In The Psychologizing of Modernity, Mark Jarzombek examines the impact of psychology on twentieth-century aesthetics. Analysing the interface between psychology, art history and avant-gardist practices, he also reflects on the longevity of the myth of aesthetic individuality as it infiltrated not only avant-garde art, but also history writing. The principal focus of this study is pre-World War II Germany, where theories of empathy and Entartung emerged; and post-war America, where artists, critics and historians gradually shifted from their reliance on psychology (...) to philosophy, and, most recently, to theory. Included are discussions of writers such as Heinrich Wölfflin, Ludwig Volkmann, John Dewey, Vincent Scully and Richard Arnheim, among others. The Psychologizing of Modernity is a broad and erudite study of the evolution of modern aesthetic thinking in the fields of art and architectural history. (shrink)

The Threshold of the Visible World advances a revolutionary new political aesthetic--Kaja Silverman explores the possibilities for looking beyond the restrictive mandates of the self, and the normative aspects of the cultural image-repertoire. She provides a detailed account of the social and psychic forces which constrain us to look and identify in normative ways, and the violence which that normativity implies. Accounting for these phenomena on both a conscious and an unconcious level, Silverman analyzes the psychic and textual conditions under (...) which our "field of vision" can be expanded. The title of this book is taken from Lacan's essay on the mirror stage. In that text, Lacan writes that "the mirror-image would seem to be the threshold of the visible world." He thereby suggests that the visible world has no existence as such until the infant subject has access to an image of self. Lacan intimates that the mirror provides the frame through which one relates to others within the domain of vision, stressing the priority of narcissism and the ego over all other libidinal transactions. The Threshold of the Visible World provides a psychic, social and political specification of Lacan's claim, and most particularly of its implications for the subject's relations to the social other. This is accomplished through examination of the ego, as well as two other categories at the center of Lacan's account of the mirror stage: ideality and identification. This book is an ethical-political project which leads to the re-elaboration of a number of crucial theoretical categories--Silverman offers an account of the bodily ego, of identification, of idealization, of the gaze, of the look, and of the "photographic." The Threshold of the Visible World leads as well to the formulation of a fresh model for conceptualizing sexual, racial and class "difference," and the terms under which it might be dismantled. This book thus seeks to apprehend the field of vision through the frame of a different kind of bodily ego, and discover the pleasures to be derived from corporeal transport. (shrink)

If Sam empathizes with Maria, then it is true of Sam that (1) Sam is aware of Maria's emotion, and (2) Sam ‘feels in tune’ with Maria. On what I call the transparency conception of how they interact when instantiated, I argue that these two conditions are collectively necessary and sufficient for empathy. I first clarify the ‘awareness’ and ‘feeling in tune’ conditions, and go on to examine different candidate models that explain the manner in which these two conditions might (...) come to be concomitantly instantiated in a subject. I dismiss what I call the parallel and oscillation models for not satisfying the transparency condition, i.e. for failing to capture that, if Sam empathizes with Maria, then Sam's own emotional experience towards the object of Maria's emotion has to be mediated by Maria's own emotional experience. I conclude in favour the fusion model as the only model capable of satisfying the transparency condition, and I argue that the suggested proposal illuminates the difference between it and other ways in which we understand the emotions of others. Finally, I expand and clarify the conception of empathy as transparency through responses to obvious objections that the view raises. Key Words: empathy • emotion • philosophy • psychology • simulation. (shrink)

Annotation. In this volume, the third in his classic series of texts surveying the history of art theory, Moshe Barasch traces the hidden patterns and interlocking themes in the study of art, from Impressionism to Abstract Art. Barasch details the immense social changes in the creation, presentation, and reception of art which have set the history of art theory on a vertiginous new course: the decreased relevance of workshops and art schools; the replacement of the treatise by the critical review; (...) and the interrelation of new modes of scientific inquiry with artistic theory and praxis. The consequent changes in the ways in which critics as well as artists conceptualized paintings and sculptures were radical, marked by an obsession with intense, immediate sensory experiences, psychological reflection on the effects of art, and a magnetic pull to the exotic and alien, making for the most exciting and fertile period in the history of art criticism. (shrink)

