On the origin of stories: evolution, cognition, and fiction
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
Cambridge, Mass. [u.a.]
Belknap Press of Harvard Univ. Press
2009
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| Subjects: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017720037&sequence=000004&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=017720037&sequence=000006&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Physical Description: | XII, 540 S. Ill. |
| ISBN: | 9780674033573 9780674057111 |
Staff View
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Record in the Search Index
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| adam_text | Titel: On the origin of stories
Autor: Boyd, Brian
Jahr: 2009
CONTENTS
Illustrations ix
Acknowledgments xi
Introduction: Animal, Human, Art, Story 1
Book i
evolution, art, and fiction 13
Parti
Evolution and Nature
1 Evolution and Human Nature? 19
2 Evolution, Adaptation, and Adapted Minds 31
3 The Evolution of Intelligence 42
4 The Evolution of Cooperation 51
Part 2
Evolution and Art
5 Art as Adaptation? 69
6 Art as Cognitive Play 80
7 Art and Attention 99
8 From Tradition to Innovation 113
Part 3
Evolution and Fiction
9 Art, Narrative, Fiction 129
10 Understanding and Recalling Events 132
11 Narrative: Representing Events 159
vn
Contents
12 Fiction: Inventing Events 177
13 Fiction as Adaptation 188
Book ii
from zeus to seuss: origins of stories 209
Part 4
Phylogeny: The Odyssey
14 Earning Attention (1): Natural Patterns: Character and Plot 215
15 Earning Attention (2):
Open-Ended Patterns: Ironies of Structure 232
16 The Evolution of Intelligence (1): In the Here and Now 255
17 The Evolution of Intelligence (2):
Beyond the Here and Now 269
18 The Evolution of Cooperation (1): Expanding the Circle 287
19 The Evolution of Cooperation (2): Punishment 303
Part 5
Ontogeny: Horton Hears a Who!
20 Problems and Solutions: Working at Play 321
21 Levels of Explanation: Universal, Local, and Individual 334
22 Levels of Explanation: Individuality Again 348
23 Levels of Explanation: Particular 358
24 Meanings 368
Conclusion
Retrospect and Prospects: Evolution, Literature, Criticism 380
Afterword
Evolution, Art, Story, Purpose 399
Notes 417
Bibliography 457
Index 509
VIII
ILLUSTRATIONS
Spearthrower from Mas d Azil, France, ca. 14,000 b.c.e.
Photo Jean Vertut 8 2
Clifford Possum Tjapaltjarri, Yuelamu Honey
Ant Dreaming, 1980. © estate of the artist licensed by
Aboriginal Artists Agency 2008 85
Kathleen Petyarre, Mountain Devil Lizard Dreaming
(With Winter Sandstorm), 1996. Courtesy of the artist
and Gallerie Australis 86
Samburu girls, Kenya: art as pattern.
© Carol Beckwith and Angela Fisher/photokunst 100
Surma girls, Ethiopia: art as play with pattern.
© Carol Beckwith and Angela Fisher/photokunst 107
Frame from Fritz Heider and Marianne Simmel film, 1944.
Adapted from Heider and Simmel 1944, reproduced in
Simon Baron-Cohen, Mindblindness: An Essay on Autism
and Theory of Mind, (Cambridge, Mass: MIT Press, 1995), p. 36. 138
Diagram of the Sally-Anne test for false belief
(theory of mind). From S. Baron-Cohen, A. M. Leslie, and
U. Frith, Does the autistic child have a theory of mind?
Cognition, 21 (1985): 37-46, reproduced in Dan Sperber (ed).,
Metarepresentations: A Multidisciplinary Perspective
(Oxford: Oxford University Press 2000), p. 200. 146
Isolated moving dots seen as people by viewers.
From Peter Hobson, Cradle of Thought (New York:
IX
Illustrations
Oxford University Press, 2004), p. 54. (Originally published
by Macmillan, London, 2002). By permission of
Oxford University Press, Inc. 164
Upside-down faces used to test children with and
without autism. From Peter Hobson, Cradle of Thought
(New York: Oxford University Press, 2004), p. 247.
By permission of Oxford University Press, Inc. and the
Paul Ekman Group (www.paulekman.com). 165
Dr. Seuss: cover of Judge magazine, June 1933. 328
Palmer Cox s Brownies, 1887. From The Brownies:
Their Book, 1887 (rept. New York: Dover, 1968), p. 93. 345
Dr. Seuss, Horton Hears a Who!, 1954: Who-ville.
©, ™ Dr. Seuss Enterprises, L. P. 1954, renewed 1982.
Used by permission of Random House Children s Books,
a division of Random House, Inc. 346
Dr. Seuss: Horton Hears a Who!, 1954: the confrontation scene.
©, ™ Dr. Seuss Enterprises, L. P. 1954, renewed 1982.
Used by permission of Random House Children s Books,
a division of Random House, Inc. 363
Nok sculpture (Nigeria), ca. 400 b.c.e. From Bernard de Grunne,
The Birth of Art in Africa: Nok Statuary in Nigeria
(Paris: Adam Biro, 1999), p. 36. Photo by Louis Tirily. 410
A century and a half after the publica¬
tion of Origin of Species, evolutionary
thinking has expanded beyond the
field of biology to include virtually all
human-related subjects—anthropology,
archaeology, psychology, economics,
religion, morality, politics, culture, and
art. Now a distinguished scholar offers
the first comprehensive account of
the evolutionary origins of art and
storytelling. Brian Boyd explains why
we tell stories, how our minds are
shaped to understand them, and what
difference an evolutionary understand¬
ing of human nature makes to the
stones we love.
Art is a specifically human adapta¬
tion, Boyd argues. It offers tangible
advantages for human survival, and it
derives from play, itself an adaptation
widespread among more intelligent
animals. More particularly, our fond¬
ness for storytelling has sharpened
social cognition, encouraged coopera¬
tion, and fostered creativity.
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 works of literature.
What triggers our emotional engage¬
ment with these works? What patterns
facilitate our responses? The need to
hold an audience s attention, Boyd
underscores, is the fundamental
problem facing all storytellers.
Enduring artists arrive at solutions that
appeal to cognitive
universais:
an insight
out of step with contemporary criticism,
which obscures both the individual and
universal. Published for the bicentenary
of Darwin s birth and the 150th anniver¬
sary of the publication of Origin of
Species, Boyd s study embraces a Darwin¬
ian view of human nature and art, and
offers a credo for a new humanism.
|
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| language | English |
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| title | On the origin of stories evolution, cognition, and fiction |
| title_auth | On the origin of stories evolution, cognition, and fiction |
| title_exact_search | On the origin of stories evolution, cognition, and fiction |
| title_full | On the origin of stories evolution, cognition, and fiction Brian Boyd |
| title_fullStr | On the origin of stories evolution, cognition, and fiction Brian Boyd |
| title_full_unstemmed | On the origin of stories evolution, cognition, and fiction Brian Boyd |
| title_short | On the origin of stories |
| title_sort | on the origin of stories evolution cognition and fiction |
| title_sub | evolution, cognition, and fiction |
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