Evolutionary Aesthetics Of Human Ethics In Hardy S Tragic Narratives

Treatment of Hardy’s tragic narratives under the objective lens of evolutionary literary theory has led to three basic findings: First, within the scope of the analysis of the five major tragic narratives, representation of Hardy’s evolutionary aesthetics of human ethics, in terms of altruistic sympathy and compassion, shows that adapted parental investment in children indicates the reason why women submit to pain and suffering more than the men do. The costly investment of women in maternal behaviour leads to submission in many cases, but in return they gain better fitness for survival and reproduction than men. This is implicitly highlighted as a force of superiority in the tragedies studied, as the male characters often invest in heroic deeds over their children. Second, that which has for many years been identified as pessimism in Hardy’s tragic narratives is in fact a surface cognitive layer, under which is an implicit teaching of evolutionary aesthetics of human ethics, which guides to a true fitness of human life. Third, sympathy and particularly compassion are not only human emotions but also adapted cognitive virtues that centre on ethical teaching. Thus, an integrated model of science and humanities for art and literary analysis is required to address not only those of English language and literature departments, but also those aligned to the idea of integrating the two methods. A scientific and objective view of human life is in opposition to postmodern and structuralist approaches, which have generally been considered as the centre of interest during the latter half of the 20th century.

Dr. Riza Öztürk's new book, The Origin of Hardy's Tragic Vision, is a lucid explanation of the most important aspect of novelist Thomas Hardy's worldview - the destruction of self. Dr. Öztürk gets to the core of Hardy's three tragic novels and led us to the conclusion that Hardy did indeed manage to contribute to the development of the modern tragic novels.

Brian Boyd explains why we tell stories and how our minds are shaped to understand them. After considering art as adaptation, Boyd examines Homer's Odyssey and Dr. Seuss's Horton Hears a Who! demonstrating how an evolutionary lens can offer new understanding and appreciation of specific works. Published for the bicentenary of Darwin's birth and the 150th anniversary of the publication of Origin of Species, Boyd's study embraces a Darwinian view of human nature and art, and offers a credo for a new humanism.

A provocative and urgent essay collection that asks how we can live with hope in “an age of ecocide” Paul Kingsnorth was once an activist—an ardent environmentalist. He fought against rampant development and the depredations of a corporate world that seemed hell-bent on ignoring a looming climate crisis in its relentless pursuit of profit. But as the environmental movement began to focus on “sustainability” rather than the defense of wild places for their own sake and as global conditions worsened, he grew disenchanted with the movement that he once embraced. He gave up what he saw as the false hope that residents of the First World would ever make the kind of sacrifices that might avert the severe consequences of climate change. Full of grief and fury as well as passionate, lyrical evocations of nature and the wild, Confessions of a Recovering Environmentalist gathers the wave-making essays that have charted the change in Kingsnorth’s thinking. In them he articulates a new vision that he calls “dark ecology,” which stands firmly in opposition to the belief that technology can save us, and he argues for a renewed balance between the human and nonhuman worlds. This iconoclastic, fearless, and ultimately hopeful book, which includes the much-discussed “Uncivilization” manifesto, asks hard questions about how we’ve lived and how we should live.

Ludwig Wittgenstein famously said, “Ethics is aesthetics.” It is unclear what such a claim might mean and whether it is true. This book explores contentious issues arising at the interface of ethics and aesthetics. The contributions reflect on the status of aesthetic en ethical judgments, the relation of aesthetic beauty and ethical goodness and art and character development. The book further considers the potential role art could play in ethical analysis and in the classroom and explores in what respects aesthetics and ethics might be intertwined and even mutually supportive.