Through readings of works by Marivaux, Diderot, Rousseau, and Mary Shelley, David Marshall provides a new interpretation of the eighteenth-century preoccupation with theatricality and sympathy. Sympathy is seen not as an instance of sensibility or natural benevolence but rather as an aesthetic and epistemological problem that must be understood in relation to the problem of theatricality. Placing novels in the context of eighteenth-century writing about theater, fiction, and painting, Marshall argues that an unusual variety of authors and texts were concerned (...) with the possibility of entering into someone else's thoughts and feelings. He shows how key eighteenth-century works reflect on the problem of how to move, touch, and secure the sympathy of readers and beholders in the realm of both "art" and "life." Marshall discusses the demands placed upon novels to achieve certain effects, the ambivalence of writers and readers about those effects, and the ways in which these texts can be read as philosophical meditations on the differences and analogies between the experiences of reading a novel, watching a play, beholding a painting, and witnessing the spectacle of someone suffering. The Surprising Effects of Sympathy traces the interaction of sympathy and theater and the artistic and philosophical problems that these terms represent in dialogues about aesthetics, moral philosophy, epistemology, psychology, autobiography, the novel, and society. (shrink)

Perhaps no philosopher has so fully explored the nature and conditions of historical understanding as Wilhelm Dilthey. His work, conceived overall as a Critique of Historical Reason and developed through his well-known theory of the human studies, provides concepts and methods still fruitful for those concerned with analyzing the human condition. Despite the increasing recognition of Dilthey's contributions, relati vely few of his writings have as yet appeared in English translation. It is therefore both timely and useful to have available (...) here two works drawn from different phases in the development of his philosophy. The "Ideas Concerning a Descriptive and Analytic Psychology" (1894), now translated into English for the first time, sets forth Dilthey's programma tic and methodological viewpoints through a descriptive psychology, while "The Understanding of Other Persons and Their Expressions of Life" (ca. 1910) is representative of his later hermeneutic approach to historical understanding. DESCRIPTIVE PSYCHOLOGY AND THE HUMAN STUDIES Dilthey presented the first mature statement of his theory of the human studies in volume one of his Einleitung in die Geisteswissenschaften (Introduction to the Human Studies), published in 1883. He argued there that for the proper study of man and history we must eschew the metaphysical speculation of the absolute idealists while at the same time avoiding the scientistic reduction of positivism. (shrink)

Most histories of psychology weave a story around the rise of objective methods of investigation and the decline of subjective introspection. This paper sidesteps such disciplinary stories by describing self-scrutiny as a practice that moved through a variety of cultural, social and technological contexts in early twentieth-century America. Edmund Jacobson's technique of 'progressive relaxation' is offered as a case in point. Jacobson, a Chicago clinician, developed this cure for nervousness out of his earlier research under E. B. Titchener, an experimental (...) psychologist at Cornell University. Like Titchener's method of 'experimental introspection ', progressive relaxation was a laboratory-based activity designed to transform the practitioner's sensibilities through the fastidious repetition of simple tasks. But while experimental psychologists ultimately rejected introspection as the core of their disciplinary project, the American public embraced progressive relaxation as a practical technique for mastering the new conditions of modernity. (shrink)

This paper studies the constellations of attitudes––sentimental, moral, epistemological, and social––that three leading psychologists active in turn-of-the-twentieth-century America took to be essential to the production of scientific knowledge. William James, G. Stanley Hall, and Edward Titchener located the virtues and traits proper to the scientific frame of mind, and combined them into normative images of the man of science, or, ‘scientific personae’ as I use the term here. I argue that their competing formulations of the scientific ethos informed their psychological (...) practice and epistemological commitments. James, Hall, and Titchener mobilized their representations of the man of science in order to reconfigure the field of psychology and redefine its boundaries, as well as to promote forms of sociability and define the proper role of scientists both within the academy and in the wider polity. (shrink)

We are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

In this book, Arnold Davidson elaborates a method for considering the history of concepts and the nature of scientific knowledge, a method he calls "historical epistemology." He applies this to the history of sexuality, with consequences for our understanding of desire, abnormality, and sexuality.

