Eldred offers a remedy to the consequences of ancient Greek misconceptions of time that are also entrenched in today’s mathematized physics. Here time is spatialized as the one-dimensionally linear ‘arrow of time’ for the sake of predicting and controlling movement. But such spatialized time distorts the phenomenon of time itself. An alternative, hermeneutic-phenomenological path begins with a pre-spatial concept of time that is genuinely three-dimensional. This paves the way for recasting who we are as humans in belonging, first of all, (...) to the free openness of 3D-temporality. This belonging enables temporally 3D-vision of the psyche that empowers us to see movement at all and reconcile its inherent contradictoriness. We are then also able to conceive ourselves no longer merely as internally cogitating, self-conscious subjects, but as engaged existentially in temporally 3D-interplay, mutually estimating and esteeming who we are. This unpredictable interplay is constrained, however, by being played out in the sociating medium of thingified value, the accumulative movement of thingified value having gained the upper hand in dictating our life-movements as well as our interplay with the earth. (shrink)

Dieser Beitrag handelt von der Empathie in der Kunst. Ich beginne mit einer Reflexion über die Ursprünge des Begriffes und seine Verwendung in der Ästhetik. Es folgt eine Analyse der Empathie im Vergleich zu anderen Formen der Anteilnahme an Kunstwerken. Im dritten Teil untersuche ich die Mechanismen der Empathie in der Kunst und die Funktion der Imagination. Der vierte Teil widmet sich der Bedeutung der Gefühle bei der Empathie für Kunstfiguren. Schließlich thematisiere ich den epistemischen, moralischen und ästhetischen Wert der (...) Empathie für die Kunst. (shrink)

After briefly remarking on previous treatments of empathy in the philosophical and psychological literature, I outline Stein’s treatment of this concept in On the Problem of Empathy and Philosophy of Psychology and the Humanities, illustrating the problematic breadth of her application of the term ‘empathy,’ a breadth that Stein herself calls to our attention. After a brief discussion of Stein’s treatment of empathy and the experience of value, I turn to certain features of Roman Ingarden’s analyses of aesthetic experience found (...) in The Literary Work of Art and The Cognition of the Work of Art that deal with what he refers to as the reader’s ‘emotional coexperience’ of situations and events represented in the work of art. I conclude by comparing Stein’s account of empathy with Ingarden’s account of aesthetic experience, both of which deal at length with the subjective activities of “feeling with” and emotional coexperience. (shrink)

The last few years have seen increasing research interest in moods and atmospheres. While this trend has been accompanied by growing interest in the history of the wordStimmungin other disciplines, this has not yet been the case within philosophy. Against this background, this paper offers a conceptual history of the wordStimmung, focusing on the period from Kant to Heidegger, as this period is, presumably, less known to researchers working with notions like mood, attunement or atmosphere today. Thus, considering this period (...) might provide conceptual resources not yet considered in current debate.Stimmunghas the remarkable feature of encompassing the entire semantic field of mood and atmosphere, insofar as both subjects and objects can literally be inStimmung.Stimmungmight refer to the state or condition of being attuned, which is understood as a dispositional state, as well as the process or act of attuning, which includes self-activating and foreign-determined forms of attuning. The word was first used for the tuning of musical instruments, but was quickly transferred to the fields of aesthetics, psychology, and physiology. This paper will focus on the contrast between the psychological canonization ofStimmungas a type of mental state, and the use ofStimmungas an untranslatable, irreducible metaphor with unique semantic force allowing for original theorizing. (shrink)

Many recent accounts of the ontology of groups, institutions, and practices have touched upon the normative or deontic dimensions of social reality (e.g., social obligations, claims, permissions, prohibitions, authority, and immunity), as distinct from any specifically moral values or obligations. For the most part, however, the ontology of such socio-deontic phenomena has not received the attention it deserves. In what sense might a social obligation or a claim exist? What is the ontological status of such an obligation (e.g., is it (...) an entity in its own right)? And how do people come to have social obligations or permissions in the first place? In this dissertation, I argue that such social-deontic phenomena can be accounted for ontologically in terms of the existence of shared prescriptive representational content that is backed by collectively held dispositions to monitor for compliance, and to punish (sanction, blame, chide, look unfavorably upon) those who fail to comply. (shrink)

