The inconsistent definition of empathy has had a negative impact on both research and practice. The aim of this article is to review and critically appraise a range of definitions of empathy and, through considered analysis, to develop a new conceptualisation. From the examination of 43 discrete definitions, 8 themes relating to the nature of empathy emerged: “distinguishing empathy from other concepts”; “cognitive or affective?”; “congruent or incongruent?”; “subject to other stimuli?”; “self/other distinction or merging?”; “trait or state influences?”; “has (...) a behavioural outcome?”; and “automatic or controlled?” The relevance and validity of each theme is assessed and a new conceptualisation of empathy is offered. The benefits of employing a more consistent and complete definition of empathy are discussed. (shrink)

Throughout much of the twentieth century, the relationship between analytic and continental philosophy has been one of disinterest, caution or hostility. Recent debates in philosophy have highlighted some of the similarities between the two approaches and even envisaged a post-continental and post-analytic philosophy. Opening with a history of key encounters between philosophers of opposing camps since the late nineteenth century - from Frege and Husserl to Derrida and Searle - the book goes on to explore in detail the main methodological (...) differences between the two approaches. This covers a very wide range of topics, from issues of style and clarity of exposition to formal methods arising from logic and probability theory. The final section of this book presents a balanced critique of the two schools' approaches to key issues such as time, truth, subjectivity, mind and body, language and meaning, and ethics. "Analytic versus Continental" is the first sustained analysis of both approaches to philosophy, examining the limits and possibilities of each. It provides a clear overview of a much-disputed history and, in highlighting the strengths and weaknesses of both traditions, also offers future directions for both continental and analytic philosophy. (shrink)

Neuroaesthetics tends not to do literature. To put it more precisely, neuroaesthetics tends not to do literature very often and when it does, it is inclined not to do it with much conviction, belief and rigour. This is not the case in the very many impressive studies that have been conducted on the neuroaesthetics of sister arts such as painting, music, dance, sculpture and the like. Why is this the case and, of greater importance, how can it best be resolved? (...) In this paper, the pitfalls, parameters and prospects of a neuroaesthetics of prose fiction will be explored. The article itself is part critical review, part methodological proposal and part opinion paper. Its aim is simple: to stimulate, excite and energize thinking in the discipline as to how prose fiction might be fully integrated in the canon of neuroaesthetics. (shrink)

This article will defend the centrality of empathy and simulation for our understanding of individual agency within the conceptual framework of folk psychology. It will situate this defense in the context of recent developments in the theory of mind debate. Moreover, the article will critically discuss narrativist conceptions of social cognition that conceive of themselves as alternatives to both simulation and theory theory.

This article will defend the centrality of empathy and simulation for our understanding of individual agency within the conceptual framework of folk psychology. It will situate this defense in the context of recent developments in the theory of mind debate. Moreover, the article will critically discuss narrativist conceptions of social cognition that conceive of themselves as alternatives to both simulation and theory theory.

Readers of fiction tend to have better abilities of empathy and theory of mind. We present a study designed to replicate this finding, rule out one possible explanation, and extend the assessment of social outcomes. In order to rule out the role of personality, we first identified Openness as the most consistent correlate. This trait was then statistically controlled for, along with two other important individual differences: the tendency to be drawn into stories and gender. Even after accounting for these (...) variables, fiction exposure still predicted performance on an empathy task. Extending these results, we also found that exposure to fiction was positively correlated with social support. Exposure to nonfiction, in contrast, was associated with loneliness, and negatively related to social support. (shrink)

Many current neurophysiological, psychophysical, and psychological approaches to vision rest on the idea that when we see, the brain produces an internal representation of the world. The activation of this internal representation is assumed to give rise to the experience of seeing. The problem with this kind of approach is that it leaves unexplained how the existence of such a detailed internal representation might produce visual consciousness. An alternative proposal is made here. We propose that seeing is a way of (...) acting. It is a particular way of exploring the environment. Activity in internal representations does not generate the experience of seeing. The out- side world serves as its own, external, representation. The experience of seeing occurs when the organism masters what we call the gov- erning laws of sensorimotor contingency. The advantage of this approach is that it provides a natural and principled way of accounting for visual consciousness, and for the differences in the perceived quality of sensory experience in the different sensory modalities. Sev- eral lines of empirical evidence are brought forward in support of the theory, in particular: evidence from experiments in sensorimotor adaptation, visual “filling in,” visual stability despite eye movements, change blindness, sensory substitution, and color perception. (shrink)

Drawing on research in narrative theory and literary aesthetics, text and discourse processing, phenomenology and the experimental cognitive sciences, this paper outlines an embodied theory of presence in the reading of literary narrative. Contrary to common assumptions, it is argued that there is no straightforward relation between the degree of detail in spatial description on one hand, and the vividness of spatial imagery and presence on the other. It is also argued that presence arises from a first-person, enactive process of (...) sensorimotor simulation/ resonance, rather than from mere visualizing from the perspective of a passive, third-person observer. In sections 1 to 3, an inter-theoretical argument is presented, proposing that presence may be effectively cued by explicit references to object -directed bodily movement. In section 4, an attempt is made at explaining which ways of embedding such references in the narrative may be particularly productive at eliciting presence. (shrink)

Especially since the discovery of mirror neurons, scholars in a variety of disciplines have made empathy a central focus of research. Yet despite this recent flurry of interest and activity, the cross-cultural study of empathy in context, as part of ongoing, naturally occurring behavior, remains in its infancy. In the present article, I review some of this recent work on the ethnography of empathy. I focus especially on the new issues and questions about empathy that the ethnographic approach raises and (...) the implication of these for the study of empathy more generally. (shrink)

The processing, representation, and perception of bodily signals (interoception) plays an important role for human behavior. Theories of embodied cognition hold that higher cognitive processes operate on perceptual symbols and that concept use involves reactivations of the sensory-motor states that occur during experience with the world. Similarly, activation of interoceptive representations and meta-representations of bodily signals supporting interoceptive awareness are profoundly associated with emotional experience and cognitive functions. This article gives an overview over present findings and models on interoception and (...) mechanisms of embodiment and highlights its relevance for disorders that are suggested to represent a translation deficit of bodily states into subjective feelings and self-awareness. (shrink)

"--Robert Fagles, translator of Homer's "Iliad" "I finished "Dreaming by the Book" feeling that fundamental aspects of the nature of consciousness had been peeled open and exposed to view."--Stephen M. Kosslyn, author of "Image and Brain".

