Genius

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Genius

Genius is a characteristic of original and exceptional insight in the performance of some art or endeavor that surpasses expectations, sets new standards for the future, establishes better methods of operation, or remains outside the capabilities of competitors. Genius is associated with intellectual ability and creative productivity. The term genius can also be used to refer to people characterised by genius, and/or to polymaths who excel across many subjects.

There is no scientifically precise definition of genius. When used to refer to the characteristic, genius is associated with talent, but several authors such as Cesare Lombroso and Arthur Schopenhauer systematically distinguish these terms. Walter Isaacson, biographer of many well-known geniuses, explains that although high intelligence may be a prerequisite, the most common trait that actually defines a genius may be the extraordinary ability to apply creativity and imaginative thinking to almost any situation.

In the early-19th century Carl von Clausewitz, who had a particular interest in what he called "military genius", defined "the essence of Genius" (German: der Genius) in terms of "a very high mental capacity for certain employments".

Etymology

Main article: Genius (mythology)

Srinivasa Ramanujan, a mathematician who is widely regarded as a genius. He made substantial contributions to mathematics despite little formal training.

Confucius, one of the most influential thinkers of the ancient world and the most famous Chinese philosopher, is often considered a genius.

In ancient Rome, the genius (plural in Latin genii) was the guiding spirit or tutelary deity of a person, family (gens), or place (genius loci). Connotations of the word in Latin have a lineal relationship with the Greek word daemon  in classical and medieval texts, and also share a relationship with the Arabic word al-ghul (as in the star Algol; its literal meaning being "the Demon").

The noun is related to the Latin verbs "gignere" (to beget, to give birth to) and "generare" (to beget, to generate, to procreate), and derives directly from the Indo-European stem thereof: "ǵenh" (to produce, to beget, to give birth). Because the achievements of exceptional individuals seemed to indicate the presence of a particularly powerful genius, by the time of Augustus, the word began to acquire its secondary meaning of "inspiration, talent". The term genius acquired its modern sense in the eighteenth century, and is a conflation of two Latin terms: genius, as above, and Ingenium, a related noun referring to our innate dispositions, talents, and inborn nature. Beginning to blend the concepts of the divine and the talented, the Encyclopédie article on genius (génie) describes such a person as "he whose soul is more expansive and struck by the feelings of all others; interested by all that is in nature never to receive an idea unless it evokes a feeling; everything excites him and on which nothing is lost."

Historical development

Galton

Miguel de Cervantes, novelist who is acknowledged as a literary genius

The assessment of intelligence was initiated by Francis Galton (1822–1911) and James McKeen Cattell. They had advocated the analysis of reaction time and sensory acuity as measures of "neurophysiological efficiency" and the analysis of sensory acuity as a measure of intelligence.

Galton is regarded as the founder of psychometry. He studied the work of his older half-cousin Charles Darwin about biological evolution. Hypothesizing that eminence is inherited from ancestors, Galton did a study of families of eminent people in Britain, publishing it in 1869 as Hereditary Genius. Galton's ideas were elaborated from the work of two early 19th-century pioneers in statistics: Carl Friedrich Gauss and Adolphe Quetelet. Gauss discovered the normal distribution (bell-shaped curve): given a large number of measurements of the same variable under the same conditions, they vary at random from a most frequent value, the "average", to two least frequent values at maximum differences greater and lower than the most frequent value. Quetelet discovered that the bell-shaped curve applied to social statistics gathered by the French government in the course of its normal processes on large numbers of people passing through the courts and the military. His initial work in criminology led him to observe "the greater the number of individuals observed the more do peculiarities become effaced...". This ideal from which the peculiarities were effaced became "the average man".

Galton was inspired by Quetelet to define the average man as "an entire normal scheme"; that is, if one combines the normal curves of every measurable human characteristic, one will, in theory, perceive a syndrome straddled by "the average man" and flanked by persons that are different. In contrast to Quetelet, Galton's average man was not statistical but was theoretical only. There was no measure of general averageness, only a large number of very specific averages. Setting out to discover a general measure of the average, Galton looked at educational statistics and found bell-curves in test results of all sorts; initially in mathematics grades for the final honors examination and in entrance examination scores for Sandhurst.

Galton's method in Hereditary Genius was to count and assess the eminent relatives of eminent men. He found that the number of eminent relatives was greater with a closer degree of kinship. This work is considered the first example of historiometry, an analytical study of historical human progress. The work is controversial and has been criticized for several reasons. Galton then departed from Gauss in a way that became crucial to the history of the 20th century AD. The bell-shaped curve was not random, he concluded. The differences between the average and the upper end were due to a non-random factor, "natural ability", which he defined as "those qualities of intellect and disposition, which urge and qualify men to perform acts that lead to reputation…a nature which, when left to itself, will, urged by an inherent stimulus, climb the path that leads to eminence." The apparent randomness of the scores was due to the randomness of this natural ability in the population as a whole, in theory.

Criticisms include that Galton's study fails to account for the impact of social status and the associated availability of resources in the form of economic inheritance, meaning that inherited "eminence" or "genius" can be gained through the enriched environment provided by wealthy families. Galton went on to develop the field of eugenics. Galton attempted to control for economic inheritance by comparing the adopted nephews of popes, who would have the advantage of wealth without being as closely related to popes as sons are to their fathers, to the biological children of eminent individuals.

Psychology

See also: Creativity and mental illness

Stanley Kubrick, deemed a filmmaking genius

Marie Curie, physicist and chemist cited as a genius

Genius is expressed in a variety of forms (e.g., mathematical, literary, musical performance). Persons with genius tend to have strong intuitions about their domains, and they build on these insights with tremendous energy. Carl Rogers, a founder of the Humanistic Approach to Psychology, expands on the idea of a genius trusting his or her intuition in a given field, writing: "El Greco, for example, must have realized as he looked at some of his early work, that 'good artists do not paint like that.' But somehow he trusted his own experiencing of life, the process of himself, sufficiently that he could go on expressing his own unique perceptions. It was as though he could say, 'Good artists don't paint like this, but I paint like this.' Or to move to another field, Ernest Hemingway was surely aware that 'good writers do not write like this.' But fortunately he moved toward being Hemingway, being himself, rather than toward someone else's conception of a good writer."

