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Why do men and women cheat on each other? How do men really feel when their partners have sex with other men? What worries women more -- men who turn to other women for love or men who simply want sexual variety in their lives? Can the jealousy husbands and wives experience over real or imagined infidelities be cured? Should it be? In this surprising and engaging exploration of men's and women's darker passions, David Buss, acclaimed author of The Evolution of Desire, reveals that both men and women are actually designed for jealousy. Drawing on experiments, surveys, and interviews conducted in thirty-seven countries on six continents, as well as insights from recent discoveries in biology, anthropology, and psychology, Buss discovers that the evolutionary origins of our sexual desires still shape our passions today. According to Buss, more men than women want to have sex with multiple partners. Furthermore, women who cheat on their husbands do so when they are most likely to conceive, but have sex with their spouses when they are least likely to conceive. These findings show that evolutionary tendencies to acquire better genes through different partners still lurk beneath modern sexual behavior. To counteract these desires to stray -- and to strengthen the bonds between partners -- jealousy evolved as an early detection system of infidelity in the ancient and mysterious ritual of mating. Buss takes us on a fascinating journey through many cultures, from pre-historic to the present, to show the profound evolutionary effect jealousy has had on all of us. Only with a healthy balance of jealousy and trust can we be certain of a mate's commitment, devotion, and true love.
A Dangerous Passion argues that leadership and honor are mutually constitutive and that this dynamic relationship fundamentally shapes the character of political practice. Haig Patapan shows how our contemporary blindness to this leadership-honor dynamic and neglect of the significance of honor (and shame) in modern politics have caused us to fundamentally misunderstand the nature of leadership. We have lost sight of how honor shapes the ambitions and aspirations of those who seek political office, and the opportunities and limits it imposes on leaders when engaging with their followers. What has been obscured are the two faces of honor: how it is the dangerous passion that fuels the ambitions of the glory seekers to pursue tyranny and empire, as well as being the source of good leadership that is founded on noble ambition and sacrifice for the common good. Patapan examines classical magnanimity, Machiavellian glory, and Hobbesian-dispersed leadership, views that continue to be debated, and then offers insights from these debates to illuminate a series of contemporary political challenges for leaders, including the politics of fame, identity, and nationalism.
When passion proves dangerous.... Curator Shelby Martin's life is as dry, dull, and dusty as the artifacts with which she works. But when she accepts an adventurous dare posed by her friends, Shelby finds more than one night of unforgettable passion. No-nonsense Vice cop Josh Nichols has seen his fair share of the seedier side of Baltimore. Immediately drawn to Shelby, Josh can't resist the attraction he feels for the quirky, yet sexy, woman coming on to him in the bar. And when she bails without leaving her number after a night of hot sex, he's reeling with desire to see her again. Neither of them expected to see the other again—or to have their worlds turned upside down when they're thrown together as a result of a crime at Shelby's museum. Can two people from completely different worlds look beyond suspicion and build a relationship from one night of unprecedented passion? Or will those differences pull them apart…especially when there's someone else who wants nothing more than to see Shelby fail?
It's always been a wild world, with humans telling stories of killer animals as soon as they could tell stories at all. Movies are an especially popular vehicle for our fascination with fierce creatures. In Brute Force, Dominic Lennard takes a close look at a range of cinematic animal attackers, including killer gorillas, sharks, snakes, bears, wolves, spiders, and even a few dinosaurs. Lennard argues that animal horror is not so much a focused genre as it is an impulse, tapping into age-old fears of becoming prey. At the same time, these films expose conflicts and uncertainties in our current relationship with animals. Movies considered include King Kong, Jaws, The Grey, Them!, Arachnophobia, Jurassic Park, Snakes on a Plane, An American Werewolf in London, and many more. Drawing on insights from film studies, art history, cognitive science, and evolutionary psychology, Brute Force is an engaging critical exploration—and appreciation—of cinema's many bad beasts.