"--Peter Brooks, Princeton University "This is an important book and a superb piece of writing, combining passionate enthusiasm with calm arguments and informative examples.

This text offers a reflection on the nature and significance of narrative in human communication.

Despite its linguistic roots in ancient Greek, the concept of empathy is of recent intellectual heritage. Yet its history has been varied and colorful, a fact that is also mirrored in the multiplicity of definitions associated with the empathy concept in a number of different scientific and non-scientific discourses. In its philosophical heyday at the turn of the 19th to the 20th century, empathy had been hailed as the primary means for gaining knowledge of other minds and as the method (...) uniquely suited for the human sciences, only to be almost entirely neglected philosophically for the rest of the century. Only recently have philosophers become again interested in empathy in light of the debate about our folk psychological mindreading capacities. In the second half of the last century, the task of addressing empathy was mainly left to psychologists who thematized it as a psychological phenomenon and process to be studied by the method of the empirical sciences. Particularly, it has been studied by social psychologists as a phenomenon assumed to be causally involved in creating prosocial attitudes and behavior. Nevertheless, within psychology it is at times difficult to find agreement of how exactly one should understand empathy; a fact of which psychologists themselves have become increasingly aware. The purpose of this entry is to clarify the concept of empathy by surveying its history in various philosophical and psychological discussions and by indicating why empathy was and should be regarded to be of such central importance in understanding human agency in ordinary contexts, in the human sciences and for the constitution of ourselves as social and moral agents. (shrink)

Mentalizing refers to our ability to read the mental states of other agents and engages many neural processes. The brain's mirror system allows us to share the emotions of others. Through perspective taking, we can infer what a person currently believes about the world given their point of view. Finally, the human brain has the unique ability to represent the mental states of the self and the other and the relationship between these mental states, making possible the communication of ideas.

Walt Disney’s movie, The Pagemaster (1994) begins on a dark and stormy night, with a young boy stumbling into an immense, gothic-styled library for refuge from the rain. Once inside, he is soon carried away by a tumultuous river of coloured paints, transformed into an animated characterization of himself, and thrust into an animated world of literature, where he battles Captain Hook, flees Moby Dick, and participates in other classic tales of adventure, horror, and fantasy. -/- Adults might understand the (...) film as a fanciful description of how they feel when reading a lively book. Although they would probably not imagine themselves tagging along with the animated characters like a 4th musketeer, they might very well claim that they enter a fiction through the viewpoint of one or more of the characters, experiencing, imaginatively, mental images of the sights, sounds, smells, and movements that the character would experience. Under this description, the reader would be forming multi- modal images that would correspond directly to what the literary characters are doing, thinking, and experiencing. When a fictional hero whips out his sword and slashes a rope in half, the reader might form a visual image of the hero’s determined face, an auditory image of the sound of the whizzing sword, and a motor image of an extended arm movement. I call such an imitative participation, by use of mental images in any modality, a simulation. -/- I suggest that this imitative experiencing of a fiction through the production of multi-modal imagery - a simulation - is not the only way in which readers might engage a literary text. In this paper I explore the hypothesis that readers might use their own bodily processes - those of the somato-viscero-motor system (SVM) for a non-imitative activity that I call a reinterpretation and that the reinterpretation might make a distinctive contribution to the reading process. As an example of a simulation and a reinterpretation, take the SVM experience of the reader’s breathing. A simulation would occur if the text describes a character who is taking deep breaths of air and the reader creates a mental image representing the experience of breathing. In this case, the reader’s mental image of breathing would stand for a property of the literary work - the fictional experience of breathing. -/- By contrast to the simulation, a reinterpretation would occur if the text describes a character who is gazing at long, wispy clouds that extend outward from a horizon and the reader uses his own experience of breathing to stand for the visual sense of looking at a long, continuous expanse of filmy white: the reader’s actual breathing would stand for a property of the literary work - the fictional experience of seeing. Breathing is not the same as seeing. This should help clarify the following definition. -/- I hypothesize that a reinterpretation occurs when the reader becomes aware of some component of the SVM system and reinterprets it as a property of the literary work that is not the same as that particular SVM process. The SVM experience is projected into the literary work. (shrink)

The objective of this article is twofold. In the first part, I discuss two issues central to any theoretical inquiry into mental imagery: embodiment and consciousness. I do so against the backdrop of second-generation cognitive science, more specifically the increasingly popular research framework of embodied cognition, and I consider two caveats attached to its current exploitation in narrative theory. In the second part, I attempt to cast new light on readerly mental imagery by offering a typology of what I propose (...) to be its four basic varieties. The typology is grounded in the framework of embodied cognition and it is largely compatible with key neuroscientific and other experimental evidence produced within the framework. For each imagery variety, I make some elementary suggestions as to how it may typically be cued by distinct narrative strategies. (shrink)