What does it mean for an actor to empathize with the character she is playing? We review different theories of empathy and of acting. We then consider the notion of “twofoldness”, which has been used to characterize the observer or audience perspective on the relation between actor and character. This same kind of twofoldness or double attunement applies from the perspective of the actor herself who must, at certain points of preparation, distinguish between the character portrayed and her own portrayal (...) effected in her craft. We argue that this concept helps us to understand how the actor can empathize with her character. For the actor who must study and rehearse her character, empathy may begin with higher-order processes that provide a contextualized understanding of the character. This understanding eventually integrates with more basic empathic processes in her actual performance. (shrink)

Empathy is a psychologically significant phenomenon. It plays a key role in the development of the self, sociality, and prosocial behaviour. The term empathy originated in 19th-century aesthetics, where the concept was seen as an explanation for aesthetic experience. Despite renewed interest in the relation between empathy and aesthetic experiences, investigations into how empathy shapes experiences of art are still scarce. Given this situation, we ask the following three questions: What does one experience when experiencing a work of art empathetically? (...) What is given during such moments? How is consciousness structured in aesthetic empathetic experience? To answer these questions, we analysed five different experiences with visual art using a phenomenological psychological methodology. We found that a complexity of psychologically significant meaning arises from the empathic experience of art. The core aspects of this meaning are captured in a structure incorporating experience of a foreign subjective sense, reliving and affective adherence, interiorisation, pleasure in sharing, and affective understanding. Based on this structure, we argue that aesthetic empathy features a sense of otherness to a degree not previously recognised and that aesthetic empathy is an inherently intersubjective experience in which the spectator is invited to participate and share feelings expressed in the work of art in moments of aesthetic presence. (shrink)

What is the contrary of pleasure? “Pain” is one common answer. This paper argues that pleasure instead has two natural contraries: unpleasure and hedonic indifference. This view is defended by drawing attention to two often-neglected concepts: the formal relation of polar opposition and the psychological state of hedonic indifference. The existence of mixed feelings, it is argued, does not threaten the contrariety of pleasure and unpleasure.

ArgumentDespite the fact that “empathy” is often simply used as a translation ofEinfühlung, the two terms have distinct meanings and distinct disciplinary affiliations. This text considers the manner in which the moving image invites spatial forms of engagement akin to those described both by historical accounts ofEinfühlung, a form of engagement that pertains not only to the activities of humans represented within images, but also to the aesthetic qualities of images in a more abstract sense and to the forms to (...) be found there. (shrink)

Phenomenological accounts of self-consciousness are often said to combine two elements by means of a necessary connection: the primitive and irre- ducible subjective character of experiences and the idealist transcendental constitution of consciousness. In what follows I argue that this connection is not necessary in order for an account of self-consciousness to be phenomenological, as shown by early phenomenological accounts of self- consciousness – particularly in Munich phenomenology. First of all, I show that the account of self-consciousness defended by these (...) phenomenologists was not influenced as much by Husserl as by two important figures in the prehistory of phenomenology: their teacher Theodor Lipps, and – indi- rectly, through Lipps’ influence – Hermann Lotze. Second, I show that their account of self-consciousness takes the metaphysical realism underlying Lotze’s and Lipps’ views on the distinction between feeling and sensations seriously. I argue that this distinction played a central role in the development of many early phenomenological accounts of self-consciousness. (shrink)

It is a commonplace that emotions are characteristically passive. As we ordinarily think of them, emotions are ways in which we are acted upon, that is, moved or affected by aspects of our environment. Moreover, we have no voluntary control over whether we feel them. In this paper, I call attention to a much-neglected respect in which emotions are active, which is no less central to our pretheoretical concept of them. That is, in having emotions, we are engaged with the (...) world insofar as we respond to aspects of our environment. In this context, to say that an emotion is a response to x is tantamount to saying that x is a reason for which we have it. Elaborating this claim in light of a historically prominent conception of the active/passive distinction, I will argue that emotions are a form of spontaneity in virtue of their responsive character and contrast in this respect with perceptions, which are fundamentally receptive. While this proposal is prima facie opposed to the ordinary image of emotions as passive, I will show that it actually allows us to make proper sense of it. (shrink)