Several people commonly regarded as geniuses have been or were diagnosed with mental disorders, for example Vincent van Gogh, Virginia Woolf, John Forbes Nash Jr., and Ernest Hemingway.

It has been suggested that there exists a connection between mental illness, in particular schizophrenia and bipolar disorder, and genius. Individuals with bipolar disorder and schizotypal personality disorder, the latter of which being more common amongst relatives of schizophrenics, tend to show elevated creativity.

In a 2010 study done in the Karolinska Institute it was observed that highly creative individuals and schizophrenics have a lower density of thalamic dopamine D2 receptors. One of the investigators explained that "Fewer D2 receptors in the thalamus probably means a lower degree of signal filtering, and thus a higher flow of information from the thalamus." This could be a possible mechanism behind the ability of healthy highly creative people to see numerous uncommon connections in a problem-solving situation and the bizarre associations found in the schizophrenics.

IQ and genius

Albert Einstein, theoretical physicist who is considered a genius

Galton was a pioneer in investigating both eminent human achievement and mental testing. In his book Hereditary Genius, written before the development of IQ testing, he proposed that hereditary influences on eminent achievement are strong, and that eminence is rare in the general population. Lewis Terman chose "'near' genius or genius" as the classification label for the highest classification on his 1916 version of the Stanford–Binet test. By 1926, Terman began publishing about a longitudinal study of California schoolchildren who were referred for IQ testing by their schoolteachers, called Genetic Studies of Genius, which he conducted for the rest of his life. Catherine M. Cox, a colleague of Terman's, wrote a whole book, The Early Mental Traits of 300 Geniuses, published as volume 2 of The Genetic Studies of Genius book series, in which she analyzed biographical data about historic geniuses. Although her estimates of childhood IQ scores of historical figures who never took IQ tests have been criticized on methodological grounds, Cox's study was thorough in finding out what else matters besides IQ in becoming a genius. By the 1937 second revision of the Stanford–Binet test, Terman no longer used the term "genius" as an IQ classification, nor has any subsequent IQ test.In 1939, David Wechsler specifically commented that "we are rather hesitant about calling a person a genius on the basis of a single intelligence test score".

The Terman longitudinal study in California eventually provided historical evidence regarding how genius is related to IQ scores. Many California pupils were recommended for the study by schoolteachers. Two pupils who were tested but rejected for inclusion in the study (because their IQ scores were too low) grew up to be Nobel Prize winners in physics, William Shockley, and Luis Walter Alvarez. Based on the historical findings of the Terman study and on biographical examples such as Richard Feynman, who had a self-reported IQ of 125 and went on to win the Nobel Prize in physics and become widely known as a genius, the current view of psychologists and other scholars of genius is that a minimum level of IQ (approximately 125) is necessary for genius but not sufficient, and must be combined with personality characteristics such as drive and persistence, plus the necessary opportunities for talent development. For instance, in a chapter in an edited volume on achievement, IQ researcher Arthur Jensen proposed a multiplicative model of genius consisting of high ability, high productivity, and high creativity. Jensen's model was motivated by the finding that eminent achievement is highly positively skewed, a finding known as Price's law, and related to Lotka's law.

Some high IQ individuals join a High IQ society. The most famous and largest is Mensa International, but many other more selective organizations also exist, including Intertel, Triple Nine Society, Prometheus Society, and Mega Society.

Philosophy

Leonardo da Vinci is widely acknowledged as having been a genius and a polymath.

Wolfgang Amadeus Mozart, considered a prodigy and musical genius

Various philosophers have proposed definitions of what genius is and what that implies in the context of their philosophical theories.

In the philosophy of David Hume, the way society perceives genius is similar to the way society perceives the ignorant. Hume states that a person with the characteristics of a genius is looked at as a person disconnected from society, as well as a person who works remotely, at a distance, away from the rest of the world.

On the other hand, the mere ignorant is still more despised; nor is any thing deemed a surer sign of an illiberal genius in an age and nation where the sciences flourish, than to be entirely destitute of all relish for those noble entertainments. The most perfect character is supposed to lie between those extremes; retaining an equal ability and taste for books, company, and business; preserving in conversation that discernment and delicacy which arise from polite letters; and in business, that probity and accuracy which are the natural result of a just philosophy.

In the philosophy of Immanuel Kant, genius is the ability to independently arrive at and understand concepts that would normally have to be taught by another person. For Kant, originality was the essential character of genius. The artworks of the Kantian genius are also characterized by their exemplarity which is imitated by other artists and serve as a rule for other aesthetical judgements. This genius is a talent for producing ideas which can be described as non-imitative. Kant's discussion of the characteristics of genius is largely contained within the Critique of Judgment and was well received by the Romantics of the early 19th century. In addition, much of Schopenhauer's theory of genius, particularly regarding talent and freedom from constraint, is directly derived from paragraphs of Part I of Kant's Critique of Judgment.

Genius is a talent for producing something for which no determinate rule can be given, not a predisposition consisting of a skill for something that can be learned by following some rule or other.

— Immanuel Kant

In the philosophy of Arthur Schopenhauer, a genius is someone in whom intellect predominates over "will" much more than within the average person. In Schopenhauer's aesthetics, this predominance of the intellect over the will allows the genius to create artistic or academic works that are objects of pure, disinterested contemplation, the chief criterion of the aesthetic experience for Schopenhauer. Their remoteness from mundane concerns means that Schopenhauer's geniuses often display maladaptive traits in more mundane concerns; in Schopenhauer's words, they fall into the mire while gazing at the stars, an allusion to Plato's dialogue Theætetus, in which Socrates tells of Thales (the first philosopher) being ridiculed for falling in such circumstances. As he says in Volume 2 of The World as Will and Representation:

Talent hits a target no one else can hit; Genius hits a target no one else can see.

— Arthur Schopenhauer

In the philosophy of Thomas Carlyle, genius is called (in Past and Present) "the inspired gift of God"; the "Man of Genius" possesses "the presence of God Most High in a man". The actions of the "Man of Genius" can manifest this in various ways: in his "transcendent capacity of taking trouble" (often misquoted as "an infinite capacity for taking pains"), in that he can "recognise how every object has a divine beauty in it" as a poet or painter does, or in that he has "an original power of thinking". In accordance with his Great Man theory, Carlyle considered such individuals as Odin, William the Conqueror and Frederick the Great to be "Men of Genius".

