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)

Drawing on examples from the history of warfare from the crusades to the present day, "The ethics of war" explores the limits and possibilities of the moral regulation of war. While resisting the commonly held view that 'war is hell', A.J. Coates focuses on the tensions which exist between war and morality. The argument is conducted from a just war standpoint, though the moral ambiguity and mixed record of that tradition is acknowledge and the dangers which an exaggerated view of (...) the justice or moral worth of war poses are underlined. In the first part, the broad image of the just war is compared with the competing images of realism, militarism and pacifism. In the second part, the moral issues associated both with the decision to go to war and with the manner in which war is conducted are explored. Was the allied decision to go to war in the Gulf premature? were economic sanctions a more effective and morally preferable option? was Britain justified in going to war over the Falklands? did the allied bombing of Germany in the Second World War constitute a war crime? should the IRA's claim to belligerent status be recognised? these questions and more are raised in this important book. (shrink)

Rousseau -- Karl Marx -- Dostoevsky -- Friedrich Nietzsche -- Henry Adams -- Emmanuel Mounier -- Albert Camus and Jean-Paul Sartre.

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)

This book conducts a timely inquiry into contemporary conscience and politics.

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)

Max Weber’s sociological theories of secularization have vastly influenced the study of Protestant belief. _Protestant Modernity_ offers a multifaceted understanding of secularization within the broader context of nineteenth-century liberal Protestantism. Anthony J. Carroll reconstructs Weber’s original writings to highlight Protestant motifs, reviews current secularization theories, and settles debates about contested meanings of secularization in this volume that will be essential reading for students and scholars of theology and the sociology of religion.

Arguments between those who hold religious beliefs and those who do not have been at fever pitch. They have also reached an impasse, with equally entrenched views held by believer and atheist - and even agnostic - alike. This collection is one of the first books to move beyond this deadlock. Specially commissioned chapters address major areas that cut across the debate between the two sides: the origin of knowledge, objectivity and meaning; moral values and the nature of the human (...) person and the good life; and the challenge of how to promote honest and fruitful dialogue in the light of the wide diversity of beliefs, religious and otherwise. Under these broad headings leading figures in the field examine and reflect upon: Secular and religious humanism The idea of the sacred The vexed issue of science in both religious and secular accounts of knowledge Spirituality for the godless Non-western perspectives on the atheism/theism debate. A key feature of the collection is a dialogue between Raymond Tallis and Rowan Williams, former Archbishop of Canterbury. _Religion and Atheism: Beyond the Divide _will interest anyone who is concerned about the clash between the religious and the secular and how to move beyond it, as well as students of ethics, philosophy of religion and religious studies. (shrink)

Following Aristotle's distinction between theoretical and practical rationality, Max Weber holds that beliefs about the world and actions within the world must follow procedures consistently and be appropriately formed if they are to count as rational. Here, I argue that Weber's account of theoretical and practical rationality, as disclosed through his conception of the disenchantment of the world, displays a confessional architecture consistently structured by a nineteenth century German Protestant outlook. I develop this thesis through a review of the concepts (...) of rationality and disenchantment in Weber's major works and conclude that this conceptual framework depicts a Protestant account of modernity. (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)

Arguments between those who hold religious beliefs and those who do not have been at fever pitch. They have also reached an impasse, with equally entrenched views held by believer and atheist - and even agnostic - alike. This collection is one of the first books to move beyond this deadlock. Specially commissioned chapters address major areas that cut across the debate between the two sides: the origin of knowledge, objectivity and meaning; moral values and the nature of the human (...) person and the good life; and the challenge of how to promote honest and fruitful dialogue in the light of the wide diversity of beliefs, religious and otherwise. Under these broad headings leading figures in the field examine and reflect upon: Secular and religious humanism The idea of the sacred The vexed issue of science in both religious and secular accounts of knowledge Spirituality for the godless Non-western perspectives on the atheism/theism debate. A key feature of the collection is a dialogue between Raymond Tallis and Rowan Williams, former Archbishop of Canterbury. _Religion and Atheism: Beyond the Divide _will interest anyone who is concerned about the clash between the religious and the secular and how to move beyond it, as well as students of ethics, philosophy of religion and religious studies. (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)

Following Aristotle's distinction between theoretical and practical rationality, Max Weber holds that beliefs about the world and actions within the world must follow procedures consistently and be appropriately formed if they are to count as rational. Here, I argue that Weber's account of theoretical and practical rationality, as disclosed through his conception of the disenchantment of the world, displays a confessional architecture consistently structured by a nineteenth century German Protestant outlook. I develop this thesis through a review of the concepts (...) of rationality and disenchantment in Weber's major works and conclude that this conceptual framework depicts a Protestant account of modernity. (shrink)

