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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."
- Sales Rank: #940107 in Books
- Brand: Brand: Northwestern University Press
- Published on: 2005-12-26
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .90" w x 6.00" l, .98 pounds
- Binding: Paperback
- 336 pages
- Used Book in Good Condition
About the Author
Jonathan Gottschall has a Phd in English and teaches at St. Lawrence University.
David Sloan Wilson is professor of biology and anthropology at Binghamton University.
Most helpful customer reviews
37 of 42 people found the following review helpful.
Insightful and Enjoyable
By atavism
As an evolutionary biologist with a strong interest in literary theory, finding this book was extremely exciting for me, and it definitely lived up to my expectations. The book consists of a collection of thought provoking, well written essays that emphasize the need to incorporate evolutionary theory into the analysis of literature (and a few other art forms) and provide strong examples of the benefits of using this technique. The contributing authors come from a wide range of disciplines and bring a variety of views to the text. Some of my favorite essays included an analysis of Pride and Prejudice using evolutionary themes, an investigation of male-male bonds in narratives, and a discussion of the possible benefits we receive from watching/reading drama. I strongly recommend this for anyone who is interested in evolution, literature, or human nature.
27 of 33 people found the following review helpful.
Theoretical Rescue!
By Jeff Turpin
Literary Animal is a relief to those of us who find that traditional literary theory just doesn't fit the empirical world. Insightful, fair, and balanced, the text is stimulating on a variety of levels, with measured critiques of existing theoretical approaches, and applications of evolutionary theory to a variety of literary tales. A gate-way text for students and teachers of this new theoretical paradigm.
4 of 5 people found the following review helpful.
A Very Important Book
By Richard B. Schwartz
This is a book designed to carve out space for a school. It might be compared with the ‘Chicago school’ book, Critics and Criticism. It brings together a number of neoDarwinian literary scholars and colleagues in the human sciences in order to make a point in various ways: the lessons of evolutionary psychology are relevant for literary study and could, actually, revolutionize literary study.
This is a gutsy book, but its gutsiness may not be immediately apparent to students in the human sciences. It argues that there is such a thing as ‘human nature’, that aspects of ‘human nature’ can be demonstrated through the use of science and that that nature is the result of both nature and nurture. That seems simple enough, except for the fact that many literary students (especially those whose endeavors or scholarly designations end in –ism or -ists) often believe that there is no such thing as human nature and that human behavior is constructed largely (or even exclusively) by human culture. In other words, a large number of literary students believe things which the scientific community considers somewhere between ‘disproven’ and ‘nonsensical’. To adapt the ways of science thus involves the necessity of abandoning some thirty years of literary ‘scholarship’ and the admission that its foundations were fanciful (or, more likely, ideological).
The book opens with forewords by two titans—E. O. Wilson and Frederick Crews—and includes essays by such important scholars as Brian Boyd, Joseph Carroll, David Sloan Wilson and the novelist/essayist Ian McEwan. The subjects include the following: the extent to which the activities of primate communities suggest—directly—the subjects of the 19thc novel; the extent to which an evolutionary perspective can illuminate a masterpiece (in this case, Pride and Prejudice); the evolutionary reasons behind the theme of male bonding in epics and romances; and evolutionary theories of art: why do we have it? Is it a by-product of our evolutionary development or is it truly ‘adaptive’?
The book also suggests the viability of quantitative approaches to literary study and the degree to which literary study could utilize certain methods common in the human sciences.
The authors are aware that many of the arguments adduced and the conclusions (tentatively) reached may not prove to be ultimately true. We cannot return to the period 100,000 years in the past when many of the behaviors upon which they speculate might or might not have actually occurred. Nevertheless, the essays are all interesting and suggestive. Crews’s foreword is particularly cogent. He argues that regardless of the ultimate truth of these studies’ conclusions, we should applaud their effort to restore empiricism to literary study. There is a great deal at stake here—nothing less than the possibility that literary study might once again command respect from colleagues in the human and natural sciences and be instructive for them. A larger portion of literary study might prove to be cumulative and not merely transitory or evanescent.
I would add that the many advances in neuroscience could also prove to be of great use to students of literature and free them from the isolation which the various ‘theoretical’ –isms have created. Surrounded by stunning advances in our understanding of, e.g., the human brain, many literary students have remained indifferent, clinging to ideas commensurate with their ideological stances, ideas which have been disproven and superseded for decades.
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