In the philosophy of Bertrand Russell, genius entails that an individual possesses unique qualities and talents that make the genius especially valuable to the society in which he or she operates, once given the chance to contribute to society. Russell's philosophy further maintains, however, that it is possible for such geniuses to be crushed in their youth and lost forever when the environment around them is unsympathetic to their potential maladaptive traits. Russell rejected the notion he believed was popular during his lifetime that, "genius will out".

In his classic work The Limitations of Science, J. W. N. Sullivan discussed a utilitarian philosophy on the retrospective classification of genius. Namely, scholarship that is so original that, were it not for that particular contributor, would not have emerged until much later (if ever) is characteristic of genius. Conversely, scholarship that was ripe for development, no matter how profound or prominent, is not necessarily indicative of genius.

Literature and pop culture

Geniuses are variously portrayed in literature and film as both protagonists and antagonists, and may be the hero or villain of the story. In pop culture, the genius is often stereotypically depicted as either the wisecracking whiz or the tortured genius.

Throughout both literature and movies, the tortured genius character is often seen as an imperfect or tragic hero who wrestles with the burden of superior intelligence, arrogance, eccentricities, addiction, awkwardness, mental health issues, a lack of social skills, isolation, or other insecurities. They regularly experience existential crises, struggling to overcome personal challenges to employ their special abilities for good or succumbing to their own tragic flaws and vices. This common motif repeated throughout fiction is notably present in the characters of Dr. Bruce Banner in the Hulk and Dr. Henry Jekyll in The Strange Case of Dr. Jekyll and Mr. Hyde, among others. Although not as extreme, other examples of literary and filmic characterizations of the tortured genius stereotype, to varying degrees, include: Sherlock Holmes, Wolfgang Amadeus Mozart in Amadeus, Dr. John Nash in A Beautiful Mind, Leonardo da Vinci in Da Vinci's Demons, Dr. Gregory House in House, Will Hunting in Good Will Hunting, and Dr. Sheldon Cooper in The Big Bang Theory.

One of the most famous genius-level rivalries to occur in literary fiction is between Sherlock Holmes and his nemesis Professor Moriarty; the latter character also identified as the modern archetype of an evil genius.

Hero

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Hero

Achilles during the Trojan War, as depicted in an ancient Greek polychromatic pottery painting (dating to c. 300 BC).

Joan of Arc is considered a medieval Christian heroine of France for her role in the Hundred Years' War, and was canonized as a Roman Catholic saint

William Tell, a popular folk hero of Switzerland.

A hero (feminine: heroine) is a real person or a main fictional character who, in the face of danger, combats adversity through feats of ingenuity, courage, or strength. The original hero type of classical epics did such things for the sake of glory and honor. Post-classical and modern heroes, on the other hand, perform great deeds or selfless acts for the common good instead of the classical goal of wealth, pride, and fame. The antonym of hero is villain. Other terms associated with the concept of hero may include good guy or white hat.

In classical literature, the hero is the main or revered character in heroic epic poetry celebrated through ancient legends of a people, often striving for military conquest and living by a continually flawed personal honor code. The definition of a hero has changed throughout time. Merriam Webster dictionary defines a hero as "a person who is admired for great or brave acts or fine qualities". Examples of heroes range from mythological figures, such as Gilgamesh, Achilles and Iphigenia, to historical and modern figures, such as Joan of Arc, Giuseppe Garibaldi, Sophie Scholl, Alvin York, Audie Murphy, and Chuck Yeager, and fictional "superheroes", including Superman, Spider-Man, Batman, and Captain America.

Etymology

Coronation of the Hero of Virtue by Peter Paul Rubens, c. 1612-1614

The word hero comes from the Greek ἥρως (hērōs), "hero" (literally "protector" or "defender"), particularly one such as Heracles with divine ancestry or later given divine honors. Before the decipherment of Linear B the original form of the word was assumed to be *ἥρωϝ-, hērōw-, but the Mycenaean compound ti-ri-se-ro-e demonstrates the absence of -w-. Hero as a name appears in pre-Homeric Greek mythology, wherein Hero was a priestess of the goddess Aphrodite, in a myth that has been referred to often in literature.

According to The American Heritage Dictionary of the English Language, the Proto-Indo-European root is *ser meaning "to protect". According to Eric Partridge in Origins, the Greek word hērōs "is akin to" the Latin seruāre, meaning to safeguard. Partridge concludes, "The basic sense of both Hera and hero would therefore be 'protector'." R. S. P. Beekes rejects an Indo-European derivation and asserts that the word has a Pre-Greek origin. Hera was a Greek goddess with many attributes, including protection and her worship appears to have similar proto-Indo-European origins.

Antiquity

See also: Greek hero cult

Perseus and the head of Medusa in a Roman fresco at Stabiae

A classical hero is considered to be a "warrior who lives and dies in the pursuit of honor" and asserts their greatness by "the brilliancy and efficiency with which they kill". Each classical hero's life focuses on fighting, which occurs in war or during an epic quest. Classical heroes are commonly semi-divine and extraordinarily gifted, such as Achilles, evolving into heroic characters through their perilous circumstances. While these heroes are incredibly resourceful and skilled, they are often foolhardy, court disaster, risk their followers' lives for trivial matters, and behave arrogantly in a childlike manner. During classical times, people regarded heroes with the highest esteem and utmost importance, explaining their prominence within epic literature. The appearance of these mortal figures marks a revolution of audiences and writers turning away from immortal gods to mortal mankind, whose heroic moments of glory survive in the memory of their descendants, extending their legacy.

