evolutionary psychology approach; ignoring new forms of aggression; and failing to acknowledge the political underpinnings of his own research. In this article, I will explore these shortcomings in relation to sexual violence. The study of sexual violence is
Based on film examples and evolutionary psychology, this article discusses why viewers are fascinated not only with funny and pleasure-evoking films, but also with sad and disgust-evoking ones. This article argues that although the basic emotional mechanisms are made to avoid negative experiences and approach pleasant ones, a series of adaptations modify such mechanisms. Goal-setting in narratives implies that a certain amount of negative experiences are gratifying challenges, and comic mechanisms make it possible to deal with negative social emotions such as shame. Innate adaptations make negative events fascinating because of the clear survival value, as when children are fascinated by stories about loss of parental attachment. Furthermore, it seems that the interest in tragic stories ending in death is an innate adaptation to reaffirm social attachment by the shared ritual of sadness, often linked to acceptance of group living and a tribal identity.
Daniel Lord Smail
dominant narrative of Better Angels is founded on contingency. Why do some readers miss this point? To appreciate what Pinker is arguing, it helps to be familiar with the latest trends in the field of evolutionary psychology. At the risk of
determine if violence declines when they rise, or rises when they decline. Third, although historical forces affect our minds and bodies, as Pinker argues, contemporary primatology, neurology, and endocrinology, rather than evolutionary psychology, may hold
Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film
Murray Smith’s Film, Art, and the Third Culture makes a significant contribution to cognitive film theory and philosophical aesthetics, expanding the conceptual tools of film analysis to include perspectives from neuroscience and evolutionary psychology. Smith probes assumptions about how cinema affects spectators by examining aspects of experience and neurophysiological responses that are unavailable to conscious, systematic reflection. This article interrogates Smith’s account of emotion, empathy, and imagination in cinematic representation and film spectatorship, placing his work in dialogue with other recent interventions in the fields of cinema studies and embodied cognition. Smith’s contribution to understanding the role of emotion in screen studies is vital, and when read in conjunction with recent publications by Carl Plantinga and Mark Johnson on ethical engagement and the moral imagination, this new work constitutes a notable advance in film theory.
Where Do the Twain Meet?
C. S. A. (Kris) van Koppen
. Evolutionary psychology and neurosciences apply evolution theory and neurophysiology to explain human behavior. In major social science disciplines such as sociology, anthropology, and political sciences, however, specific social science concepts and methods
Paul Taberham and Kaitlin Brunick
in order to protect and advance vital human interests” (86). However plausible this assertion may be, it remains a speculation (contentious to some, given the controversy of evolutionary psychology), and referring readers to the relevant literature
Assessing the Impacts of Biology and Navigational Experience
Mariah G. Schug
Beate Hansen , and Leif Edward Ottesen Kennair . 2011 . “ Children’s Risky Play from an Evolutionary Perspective: The Anti-Phobic Effects of Thrilling Experiences .” Evolutionary Psychology 9 , no. 2 : 257 – 284 . Schug , Mariah G . 2016
Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg
.” Internet, Film, News, Gossip: An Evolutionary Perspective on the Media , ed. Jerome Barkow . Oxford : Oxford University Press . https://www.academia.edu/8186966/Supernormal_Stimuli_in_the_Media_in_Barkow_J_H_Editor_Internet_film_news_gossip_an_evolutionary_psychology
-ethical theory, which, in the present case, amounts to a standard account of current moral fictionalism, grounded in nascent evolutionary psychology. The idea that moral values amount to convenient fictions leads Irwin to provide his readers with a series of