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This dissertation examines the academic debate that surrounds the new field called "Evolutionary Psychology." Evolutionary psychology has emerged as the most popular successor theory to human sociobiology. Its proponents search for evolved psychological mechanisms and emphasize universal features of the human mind. My thesis is that in order to flourish evolutionary psychologists must engage other researchers on equal terms -- something they have not been doing. To show this, I examine the stances of practitioners from three other social science fields whose claims have been shortchanged by evolutionary psychology: Barbara King in biological anthropology, George Lakoff and Mark Johnson in empirical linguistics and Annette Karmiloff-Smith in developmental psychology. These researchers are also involved in cognitive science investigations that bear on evolutionary psychology's key claims about the mind and how it works. Evolutionary psychologists make three key claims about the mind. The first (1) is that the mind is massively modular; the second (2) is that this massively modular mind has been shaped by the processes of natural selection over evolutionary time; and the third (3) is that it is adapted to the Pleistocene conditions of our past. Evolutionary psychologists seek to elevate these three claims to the status of meta-theoretical assumptions making them the starting place from which our deliberations about human cognition ought proceed. These claims would constitute the framework for a new paradigm in the ultimate sense. I argue that elevating these claims to such a status is not only premature, but also unwarranted on the available evidence. This result is justified by evidence produced outside evolutionary psychology by those disciplines from which evolutionary psychologists explicitly seek to distance themselves. / Ph. D.

The aim of the thesis is to examine the power of organized composers of art music in interwar Sweden and their development of areas of interest 1919-1939. The period is chosen due to the 1918 founding of the Society of Swedish Composers (the FST). Although of significant value, most of the previous research on the subject has focused on individual composers. The thesis, instead, combines concepts of Pierre Bourdieu’s theory of cultural fields with power theories of Steven Lukes and Walter Korpi to investigate access to power resources and exercise of power within the field of music by the FST and its members 1919-1939. The results show that the FST of 1939 had greater access to economic capital, which correlated with the expansion of the FST’s exercise of power and areas of interest concerning the whole field of Swedish music, rather than exclusively the field of art music. Social networks tied to the FST, however, never ceased to be an important factor influencing the operations of the FST.

Pinker et Bloom (1990), deux représentants de la psychologie évolutionniste, soutiennent que le langage est une adaptation biologique ayant pour fonction la communication. Ils prétendent ainsi jeter un éclairage sur l’origine et l’évolution du langage. Le présent mémoire propose une analyse critique de leur argumentation, et ce, du point de vue de la philosophie de la biologie. D’une part, il tente de dissiper la confusion entourant la conception du langage adoptée par Pinker et Bloom, afin de mieux définir le trait censé constituer une adaptation biologique. Ce faisant, ce mémoire fait ressortir certains présupposés de leur conception du langage et en souligne l’aspect problématique. En ce sens, les concepts d’innéité, de modularité, de grammaire universelle et de systématicité sont abordés de façon critique. D’autre part, ce travail entend expliciter un concept clé de l’argumentation de Pinker et Bloom : celui d’adaptation. L’analyse montre que l’opposition entre adaptationnisme et anti-adaptationnisme tient, dans le cas présent, à une divergence quant à la façon de définir l’adaptation biologique. Une distinction importante doit être faite entre une adaptation résultant exclusivement de la sélection naturelle dans un contexte fonctionnel particulier et une adaptation qui n’exclut pas a priori d’autres facteurs évolutifs, dont l’exaptation. Dans la mesure où l’argumentation de Pinker et Bloom conduit à affirmer que le langage constitue une adaptation seulement au deuxième sens du terme, ce mémoire montre qu’ils ne sont pas à même de rendre compte de l’origine du langage. / Pinker and Bloom (1990), two proponents of evolutionary psychology, argue that language has evolved as a biological adaptation for the function of communication. In doing so, they claim to shed light on the origin and evolution of language. This paper proposes a critical analysis of their argument from the point of view of the philosophy of biology. On the one hand, it attempts to clarify Pinker and Bloom’s conception of language in order to better define the trait that is regarded as an adaptation. Thus, this paper brings to the fore several problematic assumptions underlying their conception of language. In this context, the concepts of innateness, modularity, universal grammar and systematicity are addressed in a critical manner. On the other hand, this paper aims to make explicit a key concept of their argument: the concept of adaptation. The analysis shows that the opposition between adaptationism and anti-adaptationism is due, in the present instance, to a divergence in the way biological adaptation is defined. An important distinction has to be drawn between an adaptation resulting exclusively from natural selection in a particular functional context and an adaptation that does not a priori exclude other evolutionary factors such as exaptation. In so far as Pinker and Bloom’s argument allows them to conclude that language is an adaptation only in the second meaning of the term, this paper shows that they are not in a position to provide an account of the origin of language.