Two heroes. A Roman fresco in Herculaneum, 30-40 AD

Hector was a Trojan prince and the greatest fighter for Troy in the Trojan War, which is known primarily through Homer's Iliad. Hector acted as leader of the Trojans and their allies in the defense of Troy, "killing 31,000 Greek fighters," offers Hyginus. Hector was known not only for his courage, but also for his noble and courtly nature. Indeed, Homer places Hector as peace-loving, thoughtful, as well as bold, a good son, husband and father, and without darker motives. However, his familial values conflict greatly with his heroic aspirations in the Iliad, as he cannot be both the protector of Troy and a father to his child. Hector is ultimately betrayed by the deities when Athena appears disguised as his ally Deiphobus and convinces him to challenge Achilles, leading to his death at the hands of a superior warrior.

The Rage of Achilles, by Giovanni Battista Tiepolo, 1757

Achilles was a Greek hero who was considered the most formidable military fighter in the entire Trojan War and the central character of the Iliad. He was the child of Thetis and Peleus, making him a demi-god. He wielded superhuman strength on the battlefield and was blessed with a close relationship to the deities. Achilles famously refused to fight after his dishonoring at the hands of Agamemnon, and only returned to the war due to unadulterated rage after Hector killed his beloved companion Patroclus. Achilles was known for uncontrollable rage that defined many of his bloodthirsty actions, such as defiling Hector's corpse by dragging it around the city of Troy. Achilles plays a tragic role in the Iliad brought about by constant de-humanization throughout the epic, having his menis (wrath) overpower his philos (love).

Heroes in myth often had close but conflicted relationships with the deities. Thus, Heracles's name means "the glory of Hera", even though he was tormented all his life by Hera, the Queen of the Greek deities. Perhaps the most striking example is the Athenian king Erechtheus, whom Poseidon killed for choosing Athena rather than him as the city's patron deity. When the Athenians worshiped Erechtheus on the Acropolis, they invoked him as Poseidon Erechtheus.

Fate, or destiny, plays a massive role in the stories of classical heroes. The classical hero's heroic significance stems from battlefield conquests, an inherently dangerous action. The deities in Greek mythology, when interacting with the heroes, often foreshadow the hero's eventual death on the battlefield. Countless heroes and deities go to great lengths to alter their pre-destined fates, but with no success, as none, neither human or immortal can change their prescribed outcomes by the three powerful Fates. The most characteristic example of this is found in Oedipus Rex. After learning that his son, Oedipus, will end up killing him, the King of Thebes, Laius, takes huge steps to assure his son's death by removing him from the kingdom. When Oedipus encounters his father when his father was unknown to him in a dispute on the road many years later, Oedipus slays him without an afterthought. The lack of recognition enabled Oedipus to slay his father, ironically further binding his father to his fate.

Stories of heroism may serve as moral examples. However, classical heroes often did not embody the Christian notion of an upstanding, perfectly moral hero. For example, Achilles's character-issues of hateful rage lead to merciless slaughter and his overwhelming pride lead to him only joining the Trojan War because he did not want his soldiers to win all of the glory. Classical heroes, regardless of their morality, were placed in religion. In classical antiquity, cults that venerated deified heroes such as Heracles, Perseus, and Achilles played an important role in Ancient Greek religion. These ancient Greek hero cults worshipped heroes from oral epic tradition, with these heroes often bestowing blessings, especially healing ones, on individuals.

Myth and monomyth

The four heroes from the 16th-century Chinese novel, Journey to the West

The concept of the "Mythic Hero Archetype" was first developed by Lord Raglan in his 1936 book, The Hero, A Study in Tradition, Myth and Drama. It is a set of 22 common traits that he said were shared by many heroes in various cultures, myths, and religions throughout history and worldwide. Raglan argued that the higher the score, the more likely the figure is mythical.

Lemminkäinen and the Fiery Eagle, Robert Wilhelm Ekman, 1867

The concept of a story archetype of the standard monomythical "hero's quest" that was reputed to be pervasive across all cultures is somewhat controversial. Expounded mainly by Joseph Campbell in his 1949 work The Hero with a Thousand Faces, it illustrates several uniting themes of hero stories that hold similar ideas of what a hero represents despite vastly different cultures and beliefs. The monomyth or Hero's Journey consists of three separate stages: the Departure, Initiation, and Return. Within these stages, there are several archetypes that the hero of either gender may follow, including the call to adventure (which they may initially refuse), supernatural aid, proceeding down a road of trials, achieving a realization about themselves (or an apotheosis), and attaining the freedom to live through their quest or journey. Campbell offered examples of stories with similar themes, such as Krishna, Buddha, Apollonius of Tyana, and Jesus. One of the themes he explores is the androgynous hero, who combines male and female traits, such as Bodhisattva: "The first wonder to be noted here is the androgynous character of the Bodhisattva: masculine Avalokiteshvara, feminine Kwan Yin." In his 1968 book, The Masks of God: Occidental Mythology, Campbell writes, "It is clear that, whether accurate or not as to biographical detail, the moving legend of the Crucified and Risen Christ was fit to bring a new warmth, immediacy, and humanity, to the old motifs of the beloved Tammuz, Adonis, and Osiris cycles."

Slavic fairy tales

Ivan Tsarevich, a hero of Russian folklore, by Viktor Vasnetsov (1880)

Vladimir Propp, in his analysis of Russian fairy tales, concluded that a fairy tale had only eight dramatis personæ, of which one was the hero, and his analysis has been widely applied to non-Russian folklore. The actions that fall into such a hero's sphere include:

1. Departure on a quest
2. Reacting to the test of a donor
3. Marrying a princess (or similar figure)

Propp distinguished between seekers and victim-heroes. A villain could initiate the issue by kidnapping the hero or driving him out; these were victim-heroes. On the other hand, an antagonist could rob the hero, or kidnap someone close to him, or, without the villain's intervention, the hero could realize that he lacked something and set out to find it; these heroes are seekers. Victims may appear in tales with seeker heroes, but the tale does not follow them both.

Historical studies

Further information: Philosophy of history and Great man theory

Simo Häyhä, a Finnish military sniper during the Winter War, achieved the reputation of a pioneering war hero, despite his modest nature.

The philosopher Hegel gave a central role to the "hero", personalized by Napoleon, as the incarnation of a particular culture's Volksgeist and thus of the general Zeitgeist. Thomas Carlyle's 1841 work, On Heroes, Hero-Worship, & the Heroic in History, also accorded an essential function to heroes and great men in history. Carlyle centered history on the biographies of individuals, as in Oliver Cromwell's Letters and Speeches and History of Frederick the Great. His heroes were not only political and military figures, the founders or topplers of states, but also religious figures, poets, authors, and captains of industry.