Phenomenology has remained a sheltering place for those who would seek to understand not only their own “first person” experiences but also the first person experiences of others. Recent publications by renowned scholars within the field have clarified and extended our possibilities of access to “first person” experience by means of perception (Lingis, 2007) and reflection (Zahavi, 2005). Teaching phenomenology remains a challenge, however, because one must find ways of communicating to the student how to embody it as a process (...) rather than simply to learn about it as a content area. Another challenge issues from the fact that most writings on applied phenomenology emphasize individual subjectivity as the central focus, while offering only indirect access to the subjectivity of others (for example, by way of analyzing written descriptions provided by the individual under study). While one finds in the literature of psychotherapy plentiful elucidations of the “we-experience” within which therapists form impressions of their clients’ experience, there is still need for a more thoughtful clarification of our rather special personal modes of access to the experience of others in everyday life. This paper will present “second person perspectivity” as a mode of resonating with the expressions of others and will describe class activities that can bring students closer to a lived understanding of what it means to be doing phenomenology in the face of the other. (shrink)

Edmund Husserl’s ultimate aim was to give an overall philosophical explanation of the totality of Being. In this endeavour, the term “absolute” was crucial for him. In this paper, I aim to clarify the most important ways in which Husserl used this notion. I attempt to show that, despite his rather divergent usages, eventually three fundamental meanings and coordinated levels of the “absolute” can be differentiated in his thought: the epistemological, the ontological, and the theological or metaphysical level. According to (...) Husserl, we can approach this ultimate level of the Absolute, through the method of phenomenological construction. A closer reading of Husserl’s texts shows that his conception of the absolute was astonishingly modern. The main features of the conception—on all three levels—were non-foundationalism, contextualism, openness, and circularity. Each level mutually founds and determines the others. It is a non-foundational Absolute, the moments of which constitute an organic and open totality which is essentially processual. In my interpretation, this theory opens a fruitful working area, which has enormous philosophical potential and is surprisingly up-to-date. (shrink)

On one side of his sign board, a nineteenth century surgeon depicted a physician operating on a patient's leg; the other side showed the Good Samaritan taking care of the victim's wounds. Christ's parable has often been quoted and depicted as a primary example of human compassion, to be followed by all persons and, a fortiori, by so-called professionals such as physicians and nurses. If we grant that the parable has not lost its narrative power for 20th century “postmodern” readers (...) living in a “pluralistic” society, it merits a closer analysis. (shrink)

ArgumentThe new English term “empathy” was translated from the GermanEinfühlungin the first decade of the twentieth century by the psychologists James Ward at the University of Cambridge and Edward B. Titchener at Cornell. At Titchener's American laboratory, “empathy” was not a matter of understanding other minds, but rather a projection of imagined bodily movements and accompanying feelings into an object, a meaning that drew from its rich nineteenth-century aesthetic heritage. This rendering of “empathy” borrowed kinaesthetic meanings from German sources, but (...) extended beyond a contemplation of the beautiful to include a variety of experimental stimuli and everyday objects in the laboratory. According to Titchener's structural psychology, all higher thought could be reduced to more elemental aspects of mind, and experimental introspection showed empathy to be constituted of kinaesthetic images. The existence of kinaesthetic images, Titchener argued, formed an incisive critique of the view that thought could take place without images, held by one of Titchener's major psychological rivals, the school of thought-psychologists in Würzburg, Germany. The new term “empathy” in early American academic psychology therefore delineated a kinaesthetic imaginative projection that took place on the basis of ontological difference between minds and things. (shrink)

Emotion and feeling have only in the last decade become analytic concepts in the humanities, reflected in what some have called an “affective turn” in the academy at large. The study of emotion has also found a place in science studies and the history and philosophy of science, accompanied by the recognition that even the history of objectivity depends in a dialectical fashion on a history of subjectivity. This topical issue is a contribution to this larger trend across the humanities (...) and the history of science, and yet is circumscribed by attention to a particular kind of emotion or condition for feeling: one centered not in an individual body, but in the interstices between bodies and things, between selves and others – what we call empathy. (shrink)

In the history of philosophy as well as in most recent discussions, empathy is held to be a key concept that enables a basic understanding of the other while at the same time acting as the foundation of our moral emotionality. In this paper I want to show why empathy is the wrong candidate for both of these tasks. If we understand empathy as projection, i.e. a process of imaginary self-transposition, we are bound to presuppose a fully established interpersonal sphere. (...) If we consider empathy as synonymous with compassion it is highly questionable if we ever reach the other person in his or her otherness. Max Scheler and other early phenomenologists offer very fruitful approaches to both problems without resorting to empathy. I will present some of their thoughts and focus especially on Scheler’s claim about the connection between the experience of the real other and the intentionality of compassion. (shrink)