Pinker et Bloom (1990), deux représentants de la psychologie évolutionniste, soutiennent que le langage est une adaptation biologique ayant pour fonction la communication. Ils prétendent ainsi jeter un éclairage sur l’origine et l’évolution du langage. Le présent mémoire propose une analyse critique de leur argumentation, et ce, du point de vue de la philosophie de la biologie. D’une part, il tente de dissiper la confusion entourant la conception du langage adoptée par Pinker et Bloom, afin de mieux définir le trait censé constituer une adaptation biologique. Ce faisant, ce mémoire fait ressortir certains présupposés de leur conception du langage et en souligne l’aspect problématique. En ce sens, les concepts d’innéité, de modularité, de grammaire universelle et de systématicité sont abordés de façon critique. D’autre part, ce travail entend expliciter un concept clé de l’argumentation de Pinker et Bloom : celui d’adaptation. L’analyse montre que l’opposition entre adaptationnisme et anti-adaptationnisme tient, dans le cas présent, à une divergence quant à la façon de définir l’adaptation biologique. Une distinction importante doit être faite entre une adaptation résultant exclusivement de la sélection naturelle dans un contexte fonctionnel particulier et une adaptation qui n’exclut pas a priori d’autres facteurs évolutifs, dont l’exaptation. Dans la mesure où l’argumentation de Pinker et Bloom conduit à affirmer que le langage constitue une adaptation seulement au deuxième sens du terme, ce mémoire montre qu’ils ne sont pas à même de rendre compte de l’origine du langage. / Pinker and Bloom (1990), two proponents of evolutionary psychology, argue that language has evolved as a biological adaptation for the function of communication. In doing so, they claim to shed light on the origin and evolution of language. This paper proposes a critical analysis of their argument from the point of view of the philosophy of biology. On the one hand, it attempts to clarify Pinker and Bloom’s conception of language in order to better define the trait that is regarded as an adaptation. Thus, this paper brings to the fore several problematic assumptions underlying their conception of language. In this context, the concepts of innateness, modularity, universal grammar and systematicity are addressed in a critical manner. On the other hand, this paper aims to make explicit a key concept of their argument: the concept of adaptation. The analysis shows that the opposition between adaptationism and anti-adaptationism is due, in the present instance, to a divergence in the way biological adaptation is defined. An important distinction has to be drawn between an adaptation resulting exclusively from natural selection in a particular functional context and an adaptation that does not a priori exclude other evolutionary factors such as exaptation. In so far as Pinker and Bloom’s argument allows them to conclude that language is an adaptation only in the second meaning of the term, this paper shows that they are not in a position to provide an account of the origin of language.

In the course of this dissertation, I will interrogate traditional representations of the heroic figure within the fantasy genre. I will argue that the tropes established by some of the most renowned fantasy texts are undergoing a process of evolution and that Steven Erikson (who is the special focus of my discussion) seeks to revision the heroic mould through his construction of Coltaine of the Crow Clan in Deadhouse Gates (2001). Deadhouse Gates centres on Coltaine, who is tasked with escorting tens of thousands of refugees across four hundred leagues of hostile territory. This re-evaluation of fantasy modes has significant ramifications for the future development of the genre as a whole. In order to explore how Erikson interrogates heroic representation, I briefly establish some of the distinctive characteristics of fantasy. I then explore how some major fantasy texts represent heroism, before investigating Erikson’s particular response to these traditions. / English Studies / M. A. (English)

Thesis ( MMus (Music))--University of Stellenbosch, 2007. / Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.

This dissertation is an in-depth critical analysis of four American films made during the 1970s, with emphasis placed on the films' construction of gender and sexuality. This dissertation draws from the tradition of queer film criticism presented in the writings of such theorists as Barbara Creed, Alexander Doty, Richard Dyer, Vito Russo, and Eve Kosofsky Sedgwick. Taking a queer perspective, these film readings explore how particular works implement queer codes and foster a sexually ambiguous world on film. While not typically included in discussions of Queer Cinema or New American Cinema, these four films, Martin Scorsese's Mean Streets (1973), Francis Ford Coppola's The Conversation (1974), Steven Spielberg's Jaws (1975), and Stanley Kubrick's The Shining (1980), exhibit a family resemblance and as a cycle are products of a particular period in American cinematic experimentation. A detailed scene-by-scene analysis is enacted in order to bring to light queer moments in the films and queer concerns of the films' makers. Raising questions about how the camera constructs character identities in these films, this study is reflective of the ways queer perspectives inflect filmmaking from this era.

The extraordinary body of Sacred Harp music has been dubbed "the oldest continuously sung American music." Steven Marini, scholar of sacred arts, proposes that the Sacred Harp community welcomes anyone into their singings, regardless of their religious beliefs. His analysis does not take into account the emphasis placed on conversion to Christianity that is demonstrated by the lyrics and the rituals of the Sacred Harp community, however. Religion is not "a matter of personal faith" to Sacred Harp singers as Marini suggests, but a matter of a very specific set of faith commitments. The implications of these commitments for Sacred Harp singers determine their eternal destiny. An investigation into the lyrics of The Sacred Harp hymnal reveals a preoccupation with death, always with intent to point toward the individual "religious" choice of eternal death or eternal life and the desire to share that knowledge with anyone who comes in contact with this remarkable phenomenon.

Deciphering grape genomics and the yeast fermentation process is giving Hennie van Vuuren and Steven Lund clues on how to help wineries improve wine quality.