Explicit defenses of Carlyle's position were rare in the second part of the 20th century. Most in the philosophy of history school contend that the motive forces in history may best be described only with a wider lens than the one that Carlyle used for his portraits. For example, Karl Marx argued that history was determined by the massive social forces at play in "class struggles", not by the individuals by whom these forces are played out. After Marx, Herbert Spencer wrote at the end of the 19th century: "You must admit that the genesis of the great man depends on the long series of complex influences which has produced the race in which he appears, and the social state into which that race has slowly grown...[b]efore he can remake his society, his society must make him." Michel Foucault argued in his analysis of societal communication and debate that history was mainly the "science of the sovereign", until its inversion by the "historical and political popular discourse".

Bust of Nelson Mandela erected on London's South Bank by the Greater London Council administration of Ken Livingstone in 1985

The Swedish Diplomat Raoul Wallenberg saved the lives of tens of thousands of Jews in Budapest during World War II.

Modern examples of the typical hero are, Minnie Vautrin, Norman Bethune, Alan Turing, Raoul Wallenberg, Chiune Sugihara, Martin Luther King Jr., Mother Teresa, Nelson Mandela, Oswaldo Payá, Óscar Elías Biscet, and Aung San Suu Kyi.

The Annales school, led by Lucien Febvre, Marc Bloch, and Fernand Braudel, would contest the exaggeration of the role of individual subjects in history. Indeed, Braudel distinguished various time scales, one accorded to the life of an individual, another accorded to the life of a few human generations, and the last one to civilizations, in which geography, economics, and demography play a role considerably more decisive than that of individual subjects.

Among noticeable events in the studies of the role of the hero and great man in history one should mention Sidney Hook's book (1943) The Hero in History. In the second half of the twentieth century such male-focused theory has been contested, among others by feminists writers such as Judith Fetterley in The Resisting Reader (1977) and literary theorist Nancy K. Miller, The Heroine's Text: Readings in the French and English Novel, 1722–1782.

In the epoch of globalization an individual may change the development of the country and of the whole world, so this gives reasons to some scholars to suggest returning to the problem of the role of the hero in history from the viewpoint of modern historical knowledge and using up-to-date methods of historical analysis.

Within the frameworks of developing counterfactual history, attempts are made to examine some hypothetical scenarios of historical development. The hero attracts much attention because most of those scenarios are based on the suppositions: what would have happened if this or that historical individual had or had not been alive.

Modern fiction

Further information: Vanity Fair (novel) and Superhero

Batman (Adam West) and Robin (Burt Ward) in the 1966–1968 television series, Batman

The word "hero" (or "heroine" in modern times), is sometimes used to describe the protagonist or the romantic interest of a story, a usage which may conflict with the superhuman expectations of heroism. A good example is Anna Karenina, the lead character in the novel of the same title by Leo Tolstoy. In modern literature the hero is more and more a problematic concept. In 1848, for example, William Makepeace Thackeray gave Vanity Fair the subtitle, A Novel without a Hero, and imagined a world in which no sympathetic character was to be found. Vanity Fair is a satirical representation of the absence of truly moral heroes in the modern world. The story focuses on the characters, Emmy Sedley and Becky Sharpe (the latter as the clearly defined anti-hero), with the plot focused on the eventual marriage of these two characters to rich men, revealing character flaws as the story progresses. Even the most sympathetic characters, such as Captain Dobbin, are susceptible to weakness, as he is often narcissistic and melancholic.

The larger-than-life hero is a more common feature of fantasy (particularly in comic books and epic fantasy) than more realist works. However, these larger-than life figures remain prevalent in society. The superhero genre is a multibillion-dollar industry that includes comic books, movies, toys, and video games. Superheroes usually possess extraordinary talents and powers that no living human could ever possess. The superhero stories often pit a super villain against the hero, with the hero fighting the crime caused by the super villain. Examples of long-running superheroes include Superman, Wonder Woman, Batman, and Spider-Man.

Research indicates that male writers are more likely to make heroines superhuman, whereas female writers tend to make heroines ordinary humans, as well as making their male heroes more powerful than their heroines, possibly due to sex differences in valued traits.

Psychology

Social psychology has begun paying attention to heroes and heroism. Zeno Franco and Philip Zimbardo point out differences between heroism and altruism, and they offer evidence that observer perceptions of unjustified risk play a role above and beyond risk type in determining the ascription of heroic status.

Psychologists have also identified the traits of heroes. Elaine Kinsella and her colleagues have identified 12 central traits of heroism, which consist of brave, moral integrity, conviction, courageous, self-sacrifice, protecting, honest, selfless, determined, saves others, inspiring, and helpful. Scott Allison and George Goethals uncovered evidence for "the great eight traits" of heroes consisting of wise, strong, resilient, reliable, charismatic, caring, selfless, and inspiring. These researchers have also identified four primary functions of heroism. Heroes give us wisdom; they enhance us; they provide moral modeling; and they offer protection.

An evolutionary psychology explanation for heroic risk-taking is that it is a costly signal demonstrating the ability of the hero. It may be seen as one form of altruism for which there are several other evolutionary explanations as well.

Roma Chatterji has suggested that the hero or more generally protagonist is first and foremost a symbolic representation of the person who is experiencing the story while reading, listening, or watching; thus the relevance of the hero to the individual relies a great deal on how much similarity there is between them and the character. Chatterji suggested that one reason for the hero-as-self interpretation of stories and myths is the human inability to view the world from any perspective but a personal one.