These pioneering essays provide an overview of psychological aesthetics and Kunstwissenschaft.

In Smith’s view, the dédoublement that structures any act of sympathy is internalized and doubled within the self. In endeavoring to “pass sentence” upon one’s own conduct, Smith writes, “I divide myself, as it were, into two persons; and … I, the examiner and judge, represent a different character from that other I, the person whose conduct is examined into and judged of” . Earlier in his book, Smith claims that in imagining someone else’s sentiments, we “imagine ourselves acting the (...) part” of that person ; here he pictures us trying to play ourselves by representing ourselves as two different characters. “The first,” writes Smith, “is the spectator, whose sentiments with regard to my own conduct I endeavour to enter into, by placing myself in his situation.” The second character, according to Smith, is “the agent, the person whom I properly call myself, and of whose conduct, under the character of a spectator, I was endeavouring to form some opinion” . In the version of this chapter that appeared in the first edition, Smith made these roles explicitly by stating that “we must imagine ourselves not the actors, but the spectators of our own character and conduct” . In his final exposition, he makes it clear that we are both actors and spectators of our characters. We are actors not just because we appear before spectators played by ourselves but also because, as Smith describes, we personate ourselves in different parts, persons, and characters. The self is theatrical in its relation to others and in its self-conscious relation to itself; but it also enters the theater because “the person whom I properly call myself” must be the actor who can dramatize or represent to himself the spectacle of self-division in which the self personates two different persons who try to play each other’s part, change positions, and identify with each others. Ironically, after founding his Theory of Moral Sentiments on a supposedly universal principle of sympathy, and then structuring the act of sympathy around the epistemological void that prevents people from sharing each other’s feelings, Smith seems to separate the self from the one self if could reasonably claim to know: itself. In order to sympathize with ourselves, we must imagine ourselves as an other who looks upon us as an other and tries to imagine us. Indeed, calling the spectator within the self the person judged of, Smith writes, “but that the judge should, in every respect, be the same with the person judged of, is as impossible, as that the cause should in every respect, be the same with the effect” . Thus the actor and spectator into which one divides oneself can never completely identify with each other or be made identical. Identity is itself undermined by the theatrical model which pictures the self as an actor who stands beside himself and represents the characters of both spectator and spectacle.14 14. Smith’s depiction of the impartial spectator and the relations it creates within the self suggest that he has been reading Shaftesbury. The characterization of the impartial spectator as the “man within the breast” recalls Joseph Butler’s discussion of “the witness of conscience” in his sermons “Upon the Natural Supremacy of Conscience” . Hume discusses the moral value of considering how we appear in the eyes of those who regard us: “By our continual and earnest pursuit of a character, a reputation in the world, we bring our own deportment and conduct frequently in review, and consider how they appear in the eyes of those who approach and regard us. This constant habit of surveying ourselves, as it were, in reflection, keeps alive al the sentiments of right and wrong” . It is Shaftesbury, however, who expounds a “doctrine of two persons in one individual self” as he presents his “dramatic method” …. The terms and figures of theater are clearly inscribed within Smith’s characterizations of sympathy and the impartial spectator but they are clearly informed by Shaftesbury’s meditation on the dramatic character of the self and the problem of theatricality that threatens the self as it appears before the eyes of the world. This interpretation of Shaftesbury is developed at length in my The Figure of Theater. David Marshall, assistant professor of English and comparative literature at Yale University, has written on Rilke and Shakespeare. The present essay is adapted from a chapter of his forthcoming book, The Figure of Theater: Shaftesbury, Defoe, Adam Smith, and George Eliot. (shrink)

Probably the most useful survey of modern aesthetics published in recent years.

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