Topics covered in Discrete Mathematics have become essential tools in many areas of studies in recent years. This is primarily due to the revolution in technology, communications, and cyber security. The book treats major themes in a typical introductory modern Discrete Mathematics course: Propositional and predicate logic, proof techniques, set theory (including Boolean algebra, functions and relations), introduction to number theory, combinatorics and graph theory. An accessible, precise, and comprehensive approach is adopted in the treatment of each topic. The ability (...) of abstract thinking and the art of writing valid arguments are emphasized through detailed proof of (almost) every result. Developing the ability to think abstractly and roguishly is key in any areas of science, information technology and engineering. Every result presented in the book is followed by examples and applications to consolidate its comprehension. The hope is that the reader ends up developing both the abstract reasoning as well as acquiring practical skills. All efforts are made to write the book at a level accessible to first-year students and to present each topic in a way that facilitates self-directed learning. Each chapter starts with basic concepts of the subject at hand and progresses gradually to cover more ground on the subject. Chapters are divided into sections and subsections to facilitate readings. Each section ends with its own carefully chosen set of practice exercises to reenforce comprehension and to challenge and stimulate readers. As an introduction to Discrete Mathematics, the book is written with the smallest set of prerequisites possible. Familiarity with basic mathematical concepts (usually acquired in high school) is sufficient for most chapters. However, some mathematical maturity comes in handy to grasp some harder concepts presented in the book. (shrink)

Beyond Aesthetics brings together philosophical essays addressing art and related issues by one of the foremost philosophers of art at work today. Countering conventional aesthetic theories - those maintaining that authorial intention, art history, morality and emotional responses are irrelevant to the experience of art - Noël Carroll argues for a more pluralistic and commonsensical view in which all of these factors can play a legitimate role in our encounter with art works. Throughout, the book combines philosophical theorizing with (...) illustrative examples including works of high culture and the avant-garde, as well as works of popular culture, jokes, horror novels, and suspense films. (shrink)

In this article, “Narrative Closure,” a theory of the nature of narrative closure is developed. Narrative closure is identified as the phenomenological feeling of finality that is generated when all the questions saliently posed by the narrative are answered. The article also includes a discussion of the intelligibility of attributing questions to narratives as well as a discussion of the mechanisms that achieve this. The article concludes by addressing certain recent criticisms of the view of narrative expounded by this article.

Ranging over central issues of morals and politics and the nature of freedom and authority, this study examines the role of value-neutrality, rights, equality, ...