In the Pulitzer Prize-winning book, The Denial of Death, Ernest Becker argues that human civilization is ultimately an elaborate, symbolic defense mechanism against the knowledge of our mortality, which in turn acts as the emotional and intellectual response to our basic survival mechanism. Becker explains that a basic duality in human life exists between the physical world of objects and a symbolic world of human meaning. Thus, since humanity has a dualistic nature consisting of a physical self and a symbolic self, he asserts that humans are able to transcend the dilemma of mortality through heroism, by focusing attention mainly on the symbolic self. This symbolic self-focus takes the form of an individual's "immortality project" (or "causa sui project"), which is essentially a symbolic belief-system that ensures that one is believed superior to physical reality. By successfully living under the terms of the immortality project, people feel they can become heroic and, henceforth, part of something eternal; something that will never die as compared to their physical body. This he asserts, in turn, gives people the feeling that their lives have meaning, a purpose, and are significant in the grand scheme of things. Another theme running throughout the book is that humanity's traditional "hero-systems", such as religion, are no longer convincing in the age of reason. Science attempts to serve as an immortality project, something that Becker believes it can never do, because it is unable to provide agreeable, absolute meanings to human life. The book states that we need new convincing "illusions" that enable people to feel heroic in ways that are agreeable. Becker, however, does not provide any definitive answer, mainly because he believes that there is no perfect solution. Instead, he hopes that gradual realization of humanity's innate motivations, namely death, may help to bring about a better world. Terror Management Theory (TMT) has generated evidence supporting this perspective.

Mental and physical integration

Examining the success of resistance fighters on Crete during the Nazi occupation in WWII, author and endurance researcher C. McDougall drew connections to the Ancient Greek heroes and a culture of integrated physical self-mastery, training, and mental conditioning that fostered confidence to take action, and made it possible for individuals to accomplish feats of great prowess, even under the harshest of conditions. The skills established an "...ability to unleash tremendous resources of strength, endurance, and agility that many people don't realize they already have." McDougall cites examples of heroic acts, including a scholium to Pindar's Fifth Nemean Ode: "Much weaker in strength than the Minotaur, Theseus fought with it and won using pankration, as he had no knife." Pankration is an ancient Greek term meaning "total power and knowledge," one "...associated with gods and heroes...who conquer by tapping every talent."

Polymath

From Wikipedia, the free encyclopedia

https://en.wikipedia.org/wiki/Polymath

Benjamin Franklin is one of the foremost polymaths in history. Franklin was a writer, scientist, inventor, statesman, diplomat, printer and political philosopher. He further attained a legacy as one of the Founding Fathers of the United States.

A polymath (Greek: πολυμαθής, romanized: polymathēs, lit. 'having learned much'; Latin: homo universalis, lit. 'universal human') or polyhistor (Greek: πολυΐστωρ, romanized: poly'īstor, lit. 'well-learned') is an individual whose knowledge spans many different subjects, known to draw on complex bodies of knowledge to solve specific problems.

Embodying a basic tenet of Renaissance humanism that humans are limitless in their capacity for development, the concept led to the notion that people should embrace all knowledge and develop their capacities as fully as possible. This is expressed in the term Renaissance man, often applied to the gifted people of that age who sought to develop their abilities in all areas of accomplishment: intellectual, artistic, social, physical, and spiritual.

Etymology

In Western Europe, the first work to use the term polymathy in its title (De Polymathia tractatio: integri operis de studiis veterum) was published in 1603 by Johann von Wowern, a Hamburg philosopher. Von Wowern defined polymathy as "knowledge of various matters, drawn from all kinds of studies ... ranging freely through all the fields of the disciplines, as far as the human mind, with unwearied industry, is able to pursue them". Von Wowern lists erudition, literature, philology, philomathy, and polyhistory as synonyms.

The earliest recorded use of the term in the English language is from 1624, in the second edition of The Anatomy of Melancholy by Robert Burton; the form polymathist is slightly older, first appearing in the Diatribae upon the first part of the late History of Tithes of Richard Montagu in 1621. Use in English of the similar term polyhistor dates from the late 16th century.

Renaissance man

"Renaissance man" redirects here. For use as a title of cultural works, see Renaissance Man.

The term "Renaissance man" was first recorded in written English in the early 20th century. It is used to refer to great thinkers living before, during, or after the Renaissance. Leonardo da Vinci has often been described as the archetype of the Renaissance man, a man of "unquenchable curiosity" and "feverishly inventive imagination". Many notable polymaths lived during the Renaissance period, a cultural movement that spanned roughly the 14th through to the 17th century that began in Italy in the Late Middle Ages and later spread to the rest of Europe. These polymaths had a rounded approach to education that reflected the ideals of the humanists of the time. A gentleman or courtier of that era was expected to speak several languages, play a musical instrument, write poetry, and so on, thus fulfilling the Renaissance ideal.

The idea of a universal education was essential to achieving polymath ability, hence the word university was used to describe a seat of learning. However, the original Latin word universitas refers in general to "a number of persons associated into one body, a society, company, community, guild, corporation, etc". At this time, universities did not specialize in specific areas, but rather trained students in a broad array of science, philosophy, and theology. This universal education gave them a grounding from which they could continue into apprenticeship toward becoming a master of a specific field.

When someone is called a "Renaissance man" today, it is meant that rather than simply having broad interests or superficial knowledge in several fields, the individual possesses a more profound knowledge and a proficiency, or even an expertise, in at least some of those fields.

Some dictionaries use the term "Renaissance man" to describe someone with many interests or talents, while others give a meaning restricted to the Renaissance and more closely related to Renaissance ideals.

In academia

Robert Root-Bernstein and colleagues

Robert Root-Bernstein is considered the principal responsible for rekindling interest in polymathy in the scientific community. His works emphasize the contrast between the polymath and two other types: the specialist and the dilettante. The specialist demonstrates depth but lacks breadth of knowledge. The dilettante demonstrates superficial breadth but tends to acquire skills merely "for their own sake without regard to understanding the broader applications or implications and without integrating it".Conversely, the polymath is a person with a level of expertise that is able to "put a significant amount of time and effort into their avocations and find ways to use their multiple interests to inform their vocations".

A key point in the work of Root-Bernstein and colleagues is the argument in favor of the universality of the creative process. That is, although creative products, such as a painting, a mathematical model or a poem, can be domain-specific, at the level of the creative process, the mental tools that lead to the generation of creative ideas are the same, be it in the arts or science. These mental tools are sometimes called intuitive tools of thinking. It is therefore not surprising that many of the most innovative scientists have serious hobbies or interests in artistic activities, and that some of the most innovative artists have an interest or hobbies in the sciences.