Uncertainty is recognized as a key issue in water resources research, amongst other sciences. Discussions of uncertainty typically focus on tools and techniques applied within an analysis, e.g. uncertainty quantification and model validation. But uncertainty is also addressed outside the analysis, in writing scientific publications. The language that authors use conveys their perspective of the role of uncertainty when interpreting a claim —what we call here “framing” the uncertainty. This article promotes awareness of uncertainty framing in four ways. 1) It (...) proposes a typology of eighteen uncertainty frames, addressing five questions about uncertainty. 2) It describes the context in which uncertainty framing occurs. This is an interdisciplinary topic, involving philosophy of science, science studies, linguistics, rhetoric, and argumentation. 3) We analyze the use of uncertainty frames in a sample of 177 abstracts from the Water Resources Research journal in 2015. This helped develop and tentatively verify the typology, and provides a snapshot of current practice. 4) Provocative recommendations promote adjustments for a more influential, dynamic science. Current practice in uncertainty framing might be described as carefully-considered incremental science. In addition to uncertainty quantification and degree of belief (present in ~5% of abstracts), uncertainty is addressed by a combination of limiting scope, deferring to further work (~25%) and indicating evidence is sufficient (~40%) – or uncertainty is completely ignored (~8%). There is a need for public debate within our discipline to decide in what context different uncertainty frames are appropriate. Uncertainty framing cannot remain a hidden practice evaluated only by lone reviewers. (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.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese AnimationJoseph MurphyAnime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation. By Susan Napier. New York: St. Martin's Press, 2001. Pp. vii + 320.Certain progressions can be marked from Antonia Levi's Samurai from Outer Space in 1996 to Susan Napier's Anime: From Akira to Princess Mononoke: Experiencing Contemporary Japanese Animation in 2001. While both survey the phenomenon of Japanese (...) animation as consumed in North America, the palpable underdog subcultural context and sense of mission in Levi's earlier work has given way to a confident mainstream appreciation in Napier's, with the term "Japanese animation" replaced in English by the naturalized anime (a-ni-mé, pl. anime). In a fast-moving media phenomenon both were dated as soon as they were published; however, bolstered by the worldwide critical and financial success of Miyazaki Hayao's work, and contemporary with the exposure to youth by the rise of 24/7 cartoon networks and the runaway success of the card game-anime nexus, Napier's Anime finds itself still in the right historical moment. Though the book has limitations in terms of both its own systematicity and its treatment of potentially interesting philosophical themes in anime, it is a reliable and sometimes inspired guide to a new phenomenon that forms an increasingly important default in the background your students bring.Napier is concerned not so much with accounting for the visual and perceptual properties of anime as with its narrative qualities: "Japanese animation merits serious consideration as a narrative art form and not simply for its arresting visual style.... Much of this book will be an investigation into the themes, imagery, and ideas of some of the most memorable anime created over the last two decades" (p. 10). The strengths and weaknesses of this book are nicely summed up here. Concentrating on narrative—a formal property of storytelling transposable across media—allows a broad and well-chosen survey of themes, images, and ideas. However, there is some question as to whether this will allow the reader to satisfy the ambition to "understand what makes anime the distinctive art form it is" (p. 10).The book is comprised of twelve chapters in four parts. Part 1 is an introduction that argues for the importance of anime and sketches a quasi-Aristotelian method as the basis for Napier's taxonomy. Parts 2-4 cover major thematic divisions that characterize the particular obsessions, power, and drama of anime, and these are particularly well-chosen to reflect not just the relatively palatable work deemed suitable for TV or subtitled for video distribution in the United States but also the anarchic diversity of the phenomenon as it circulates in Japan. Part 2 is on the essential theme of the changeable body and includes discussion of the monstrous adolescent body, pornographic anime, and the cybernetic body, and will allow you to catch up with classic anime like Akira (1988), Ranma 1/2 (TV version, 1990s), and Ghost in the Shell (theater version, 1996). Part 3 is on fantasy and romance as genres and the unusual [End Page 493] space in anime for female leads, and includes discussion of Miyazaki's pastoral work and the comedy TV series Urusei Yatsura (1980s), Oh My Goddess (1980s), and Video Girl Ai (1990s). Part 4 discusses anime that have sought to make a self-conscious contribution to historical debate, including Barefoot Gen (1983) and Grave of the Fireflies (1988), on the bombing of Japanese cities in World War II, and Miyazaki's Princess Mononoke (1997), which presents a multicultural picture of Japan's past produced in consultation with Japan's leading ethnologists. Discussions are balanced and entertaining, introducing the major auteurs of the last twenty years (Oshii Mamoru, Otomo Katsuhiro, Takahashi Rumiko, etc.) and creating the sharp impression that the genre of anime is not the same as the American concept of "cartoons."Though the anime phenomenon raises interesting sociocultural and critical questions about narrative and image culture, it is not immediately certain that there is a philosophical issue to anime. One might seek this philosophical content within the medium itself or in a systematic quality... (shrink)

Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

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)

Studies the Renaissance and the 17th century in two ways. The first four essays turn on problems of metaphor and style while the second group are about Machiavelli and Machiavellism and Andrew Maxwell.