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These connections to nature can still be seen in people today as people gravitate towards, identify with, and desire to connect with nature. [6] These connections are not limited to any one component part of nature, as people show connections to a wide range of natural things including plants, animals, and environmental landscapes. [ 7 ]
The biology of romantic love has been explored by such biological sciences as evolutionary psychology, evolutionary biology, anthropology and neuroscience.Specific chemical substances such as oxytocin and dopamine are studied in the context of their roles in producing human experiences, emotions and behaviors that are associated with romantic love.
The concept of direction of fit can also apply to speech acts: e.g., statements, guesses and conjectures have word-to-world direction of fit, while commands and promises have a world-to-word direction of fit. John Searle and Daniel Vanderveken [11] assert that there are only four possible "directions of fit" in language: 1.
The book examines the phenomenon of love and human connection from a combined scientific and cultural perspective. It attempts to reconcile the language and insights of humanistic inquiry and cultural wisdom (literature, song, poetry, painting, sculpture, dance and philosophy) with the more recent findings of social science, neuroscience and evolutionary biology.
The concept was advanced in the book A General Theory of Love (2000), and is one of three interrelated concepts central to the book's premise: that our brain chemistry and nervous systems are measurably affected by those closest to us (limbic resonance); that our systems synchronize with one another in a way that has profound implications for ...
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Intersubjectivity is a term coined by social scientists beginning around 1970 [citation needed] to refer to a variety of types of human interaction. The term was introduced to psychoanalysis by George E. Atwood and Robert Stolorow, who consider it a "meta-theory" of psychoanalysis. [1]
For around four weeks in 1993, Jackson and his team worked out of Record One studio in California, creating "something like 41" tracks – or cues, as they're called in the video game world, Buxer said. Jones remembers Jackson calling him, sometimes late at night, to share ideas and sing melodies that would eventually make it into the game.