LEADER 03648nam 2200625 450 001 9910829128603321 005 20230126221237.0 010 $a1-64469-259-7 010 $a1-64469-001-2 024 7 $a10.1515/9781644690017 035 $a(CKB)4100000008949335 035 $a(MiAaPQ)EBC5846126 035 $a(DE-B1597)540957 035 $a(OCoLC)1090279036 035 $a(DE-B1597)9781644690017 035 $a(Au-PeEL)EBL5846126 035 $a(EXLCZ)994100000008949335 100 $a20190919d2019 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAesthetics after Darwin $ethe multiple origins and functions of art /$fWinfried Menninghaus 210 1$aBoston :$cAcademic Studies Press,$d[2019] 210 4$dİ2019 215 $a1 online resource (175 pages) 225 0 $aEvolution, Cognition, and the Arts 300 $a"The original German version of this book was published in 2011. For the purposes of the present English translation, it was substantially revised." 311 0 $a1-64469-000-4 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tIntroduction --$t1. Competitive Courtship and Aesthetic Judgment/Choice: Darwin's Model of the Arts --$t2. The Arts as Promoters of Social Cooperation and Cohesion --$t3. Engagement in the Arts as Ontogenetic Self-(Trans-)Formation --$t4. A Cooptation Model of the Evolution of the Human Arts: When "Sense of Beauty," Play Behavior, Technology, and Symbolic Cognition Join Forces --$tBibliography --$tIndex 330 $aDarwin famously proposed that sexual competition and courtship is (or at least was) the driving force of "art" production not only in animals, but also in humans. The present book is the first to reveal that Darwin's hypothesis, rather than amounting to a full-blown antidote to the humanist tradition, is actually strongly informed both by classical rhetoric and by English and German philosophical aesthetics, thereby Darwin's theory far richer and more interesting for the understanding of poetry and song. The book also discusses how the three most discussed hypothetical functions of the human arts--competition for attention and (loving) acceptance, social cooperation, and self-enhancement--are not mutually exclusive, but can well be conceived of as different aspects of the same processes of producing and responding to the arts. Finally, reviewing the current state of archeological findings, the book advocates a new hypothesis on the multiple origins of the human arts, posing that they arose as new variants of human behavior, when three ancient and largely independent adaptions--sensory and sexual selection-driven biases regarding visual and auditory beauty, play behavior, and technology--joined forces with, and were transformed by, the human capacities for symbolic cognition and language. 606 $aArts$xPhilosophy 606 $aAesthetics 610 $aAlexander G. Baumgarten. 610 $aAlexander von Humboldt. 610 $aCharles Darwin. 610 $aDarwin. 610 $aEvolution of the Human Arts. 610 $aEvolution. 610 $aImmanuel Kant. 610 $aLawrence Sterne. 610 $aSocial Evolution. 615 0$aArts$xPhilosophy. 615 0$aAesthetics. 676 $a700.1 700 $aMenninghaus$b Winfried$0245408 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910829128603321 996 $aAesthetics after Darwin$94099949 997 $aUNINA