Summary Embodied simulation, a basic functional mechanism of our brain, and its neural underpinnings are discussed and connected to intersubjectivity and the reception of human cultural artefacts, like visual arts and film. Embodied simulation provides a unified account of both non-verbal and verbal aspects of interpersonal relations that likely play an important role in shaping not only the self and his/her relation to others, but also shared cultural practices. Embodied simulation sheds new light on aesthetic experience and is proposed as (...) a key element for the dialogue between neuroscience and the humanities within the biocultural paradigm. (shrink)

The long-form television drama series Hannibal thematises the embodied imagination and the elicitation of empathy and ethical understanding at the level of narrative and characterisation as well as through character engagement and screen aesthetics. Using Hannibal as a case study, this research investigates how stylistic choices frame the experiences of screen characters and engender forms of intersubjectivity based on corporeal and cognitive routes to empathy; in particular, it examines the capacity for screen media to facilitate what neuroscientist Vittorio Gallese terms (...) intercorporeality. As a constitutive aspect of intersubjectivity and social understanding that works through embodied simulation, intercorporeality invites a reconceptualisation of empathy and its association with ethical motivation and insight. Hannibal also introduces cannibalism as a dark metaphor for the incorporation of another into oneself, reflecting on empathy's ill-understood potential for negative affect and... (shrink)

Summary In the epistemic frame of the biocultural turn and of the neuroaesthetics, we have developed neurohermeneutics as an approach to literature that aims at contributing to the current debate about the linkage between literary, cognitive and neuroscientific studies, focusing on the relationship between mindbrain processes mirrored in the formal features of the text and the strategies activated by the author in a text in order to guide the reader in imagining, emotionally feeling and cognitively getting meanings out of the (...) literary experience. The aim of the neurohermeneutical approach is to grasp and describe phenomenologically the mirroring process between the two extremes of the literary experience, i.e. the writer’s creative process as it is mirrored in the formal features of the literary work and the reader’s imaginative reconfiguration of the text, and what they share in common. The reader revives the mental imaginative processes of the author by creating his/her unrepeatable individual experiences of the text and subjectively redesigning it in an endless loop of features that trigger the imagination and its creative potential both while writing and by reading literature. (shrink)

Ausgehend von einem kurzem Blick in die Geschichte des Einfühlungskonzepts betrachtet der Beitrag zunächst dessen begriffliche Entwicklung in der Psychoanalyse. Empathie, so die These, sei als moderne Konzeption von Einfühlung unter dem Einfluss der Nachbarwissenschaften zu einem verkörperlichten Zugang für ich-syntone Anteile im anderen geworden. Vorgeschlagen wird, Empathie um psychoanalytische Verstehenselemente zu erweitern, um auch einen Zugang zum Unbewussten, Verdrängten, dem Ich Fremden zu finden, und dazu zum klassischen Begriff der Einfühlung zurückzukehren. Unter Rückgriff auf Waldenfels’ Phänomenologie des Fremden und (...) das von der Kleinkindforschung herausgearbeitete affektiv-kognitive Gedächtnissystem wird Einfühlung als kreative Antwort auf ein pathisches Ereignis im unmittelbaren Kontakt zum anderen spezifiziert. Dabei kann auch zwischenkörperlich gewonnenes Verstehen nach der hier vertretenen Auffassung immer nur subjektiv sein und seine transformative Kraft vor allem im korrigierenden Dialog entfalten. (shrink)