Meeting 1-Introduction to the History of Evolution and Human Consciousness
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In this class, we will outline the course and explain the framework and methodology that we will pursue in this course.
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Meeting 1-Introduction to the History of Evolution and Human Consciousness
- 1. HIST H300: The History of Evolution and Human Consciousness (31993) | T 3:00-5:40 Jason M. Kelly, PhD FSA Director, IUPUI Arts & Humanities Institute Associate Professor of History jaskelly@iupui.edu | @jason_m_kelly Paintings from the Grotte Chauvet-Pont d'Arc, Ardèche, France. ca. 35,000-30,000 BP.
- 2. I. Introduction > Outline of Today’s Meeting I. Introductions II. What do you know? III. Cosmologies // BREAK // IV. What is History? V. Universal History, Deep History, Big History VI. The History of Consciousness
- 3. Most professional historians focus on studying humans and human societies over the last 500 years. A significant number examine humanity’s history over the past 3000 years. And, a handful analyze the past 10,000 years. However, the earliest humans emerged approximately 2.3 million years ago. This means that well over 2 million years of human history are virtually ignored by most professional historians.
- 4. This is not entirely unexpected. For centuries, scholars lacked the tools and techniques to study the deep history of the human past. However, over the last several decades, new discoveries, technologies, and methodologies have uncovered a rich history embedded in rocks, bones, and genes. Most of this work has been done by scientists and social scientists, but a small number of historians have begun collaborating with them to trace the evolution of humans, their societies and their cultures.
- 5. What these researchers have found has profound consequences — not simply for our understanding of the deep past, but for our understanding of modern societies and cultures. It is evident that professional historians will increasingly need to engage with these discoveries as well as disciplines such as archaeology, evolutionary biology, and neurobiology.
- 6. This course introduces students to these debates by asking a fundamental question: what makes us human? The answer, we will find, requires that we explore the histories of religion, philosophy and science. It will necessitate that we explore the evolution of humans — and most importantly the evolution of brains, consciousness, and culture. We will draw on research from biology, anthropology, and history to explore our pasts, presents, and futures.
- 7. 1. Students will be able to outline the history of hominids with special attention to key moments in the evolution of consciousness and culture. I. Introduction > Learning Outcomes
- 8. 1. Students will be able to outline the history of hominids with special attention to key moments in the evolution of consciousness and culture. 2. Through comparing and contrasting the major philosophical and scientific debates about the nature of human consciousness since the 17th century, students will construct a visual model that highlights key historical themes in these debates. I. Introduction > Learning Outcomes
- 9. 1. Students will be able to outline the history of hominids with special attention to key moments in the evolution of consciousness and culture. 2. Through comparing and contrasting the major philosophical and scientific debates about the nature of human consciousness since the 17th century, students will construct a visual model that highlights key historical themes in these debates. 3. Students will be able to identify and summarize current debates about gene-culture co-evolution and relate them to current historiographical discussions. I. Introduction > Learning Outcomes
- 10. 1. Students will be able to outline the history of hominids with special attention to key moments in the evolution of consciousness and culture. 2. Through comparing and contrasting the major philosophical and scientific debates about the nature of human consciousness since the 17th century, students will construct a visual model that highlights key historical themes in these debates. 3. Students will be able to identify and summarize current debates about gene-culture co-evolution and relate them to current historiographical discussions. 4. By comparing and contrasting the philosophical, historical, and scientific debates about evolution and the history of consciousness over the past 300 years, students will evaluate the ethical implications of various theoretical models. I. Introduction > Learning Outcomes
- 11. II. What Do You Know? Quiz 1 Human Skull Neanderthal Skull
- 12. III. Cosmologies What is a Cosmology? The air god Shu, assisted by other gods, holds up Nut, the sky, as Geb, the earth, lies beneath. ca. 970 BCE. British Museum
- 13. III. Cosmologies What is a Cosmology? a. The science or theory of the universe as an ordered whole, and of the general laws which govern it. Also, a particular account or system of the universe and its laws. b. Philos. That branch of metaphysics which deals with the idea of the world as a totality of all phenomena in space and time. Oxford English Dictionary
- 14. III. Cosmologies What is a Cosmology? a. the study of the origins, development, structure, and fate of the universe b. a worldview
- 15. III. Cosmologies > What is a Cosmology? Greek κόσμος kosmos (order, world) λογια -logia (discourse) Latin French English cosmologia cosmologie cosmology 17th-18th centuries
- 16. III. Cosmologies Examples: Ancient and Modern
- 17. Hartmann Schedel and Georg Alt. Woodblocks by Michael Wolgemut and Wilhelm Pleydenwurff. Nuremberg Chronicle. 1493. Cambridge University Library, Inc.0.A.7.2[888], f. 5v.