Root-Bernstein and colleagues' research is an important counterpoint to the claim by some psychologists that creativity is a domain-specific phenomenon. Through their research, Root-Bernstein and colleagues conclude that there are certain comprehensive thinking skills and tools that cross the barrier of different domains and can foster creative thinking: "[creativity researchers] who discuss integrating ideas from diverse fields as the basis of creative giftedness ask not 'who is creative?' but 'what is the basis of creative thinking?' From the polymathy perspective, giftedness is the ability to combine disparate (or even apparently contradictory) ideas, sets of problems, skills, talents, and knowledge in novel and useful ways. Polymathy is therefore the main source of any individual's creative potential". In "Life Stages of Creativity", Robert and Michèle Root-Bernstein suggest six typologies of creative life stages. These typologies are based on real creative production records first published by Root-Bernstein, Bernstein, and Garnier (1993).

• Type 1 represents people who specialize in developing one major talent early in life (e.g., prodigies) and successfully exploit that talent exclusively for the rest of their lives.
• Type 2 individuals explore a range of different creative activities (e.g., through worldplay or a variety of hobbies) and then settle on exploiting one of these for the rest of their lives.
• Type 3 people are polymathic from the outset and manage to juggle multiple careers simultaneously so that their creativity pattern is constantly varied.
• Type 4 creators are recognized early for one major talent (e.g., math or music) but go on to explore additional creative outlets, diversifying their productivity with age.
• Type 5 creators devote themselves serially to one creative field after another.
• Type 6 people develop diversified creative skills early and then, like Type 5 individuals, explore these serially, one at a time.

Finally, his studies suggest that understanding polymathy and learning from polymathic exemplars can help structure a new model of education that better promotes creativity and innovation: "we must focus education on principles, methods, and skills that will serve them [students] in learning and creating across many disciplines, multiple careers, and succeeding life stages".

Peter Burke

Peter Burke, Professor Emeritus of Cultural History and Fellow of Emmanuel College at Cambridge, discussed the theme of polymathy in some of his works. He has presented a comprehensive historical overview of the ascension and decline of the polymath as, what he calls, an "intellectual species".

He observes that in ancient and medieval times, scholars did not have to specialize. However, from the 17th century on, the rapid rise of new knowledge in the Western world—both from the systematic investigation of the natural world and from the flow of information coming from other parts of the world—was making it increasingly difficult for individual scholars to master as many disciplines as before. Thus, an intellectual retreat of the polymath species occurred: "from knowledge in every [academic] field to knowledge in several fields, and from making original contributions in many fields to a more passive consumption of what has been contributed by others".

Given this change in the intellectual climate, it has since then been more common to find "passive polymaths", who consume knowledge in various domains but make their reputation in one single discipline, than "proper polymaths", who—through a feat of "intellectual heroism"—manage to make serious contributions to several disciplines.

However, Burke warns that in the age of specialization, polymathic people are more necessary than ever, both for synthesis—to paint the big picture—and for analysis. He says: "It takes a polymath to 'mind the gap' and draw attention to the knowledges that may otherwise disappear into the spaces between disciplines, as they are currently defined and organized".

Finally, he suggests that governments and universities should nurture a habitat in which this "endangered species" can survive, offering students and scholars the possibility of interdisciplinary work.

Bharath Sriraman

Bharath Sriraman, of the University of Montana, also investigated the role of polymathy in education. He poses that an ideal education should nurture talent in the classroom and enable individuals to pursue multiple fields of research and appreciate both the aesthetic and structural/scientific connections between mathematics, arts and the sciences.

In 2009, Sriraman published a paper reporting a 3-year study with 120 pre-service mathematics teachers and derived several implications for mathematics pre-service education as well as interdisciplinary education. He utilized a hermeneutic-phenomenological approach to recreate the emotions, voices and struggles of students as they tried to unravel Russell's paradox presented in its linguistic form. They found that those more engaged in solving the paradox also displayed more polymathic thinking traits. He concludes by suggesting that fostering polymathy in the classroom may help students change beliefs, discover structures and open new avenues for interdisciplinary pedagogy.

Michael Araki

Michael Araki is a professor at the UNSW Business School at the University of New South Wales, Australia. He sought to formalize in a general model how the development of polymathy takes place. His Developmental Model of Polymathy (DMP) is presented in a 2018 article with two main objectives:

1. organize the elements involved in the process of polymathy development into a structure of relationships that is wed to the approach of polymathy as a life project, and;
2. provide an articulation with other well-developed constructs, theories, and models, especially from the fields of giftedness and education.

The model, which was designed to reflect a structural model, has five major components:

1. polymathic antecedents
2. polymathic mediators
3. polymathic achievements
4. intrapersonal moderators
5. environmental moderators

The Developmental Model of Polymathy (DMP)

Regarding the definition of the term polymathy, the researcher, through an analysis of the extant literature, concluded that although there are a multitude of perspectives on polymathy, most of them ascertain that polymathy entails three core elements: breadth, depth and integration.

Breadth refers to comprehensiveness, extension and diversity of knowledge. It is contrasted with the idea of narrowness, specialization, and the restriction of one's expertise to a limited domain. The possession of comprehensive knowledge at very disparate areas is a hallmark of the greatest polymaths.

Depth refers to the vertical accumulation of knowledge and the degree of elaboration or sophistication of one's sets of one's conceptual network. Like Robert Root-Bernstein, Araki uses the concept of dilettancy as a contrast to the idea of profound learning that polymathy entails.

Integration, although not explicit in most definitions of polymathy, is also a core component of polymathy according to the author. Integration involves the capacity of connecting, articulating, concatenating or synthesizing different conceptual networks, which in non-polymathic persons might be segregated. In addition, integration can happen at the personality level, when the person is able to integrate their diverse activities in a synergic whole, which can also mean a psychic (motivational, emotional and cognitive) integration.

Finally, the author also suggests that, via a psychoeconomic approach, polymathy can be seen as a "life project". That is, depending on a person's temperament, endowments, personality, social situation and opportunities (or lack thereof), the project of a polymathic self-formation may present itself to the person as more or less alluring and more or less feasible to be pursued.

