Shakespeare And The Evolution Of The Human Umwelt

Shakespeare and the Evolution of the Human Umwelt brings together research on Shakespeare, biosemiotics, ecocriticism, epigenetics and actor network theory as it explores the space between nature and narrative in an effort to understand how human bodies are stories told in the emergent language of evolution, and how those bodies became storytellers themselves. Chapters consider Shakespeare’s plays and contemporary works, such as those of Barbara Kingsolver and Margaret Atwood, or productions for which Shakespeare is a genetic forebear, as evolutionary artefacts which have helped to shape the human umwelt—the species-specific linguistic habitat that humans share in common. The work investigates the juncture where semisphere meets biosphere and illuminates the role that narrative plays in our construction of the world we occupy. The plays of Shakespeare, as works that have had unparalleled cultural diffusion, are uniquely situated to speak to the ways in which ideas and the texts they use as vehicles are always material, always environmental, and always alive. The book discusses Shakespeare’s works as vital nodes in our cultural, historical, moral and philosophical networks, but also as environmental actors in and of themselves. Plays are presented alternately as digitally encoded bits of culture awaiting their connection to an analog world, or as bacteria interacting with living organisms in both productive and destructive ways, altering their structure and creating new meaning through movement that is simultaneously biological and poetic. This book will be of great interest to students and scholars of ecocriticism looking to model ecocritical readings and bridge gaps between scientific, philosophical and literary thinking.

Wild Romanticism consolidates contemporary thinking about conceptions of the wild in British and European Romanticism, clarifying the emergence of wilderness as a cultural, symbolic, and ecological idea. This volume brings together the work of twelve scholars, who examine representations of wildness in canonical texts such as Frankenstein, Northanger Abbey, "Kubla Khan," "Expostulation and Reply," and Childe Harold ́s Pilgrimage, as well as lesser-known works by Radcliffe, Clare, Hölderlin, P.B. Shelley, and Hogg. Celebrating the wild provided Romantic-period authors with a way of thinking about nature that resists instrumentalization and anthropocentricism, but writing about wilderness also engaged them in debates about the sublime and picturesque as aesthetic categories, about gender and the cultivation of independence as natural, and about the ability of natural forces to resist categorical or literal enclosure. This book will be of great interest to students and scholars of Romanticism, environmental literature, environmental history, and the environmental humanities more broadly.

The best conception of love, Marcus Nordlund contends, and hence the best framework for its literary analysis, must be a fusion of evolutionary, cultural, and historical explanation. It is within just such a bio-cultural nexus that Nordlund explores Shakespeare’s treatment of different forms of love. His approach leads to a valuable new perspective on Shakespearean love and, more broadly, on the interaction between our common humanity and our historical contingency as they are reflected, recast, transformed, or even suppressed in literary works. After addressing critical issues about love, biology, and culture raised by his method, Nordlund considers four specific forms of love in seven of Shakespeare’s plays. Examining the vicissitudes of parental love in Titus Andronicus and Coriolanus, he argues that Shakespeare makes a sustained inquiry into the impact of culture and society upon the natural human affections. King Lear offers insight into the conflicted relationship between love and duty. In two problem plays about romantic love, Troilus and Cressida and All’s Well that Ends Well, the tension between individual idiosyncrasies and social consensus becomes especially salient. And finally, in Othello and The Winter’s Tale, Nordlund asks what Shakespeare can tell us about the dark avatar of jealousy.

The eminent zoologist “extends his pioneering work in evolutionary biology” to examine “our preferences, predilections, fears, hopes, and aspirations” (Stephen R. Kellert, author of Birthright). Why do we jump in fear at the sight of a snake and marvel at the beauty of a sunrise? These impulsive reactions are no accident; in fact, many of our human responses to nature are steeped in our evolutionary past—we fear snakes because of the danger of venom, and we welcome the assurances of sun as the predatory dangers of night disappear. According to evolutionary biologist Gordon Orians, many of our aesthetic preferences—from the kinds of gardens we build to the foods we enjoy and the entertainment we seek—are the lingering result of natural selection. In Snakes, Sunrises, and Shakespeare, Orians explores the role of evolution in human responses to the environment, applying biological perspectives ranging from Darwin to current neuroscience. Orians reveals how our emotional lives today are shaped by decisions our ancestors made centuries ago on African savannas as they selected places to live, sought food and safety, and socialized in small hunter-gatherer groups. During this time our likes and dislikes became wired in our brains, as the appropriate responses to the environment meant the difference between survival or death. His rich analysis explains why we mimic the tropical savannas of our ancestors in our parks and gardens, why we are simultaneously attracted to and repelled by danger, and how paying close attention to nature’s sounds has made us an unusually musical species.

In this volume, 12 eminent scientists and philosophers engage in fundamental, perennial questions about time: Does time exist? Is 'time' a single or multiple entity? Is it possible to reconcile contradictory notions of time, such as subjective and objective, metaphysics and physics, McTaggart's A series and B series, or presentism and eternalism? Does the Special Theory of Relativity dictate a static, deterministic account of reality ('block universe') or does it allow for 'free will'? How did the concept of geologic time originate and what are the limits of its knowledge? How is the Anthropocene defined? Each author examines these questions from the point of view of their own specialties, but without ignoring the metaphysical importance of the issue, nor the possibility that scientific advances might enforce revisions of our brain intuitive judgments.

This work represents a guided tour to the interdisciplinary, integrated study of time. Through twenty-two connected essays, selected from the author's extensive writings, "Time and Time Again" advances new insights into understanding the nature of time seen through philosophy, the arts and letters, the sciences of matter, life, mind and society. Traditionally, attitudes to future, past, and present remained distinct for different cultures. But upon the globalizing earth, all cultural regions are now in instant by instant communication. There is a consequent turmoil about individual and collective identities and about value judgments, in all of which attitudes to time play crucial roles. The book explores this turmoil and, through its references, it also serves as a guide to the broadly spread literature about time.