- 18. Hartmann Schedel and Georg Alt. Woodblocks by Michael Wolgemut and Wilhelm Pleydenwurff. Nuremberg Chronicle. 1493. Cambridge University Library, Inc.0.A.7.2[888], f. 5v.
- 19. Hartmann Schedel and Georg Alt. Woodblocks by Michael Wolgemut and Wilhelm Pleydenwurff. Nuremberg Chronicle. 1493. Cambridge University Library, Inc.0.A.7.2[888]. 1v 2r 3v 4v
- 20. Hartmann Schedel and Georg Alt. Woodblocks by Michael Wolgemut and Wilhelm Pleydenwurff. Nuremberg Chronicle. 1493. Cambridge University Library, Inc.0.A.7.2[888], f. 5r.
- 21. David Attenborough from Charles Darwin and the Tree of Life. BBC 1. 2009.
- 22. Break
- 23. IV. What is History? What is History?
- 24. IV. What is History? Why do we study History?
- 25. IV. What is History? History is a subject a discipline a way of thinking an ethical framework a descriptive technique a philosophical intervention a method of identity formation
- 26. IV. What is History? History is a subject a discipline a way of thinking an ethical framework a descriptive technique a philosophical intervention a method of identity formation What questions can (or should) we ask as historians?
- 27. IV. What is History? —> Epistemologies What is a Epistemology? Philos. The theory of knowledge and understanding, esp. with regard to its methods, validity, and scope, and the distinction between justified belief and opinion; (as a count noun) a particular theory of knowledge and understanding. Oxford English Dictionary
- 28. IV. What is History? —> Epistemologies Greek ἐπιστήμη episteme (knowledge) λογια -logia (discourse) English/French epistemology / l’épistémologie 19th century German 18th-19th centuries (translation of German philosophical concept Wissenschaftslehre)
- 29. IV. What is History? —> Epistemologies Epistemological Frameworks Teleological • linear history (e.g. providential, Marxist, Whig) • cyclical history (Polybius) Empirical • e.g. positivism, quantitative history, cliometrics Social/Cultural • e.g. ethnography, history from below Radical / Critical Theory predictivedescriptivecritical
- 30. V. Universal History, Deep History, Big History What is Universal History? Universal History is an approach to history which attempts to account for the entirety of human history — often from creation to the present. In the past, it has often sought to integrate a religious or philosophical point of view. From the eighteenth century, writers increasingly attempted to both make their works more secular and scientific and to create universal histories that integrated more people from around the world. However, these works often justified imperialism and racism. By the 20th century, most professional historians rejected universal history as too reductive.
- 31. Sebastian C. Adams Adams' Synchronological Chart of Universal History. 1881. 70 x 57 cm. David Rumsey Historical Map Collection. http://www.davidrumsey.com/luna/servlet/detail/ RUMSEY~8~1~226101~5505923:Page-1--Adams-- Synchronological-Cha
- 32. Sebastian C. Adams Adams' Synchronological Chart of Universal History. 1881. 70 x 57 cm. David Rumsey Historical Map Collection. http://www.davidrumsey.com/luna/servlet/detail/ RUMSEY~8~1~226101~5505923:Page-1--Adams-- Synchronological-Cha
- 33. Sebastian C. Adams Adams' Synchronological Chart of Universal History. 1881. 70 x 57 cm. David Rumsey Historical Map Collection. http://www.davidrumsey.com/luna/servlet/detail/ RUMSEY~8~1~226101~5505923:Page-1--Adams-- Synchronological-Cha
- 34. Henry Fairfield Osborn, Evolution and Religion in Education: Polemics of the Fundamentalist Controversy of 1922 to 1926 (New York, 1926).
- 35. Why Big History?