A philosopher subjects the claims of evolutionary psychology to the evidential and methodological requirements of evolutionary biology, concluding that evolutionary psychology's explanations amount to speculation disguised as results. Human beings, like other organisms, are the products of evolution. Like other organisms, we exhibit traits that are the product of natural selection. Our psychological capacities are evolved traits as much as are our gait and posture. This much few would dispute. Evolutionary psychology goes further than this, claiming that our psychological traits—including a wide variety of traits, from mate preference and jealousy to language and reason—can be understood as specific adaptations to ancestral Pleistocene conditions. In Evolutionary Psychology as Maladapted Psychology, Robert Richardson takes a critical look at evolutionary psychology by subjecting its ambitious and controversial claims to the same sorts of methodological and evidential constraints that are broadly accepted within evolutionary biology. The claims of evolutionary psychology may pass muster as psychology; but what are their evolutionary credentials? Richardson considers three ways adaptive hypotheses can be evaluated, using examples from the biological literature to illustrate what sorts of evidence and methodology would be necessary to establish specific evolutionary and adaptive explanations of human psychological traits. He shows that existing explanations within evolutionary psychology fall woefully short of accepted biological standards. The theories offered by evolutionary psychologists may identify traits that are, or were, beneficial to humans. But gauged by biological standards, there is inadequate evidence: evolutionary psychologists are largely silent on the evolutionary evidence relevant to assessing their claims, including such matters as variation in ancestral populations, heritability, and the advantage offered to our ancestors. As evolutionary claims they are unsubstantiated. Evolutionary psychology, Richardson concludes, may offer a program of research, but it lacks the kind of evidence that is generally expected within evolutionary biology. It is speculation rather than sound science—and we should treat its claims with skepticism.
The idea that we are in some significant sense responsible for our emotions is an idea that Robert Solomon has developed for almost three decades. Here, in a single volume, he traces the development of this theory of emotions and elaborate it in detail. Two themes run through his work: the first presents a "cognitive" theory of emotions in which emotions are construed primarily as evaluative judgments. The second proposes an "existentialist" perspective in which he defends the idea that, as we are responsible for our emotions. Indeed, sometimes it even makes sense to say that we "choose" them. While the first claim has gained increasing currency in the literature, his claim about responsibility for emotions has continued to meet with considerable resistance and misinterpretation. The new emphasis on evolutionary biology and neurology has (mistakenly) reinforced the popular prejudice that emotions "happen" to us and are entirely beyond our control. This volume is also a kind of intellectual memoir of Solomon1s own development as a thinker. The essays written in the 1980s elaborate the themes of the "intentionality" of emotion and the claim that emotions are "judgments"; in this period, he is also increasingly preoccupied with how emotions vary and are identified in a variety of cultures. In the 1990's, his interests evolve to consider the social and political role of emotions and theories about emotion. The final section presents his current philosophical position on the seeming "passivity" of the passions. Despite his own critical assessment of his earlier work, he continues to argue that, in the final analysis, we are responsible for our emotions and existential quality of our lives.
"Liberty is a dangerous concept. It's sure to be misused and, if left unchecked, will likely bring not social harmony and happiness but their opposites. Nonetheless, liberty is absolutely necessary: without it there can be no authentic community. People are not free to do the right thing unless they are free to do the wrong thing; if they can't be wrong, they can't be right." "Thus does Glenn Tinder argue emphatically for "negative liberty" - the liberty that wants primarily to be left alone, with the authorities interfering as little as possible in the lives of people - and against "positive liberty" - a liberty that seeks to guide people into a "fulfilling" life." "The substance of Tinder's book lies at the intersection of several major themes - communication, human fallenness, the necessity of liberty, standing alone, and eschatology - each considered in light of learning what liberty truly is and how it affects the world at large."--BOOK JACKET.
A comprehensive guide that defines the literature and the outlines the best-selling genre of all time: romance fiction. More than 2,000 romances are published annually, making it difficult for fans and the librarians who advise them to keep pace with new titles, emerging authors, and constant evolution of this dynamic genre. Fortunately, romance expert and librarian Kristin Ramsdell provides a definitive guide to this fiction genre that serves as an indispensible resource for those interested in it—including fans searching for reading material—as well as for library staff, scholars, and romance writers themselves. This title updates the last edition of Romance Fiction: A Guide to the Genre, published in 1999.While the emphasis is on newer titles, many of the important older classics are retained, keeping the focus of the book on the entire genre, instead of only those titles published during the last decade. Specific changes include new chapters on linked and continuing romances, a new section on "Chick Lit" in the Contemporary Romance chapter, an expansion of coverage on the alternative reality subset. This is THE romance genre guide to have.
Cult hero, radio personality, and internet maven, Mr. Skin has penned the essential guide to celebrity nudity in a combination of hard, reliable data and hilarious, captivating entertainment.
Horror films, books and video games engage their audiences through combinations of storytelling practices, emotional experiences, cognitive responses and physicality that ignite the sensorium--the sensory mechanics of the body and the intellectual and cognitive functions connected to them. Through analyses of various mediums, this volume explores how the horror genre affects the mind and body of the spectator. Works explored include the films 28 Days Later and Death Proof, the video games Resident Evil 4 and Doom 3, the theme park ride The Revenge of the Mummy, transmedia experiences associated with The Dark Knight and True Blood, and paranormal romance novels featuring Anita Blake and Sookie Stackhouse. By examining how these diverse media generate medium-specific corporeal and sensory responses, it reveals how the sensorium interweaves sensory and intellectual encounters to produce powerful systems of perception.