Kaufman, Beghetto and colleagues

James C. Kaufman, from the Neag School of Education at the University of Connecticut, and Ronald A. Beghetto, from the same university, investigated the possibility that everyone could have the potential for polymathy as well as the issue of the domain-generality or domain-specificity of creativity.

Based on their earlier four-c model of creativity, Beghetto and Kaufman proposed a typology of polymathy, ranging from the ubiquitous mini-c polymathy to the eminent but rare Big-C polymathy, as well as a model with some requirements for a person (polymath or not) to be able to reach the highest levels of creative accomplishment. They account for three general requirements—intelligence, motivation to be creative, and an environment that allows creative expression—that are needed for any attempt at creativity to succeed. Then, depending on the domain of choice, more specific abilities will be required. The more that one's abilities and interests match the requirements of a domain, the better. While some will develop their specific skills and motivations for specific domains, polymathic people will display intrinsic motivation (and the ability) to pursue a variety of subject matters across different domains.

Regarding the interplay of polymathy and education, they suggest that rather than asking whether every student has multicreative potential, educators might more actively nurture the multicreative potential of their students. As an example, the authors cite that teachers should encourage students to make connections across disciplines, use different forms of media to express their reasoning/understanding (e.g., drawings, movies, and other forms of visual media).

Waqas Ahmed

In his 2018 book The Polymath, British author Waqas Ahmed defines polymaths as those who have made significant contributions to at least three different fields. Rather than seeing polymaths as exceptionally gifted, he argues that every human being has the potential to become one: that people naturally have multiple interests and talents. He contrasts this polymathic nature against what he calls "the cult of specialisation". For example, education systems stifle this nature by forcing learners to specialise in narrow topics. The book argues that specialisation encouraged by the production lines of the Industrial Revolution is counter-productive both to the individual and wider society. It suggests that the complex problems of the 21st century need the versatility, creativity, and broad perspectives characteristic of polymaths.

For individuals, Ahmed says, specialisation is dehumanising and stifles their full range of expression whereas polymathy "is a powerful means to social and intellectual emancipation" which enables a more fulfilling life. In terms of social progress, he argues that answers to specific problems often come from combining knowledge and skills from multiple areas, and that many important problems are multi-dimensional in nature and cannot be fully understood through one specialism. Rather than interpreting polymathy as a mix of occupations or of intellectual interests, Ahmed urges a breaking of the "thinker"/"doer" dichotomy and the art/science dichotomy. He argues that an orientation towards action and towards thinking support each other, and that human beings flourish by pursuing a diversity of experiences as well as a diversity of knowledge. He observes that successful people in many fields have cited hobbies and other "peripheral" activities as supplying skills or insights that helped them succeed.

Ahmed examines evidence suggesting that developing multiple talents and perspectives is helpful for success in a highly specialised field. He cites a study of Nobel Prize-winning scientists which found them 25 times more likely to sing, dance, or act than average scientists. Another study found that children scored higher in IQ tests after having drum lessons, and he uses such research to argue that diversity of domains can enhance a person's general intelligence.

Ahmed cites many historical claims for the advantages of polymathy. Some of these are about general intellectual abilities that polymaths apply across multiple domains. For example, Aristotle wrote that full understanding of a topic requires, in addition to subject knowledge, a general critical thinking ability that can assess how that knowledge was arrived at. Another advantage of a polymathic mindset is in the application of multiple approaches to understanding a single issue. Ahmed cites biologist E. O. Wilson's view that reality is approached not by a single academic discipline but via a consilience between them. One argument for studying multiple approaches is that it leads to open-mindedness. Within any one perspective, a question may seem to have a straightforward, settled answer. Someone aware of different, contrasting answers will be more open-minded and aware of the limitations of their own knowledge. The importance of recognising these limitations is a theme that Ahmed finds in many thinkers, including Confucius, ʿAlī ibn Abī Ṭālib, and Nicolas of Cusa. He calls it "the essential mark of the polymath."^[45] A further argument for multiple approaches is that a polymath does not see diverse approaches as diverse, because they see connections where other people see differences. For example da Vinci advanced multiple fields by applying mathematical principles to each.

Examples

Further information: List of Renaissance figures

Polymaths include the great scholars and thinkers of the Renaissance and Enlightenment, who excelled at several fields in science, technology, engineering, mathematics, and the arts. In the Italian Renaissance, the idea of the polymath was allegedly expressed by Leon Battista Alberti (1404–1472), a polymath himself, in the statement that "a man can do all things if he will". Well-known and celebrated polymaths include Avicenna, Leonardo da Vinci, Michelangelo , Robert Hooke, Gottfried Wilhelm Leibniz, Al-Biruni, Hildegard of Bingen, Ibn al-Haytham, Rabindranath Tagore, Mikhail Lomonosov, Johann Wolfgang von Goethe, Alan Turing, Benjamin Franklin, John von Neumann, Omar Khayyam, Charles Sanders Peirce, Henri Poincaré, Isaac Asimov, Nicolaus Copernicus, Johann Weikhard von Valvasor, René Descartes, Aristotle, Frederick II, Holy Roman Emperor, Averroes, Archimedes, Hypatia, Blaise Pascal, Africanus Horton, Wang Wei, Isaac Newton, Pierre-Paul Riquet, Leonhard Euler, Émilie du Châtelet, Nikola Tesla, Thomas Edison, Florence Nightingale, Bertrand Russell, B. R. Ambedkar, Nicole Oresme, Thomas Young, Sequoyah, Thomas Jefferson, Pierre-Simon Laplace, Maya Angelou, Friedrich Engels, Satyajit Ray and William Whewell

Related terms

Aside from Renaissance man, similar terms in use are homo universalis (Latin) and uomo universale (Italian), which translate to 'universal man'. The related term generalist—contrasted with a specialist—is used to describe a person with a general approach to knowledge.

The term universal genius or versatile genius is also used, with Leonardo da Vinci as the prime example again. The term is used especially for people who made lasting contributions in at least one of the fields in which they were actively involved and when they took a universality of approach.

When a person is described as having encyclopedic knowledge, they exhibit a vast scope of knowledge. However, this designation may be anachronistic in the case of persons such as Eratosthenes, whose reputation for having encyclopedic knowledge predates the existence of any encyclopedic object.