evolution. He argues instead for “a biocultural view which rejects the dichotomous views of both emotion and the study of emotion.” According to this model, culture arises “from certain evolved features of the human species” (2017: 156–157), and cultural
A Naturalized Aesthetics and the Challenge of Modernism
Kuleshov effect. The chapter concludes with a discussion of affective mimicry, building on earlier chapters and aiming to “thicken” the explanation with the aid of both neuroscientific evidence and evolutionary theory. Chapter 6 provides a “biocultural
This article analyzes the psychological and neurological underpinnings of crime fiction and discusses the interrelation between cultural and biological-evolutionary determinants of fictions of detection. It argues that although crime fiction is a product of modern life conditions, it is also centrally fueled in the minds of viewers and readers by the mammalian dopamine seeking/wanting system developed for seeking out resources by foraging and hunting and important for focused mental and physical goal-directed activities. The article describes the way the working of the seeking system explains how crime fiction activates strong salience (in some respects similar to the effect of dopamine-drugs like cocaine, Ritalin, and amphetamine) and discusses the role of social intelligence in crime fiction. It further contrasts the unempathic classical detector fictions with two subtypes of crime fiction that blend seeking with other emotions: the hardboiled crime fiction that blends detection with action and hot emotions like anger and bonding, and the moral crime fiction that strongly evokes moral disgust and contempt, often in conjunction with detectors that perform hard to fake signals of moral commitment that make them role models for modern work ethics. The article is part of bio-cultural research that describes how biology and culture interact as argued in Grodal's Embodied Visions.
Eleanor Sterling, Tamara Ticktin, Tē Kipa Kepa Morgan, Georgina Cullman, Diana Alvira, Pelika Andrade, Nadia Bergamini, Erin Betley, Kate Burrows, Sophie Caillon, Joachim Claudet, Rachel Dacks, Pablo Eyzaguirre, Chris Filardi, Nadav Gazit, Christian Giardina, Stacy Jupiter, Kealohanuiopuna Kinney, Joe McCarter, Manuel Mejia, Kanoe Morishige, Jennifer Newell, Lihla Noori, John Parks, Pua’ala Pascua, Ashwin Ravikumar, Jamie Tanguay, Amanda Sigouin, Tina Stege, Mark Stege, and Alaka Wali
, local communities ( Cochran et al. 2008 ). Elsewhere we have argued that in situ, culturally grounded approaches to developing indicators of human well-being and coupled ecological resilience—what we term biocultural approaches—can lead to effective
Biocultural Anthropology and Physical Education
Diverse forms of physical education form in their participants' skills, perceptual abilities and physiological adaptations that distinguish them from practitioners of other activities. These traits, many unconscious, are little studied in sociocultural anthropology in spite of their widespread prevalence. This article specifically explores how practitioners of capoeira, an Afro-Brazilian dance and martial art, learn to do a bananeira, a form of handstand. Its form, practical demands and training techniques make the bananeira a radically different exercise than other forms of handstand, such as that done by gymnasts. Capoeira practitioners develop a distinctive sense of balance—a dynamic assembly of perceptual skills and motor responses—that they use to keep upright while inverted. Across all cultures, forms of physical education and apprenticeship assemble distinctive physical skills, forms of cultural difference that should be defended as ardently as other forms of distinctiveness.
Skepticism, even hostility, about the relevance of the natural sciences to the humanities has been the orthodoxy for several decades—a position finding support from otherwise disparate traditions and philosophies, including that of the late Wittgenstein, and post-structuralism. What, then, of the ambitions of those counter-movements within the humanities, like cognitive film theory, which have actively turned to scientific knowledge as a resource in exploring certain aspects of the arts and culture? This article examines emotional expression and experience in relation to film, testing the hypothesis that different theories of emotion, and in particular scientifically grounded theories of emotion, will yield different implications about both emotional expression in film, and our emotional response to films. To concretize the argument, this article offers an analysis of a sequence from Heimat 3, contextualized by a consideration of various factors that make the series as a whole a particularly illuminating case study.
Bioculturalist approach can be fruitfully employed to explain why fictional violence is such an integral part of both our art and entertainment. In any cultural context aggression related biological traits are controlled and shaped in order to ensure both the internal order and the security of a community. William Flesch has argued that his process is guided by the tendency to admire altruistic punishers, who without self-interest assume the task of punishing evildoers. Spectators of such actions tend to react to it emotionally, both spontaneously and via reflection, thus giving the experience both an emotional and a meta-emotional aspect. This plays an important role in relating to the ways in which resorting to violence is justified in mainstream films. This scenario has a strong emotional appeal, even if the spectator would deplore such means in real life contexts. This discrepancy emerges even more strongly in the revenge scenario, which in a fictional context can appear satisfying and empowering despite the moral qualms the spectator might have concerning the ethics of revenge. Because of the deeply ingrained cult of individuality and doubts about the efficacy of government in maintaining law and order, these narrative patterns have developed especially strongly within American popular culture. However, judging by the worldwide success of such films, their appeal is nonetheless quite universal.
Hayder Al-Mohammad and David Lempert
There Is No Such Thing as a Social Science: In Defence of Peter Winch. Directions in Ethnomethodology and Conversation Analysis. Phil Hutchinson, Rupert Read and Wes Sharrock, Surrey: Ashgate, 2008, ISBN 978-0-7546-4776-8, 148pp., Hb. £50.
Biocultural Diversity Conservation: A Global Sourcebook. Luisa Maffi and Ellen Woodley, Washington, DC: Earthscan Publishers, 2010, ISBN 9781844079216, 282pp., Hb. £34.99.
The Heritage-scape: UNESCO, World Heritage, and Tourism. Michael A. Di Giovine, New York: Lexington Books, 2009, ISBN: 9780739114346, 519 pp., Hb. $95, Pb. $45.
Social, Historical, and Ecological Intersections between Asian Elephants and Humans
Humans and elephants have lived together and shared space together in diverse ways for millennia. The intersections between these thinking and feeling species have been differently explored, for different reasons, by disciplines across the sciences, humanities, and social sciences. Such disciplinary divisions, predicated on oppositions of human-animal and nature-culture, are integral to the configuration of modernist thought. However, posthumanist and biocultural thinking questions the underlying epistemological conventions, thereby opening up interdisciplinary possibilities for human-animal studies. In relation to issues of conflict and coexistence, this article charts the emergence of an interdisciplinary research program and discursive space for human-elephant intersections under the rubric of ethnoelephantology. Recognizing continuities between the sentient and affective lifeworlds of humans and elephants, the mutual entanglements of their social, historical, and ecological relations, and the relevance of combining social and natural science methodologies, the article surveys recent research from anthropology, history, and geography that exemplifies this new approach.
The Role of (Liberated) Embodied Simulation
justice to the many ideas, principles, and strategies that Smith puts forward in an effort to build a naturalized approach to film and the arts. As a supporter and active practitioner of the “third-culture approach” and a follower of the biocultural turn