Notas del editor
- Hartmann Schedel and Georg Alt. Woodblocks by Michael Wolgemut and Wilhelm Pleydenwurff. Nuremberg Chronicle. 1493. Cambridge University Library, Inc.0.A.7.2[888], f. 5v. http://cudl.lib.cam.ac.uk/view/PR-INC-00000-A-00007-00002-00888/56 The Liber Chronicarum by Hartmann Schedel printed in Nuremberg by Anton Koberger in 1493, or Nuremberg Chronicle as it is generally called, is one of the most important German incunables and the most extensively illustrated book of the 15th century. The text is a universal history of the Christian world from the beginning of times to the early 1490s, written in Latin by the Nuremberg physician and humanist Hartmann Schedel (1440-1514) on commission from the Nuremberg merchants Sebald Schreyer (1446-1520) and Sebastian Kammermeister (1446-1503). Drawn by the author from multiple medieval and Renaissance sources, such as Bede, Vincent of Beauvais, Martin of Tropau, Flavius Blondus, Bartolomeo Platina and Philippus de Bergamo (Iacopo Filippo Foresta), the Chronicle also incorporates geographical and historical information on European countries and towns. The narrative is divided into 11 parts, the so-called world ages, and is profusely illustrated by images of biblical and historical events, and topographical views of towns and countries in Europe and the Middle East, including Jerusalem (and its destruction) and Byzantium. Schreyer and Kammermeister commissioned the printing of the Chronicle to the Nuremberg printer Anton Koberger (ca.1440-1513), owner of the largest 15th-century German printing house. The Latin edition was printed in Koberger's shop between May 1492 and October 1493. In the meantime, a German translation was commissioned by the two financiers to Georg Alt (circa 1450-1510), a scribe at Nuremberg treasury, and the German edition was printed alongside the Latin one between January and December 1493. The project was completed on 23 December 1493. Both editions are lavishly illustrated with 1804 xylographical images created from 641-643 woodblocks by the Nuremberg artists Michael Wolgemut (circa 1434/37 – 1519) and Wilhelm Pleydenwurff (circa 1450 - 1494), a map of the world, showing the Gulf of Guinea discovered by the Portuguese in 1470, and a map of Northern and Central Europe by Hieronymus Münzer (circa 1437/1447 - 1508). The woodcut illustrations of a number of copies, both in Latin and in vernacular, were also supplied with hand colouring by contemporary German artists. The alleged involvement in the creation of the woodblocks of Albrecht Dürer (1471-1528), has now been rejected on the documentary evidence that he only worked as an apprentice in Wolgemut's workshop between 1486 and 1489, well before the beginning of the production of the Chronicle. The beauty of the illustrative apparatus, the skilful production and the elegant mise-en-page of the both the Latin and German editions of the text account for the 'enduring value' of the Nuremberg Chronicle, which survives in circa 1240 copies of the Latin edition and in circa 1580 copies of the vernacular. Physical Location: Cambridge University Library Classmark: Inc.0.A.7.2[888] Alternative Title(s): Registrum huius operis libri chronicarum cum figuris et imaginibus ab inicio mundi Uniform Title: Liber Chronicarum Subject(s): Chronology, historical -- Early works to 1800; World history -- Early works to 1800; Nuremberg -- History Author(s): Schedel, Hartmann, 1440 1514; Alt, Georg, ca. 1450 1510 Origin Place: Nuremberg Date of Creation: 12 July 1493 Language(s): Latin Donor(s): Parker, Matthew, 1504-1575 Associated Person(s): Kammermeister, Sebastian -1503; Koberger, Anton, ca. 1440-1513; Pleydenwurff, Wilhelm, d. 1494; Schreyer, Sebald, 1446-1520; Wolgemut, Michael, 1434-1519 Note(s): The text is an almost unaltered rewriting of Jacobus Philippus de Bergamo's Supplementum Chronicarum, with the addition of other Italian sources. Colophon on 266r marks the completion of the work of Hartmann Schedel; George Alt is the author of the remainder of the text.; Published by Anton Koberger, for Sebald Schreyer and Sebastian Kammermeister Extent: [20], CCXCIX, [7] leaves Material: Paper Format: Codex Binding: Mottled brown calf over pasteboards, with manuscript title Registrum Chro[n]icar. in black ink on bookblock front-edge, and title and date of printing gilt on red morocco spine label, Cambridge, early 18th century. Script: Gothic Rotunda type Foliation: Printed foliation I-CCXCIX and running titles on leaves [4.1]-[60.4]; leaf CCXXIX foliated CCXXXI; leaf CCXLVII foliated CCXLXVII Layout: 453 mm (fol.) Decoration: Ills, 2 maps (woodcuts) Woodcuts by Michael Wohlgemut, Wilhelm Pleydenwurff and their workshop: 1804 illustrations created from 641-643 woodblocks (depending on the copy), 1164 of which are repeats. Provenance: Inscribed 'Ex dono Matthæi Cantuariensis Archiep[iscop]i Academiæ Cantebrigiensi : A[nno] D[omi]ni 1574' on 1r, i.e. Matthew Parker, archbishop of Canterbury, his annotations including printing date in red crayon on leaf [1.1] recto. Inscribed 'Sum Academiæ Cantabrigiensis' on leaf [1.1] recto, late 16th or early 17th century; library armorial bookplate on same leaf, 17th century; old library shelfmarks 'L-1-16' in black ink on leaf [1.2] recto and 'R.α.3' in pencil on upper pastedown Data Source(s): The index of illustrations is derived from the Morse Library, Beloit College online edition of the Nuremberg Chronicle. Author(s) of the Record: Laura Nuvoloni Bibliography: Reske, Christoph, Die Produktion der Schedelschen Weltchronik in Nürnberg = The production of Schedel's Nuremberg chronicle, Mainzer Studien zur Buchwissenschaft vol. Bd. 10 (Wiesbaden: Harrassowitz, 2000) ISBN: 3447042966. Wilson, Adrian, The making of the Nuremberg chronicle contributor: Hartmann Schedel (Amsterdam: A. Asher, 1976) ISBN: 9060728149.