Jonathan Gottschall – författare

Featuring thirty-nine essential essays by pioneering scholars, scientists, and critics, Evolution, Literature, and Film opens with an introduction to the principles of evolution, with essays from Charles Darwin on the logic of natural selection, Richard Dawkins on the genetic revolution of modern evolutionary theory, Edward O. Wilson on the unity of knowledge, Steven Pinker on the transformation of psychology into an explanatory science, and David Sloan Wilson on the integration of evolutionary theory into cultural critique. Later sections include essays on the adaptive function of the arts, discussions of evolutionary literary theory and film theory, interpretive commentaries on specific works of literature and film, and analyses using empirical methods to explore literary problems. Texts under the microscope include folk- and fairy tales; Homer's Iliad; Shakespeare's plays; works by William Wordsworth, Charles Dickens, Emily Bronte, and Zora Neale Hurston; narratives in sci-fi, comics, and slash fiction; and films from Europe, America, Asia, and Africa. Each essay explains the contribution of evolution to a study of the human mind, human behavior, culture, and art.

Featuring thirty-nine essential essays by pioneering scholars, scientists, and critics, Evolution, Literature, and Film opens with an introduction to the principles of evolution, with essays from Charles Darwin on the logic of natural selection, Richard Dawkins on the genetic revolution of modern evolutionary theory, Edward O. Wilson on the unity of knowledge, Steven Pinker on the transformation of psychology into an explanatory science, and David Sloan Wilson on the integration of evolutionary theory into cultural critique. Later sections include essays on the adaptive function of the arts, discussions of evolutionary literary theory and film theory, interpretive commentaries on specific works of literature and film, and analyses using empirical methods to explore literary problems. Texts under the microscope include folk- and fairy tales; Homer's Iliad; Shakespeare's plays; works by William Wordsworth, Charles Dickens, Emily Bronte, and Zora Neale Hurston; narratives in sci-fi, comics, and slash fiction; and films from Europe, America, Asia, and Africa. Each essay explains the contribution of evolution to a study of the human mind, human behavior, culture, and art.

Homer's epics reflect an eighth-century BCE world of warrior tribes that were fractured by constant strife; aside from its fantastic scale, nothing is exceptional about Troy's conquest by the Greeks. Using a fascinating and innovative approach, Professor Gottschall analyses Homeric conflict from the perspective of modern evolutionary biology, attributing its intensity to a shortage of available young women. The warrior practice of taking enemy women as slaves and concubines meant that women were concentrated in the households of powerful men. In turn, this shortage drove men to compete fiercely over women: almost all the main conflicts of the Iliad and Odyssey can be traced back to disputes over women. The Rape of Troy integrates biological and humanistic understanding - biological theory is used to explore the ultimate sources of pitched Homeric conflict, and Homeric society is the subject of a bio-anthropological case study of why men fight.

Homer's epics reflect an eighth-century BCE world of warrior tribes that were fractured by constant strife; aside from its fantastic scale, nothing is exceptional about Troy's conquest by the Greeks. Using a fascinating and innovative approach, Professor Gottschall analyses Homeric conflict from the perspective of modern evolutionary biology, attributing its intensity to a shortage of available young women. The warrior practice of taking enemy women as slaves and concubines meant that women were concentrated in the households of powerful men. In turn, this shortage drove men to compete fiercely over women: almost all the main conflicts of the Iliad and Odyssey can be traced back to disputes over women. The Rape of Troy integrates biological and humanistic understanding - biological theory is used to explore the ultimate sources of pitched Homeric conflict, and Homeric society is the subject of a bio-anthropological case study of why men fight.

In recent years, articles in major periodicals from the New York Times Magazine to the Times Literary Supplement have heralded the arrival of a new school of literary studies that promises-or threatens-to profoundly shift the current paradigm. This revolutionary approach, known as Darwinian literary studies, is based on a few simple premises: evolution has produced a universal landscape of the human mind that can be scientifically mapped; these universal tendencies are reflected in the composition, reception, and interpretation of literary works; and an understanding of the evolutionary foundations of human behavior, psychology, and culture will enable literary scholars to gain powerful new perspectives on the elements, form, and nature of storytelling. The goal of this book is to overcome some of the widespread misunderstandings about the meaning of a Darwinian approach to the human mind generally, and literature specifically. The volume brings together scholars from the forefront of the new field of evolutionary literary analysis-both literary analysts who have made evolution their explanatory framework and evolutionist scientists who have taken a serious interest in literature-to show how the human propensity for literature and art can be properly framed as a true evolutionary problem. Their work is an important step toward the long-prophesied synthesis of the humanities and what Steven Pinker calls ""the new sciences of human nature.

An English professor begins training in the sport of mixed martial arts and explores the science and history behind the violence of menWhen a mixed martial arts (MMA) gym moves in across the street from his office, Jonathan Gottschall sees a challenge, and an opportunity. Pushing forty, out of shape, and disenchanted with his job as an adjunct English professor, part of him yearns to cross the street and join up. The other part is terrified. Gottschall eventually works up his nerve, and starts training for a real cage fight. He’s fighting not only as a personal test but also to answer questions that have intrigued him for years: Why do men fight? And why do so many seemingly decent people like to watch?In The Professor in the Cage, Gottschall’s unlikely journey from the college classroom to the fighting cage drives an important new investigation into the science and history of violence. Mixed martial arts is a full-contact hybrid sport in which fighters punch, choke, and kick each other into submission. MMA requires intense strength, endurance, and skill; the fights are bloody, brutal, and dangerous. Yet throughout the last decade, cage fighting has evolved from a small-time fringe spectacle banned in many states to the fastest-growing spectator sport in America.But the surging popularity of MMA, far from being new, is just one more example of our species’ insatiable interest not just in violence but in the rituals that keep violence contained. From duels to football to the roughhousing of children, humans are masters of what Gottschall calls the monkey dance: a dizzying variety of rule-bound contests that establish hierarchies while minimizing risk and social disorder. In short, Gottschall entered the cage to learn about the violence in men, but learned instead how men keep violence in check.Gottschall endures extremes of pain, occasional humiliation, and the incredulity of his wife to take us into the heart of fighting culture—culminating, after almost two years of grueling training, in his own cage fight. Gottschall’s unsparing personal journey crystallizes in his epiphany, and ours, that taming male violence through ritualized combat has been a hidden key to the success of the human race. Without the restraining codes of the monkey dance, the world would be a much more chaotic and dangerous place.