In what follows, I wish to discuss empathy and sympathy’s relevance to ethics, taking recent findings into account. In particular, I want to consider sympathy’s relation to the idea of a person’s good or well-being. It is obvious and uncontroversial that sympathetic concern for a person involves some concern for her good and some desire to promote it. What I want to suggest is that the concept of a person’s good or well-being is one we have because we are capable (...) of care and sympathetic concern. Well-being is normative for care in the sense that it is intrinsic to the very idea of a person’s good that threats to it are what it makes sense to be concerned about for that person for her sake. (shrink)

Bency Nanay brings the discussion of aesthetics and perception together, to explore how many influential debates in aesthetics look very different, and may be easier to tackle, if we clarify the assumptions they make about perception and about experiences in general. He focuses on the concept of attention and the ways in which the distinction between distributed and focused attention can help us re-evaluate various key concepts and debates in aesthetics. Sometimes our attention is distributed in an unusual way: we (...) are attending to one perceptual object but our attention is distributed across its various properties. But in other aesthetic contexts our attention is not at all distributed but very much focused. The book closes with an analysis of some paradigmatic aesthetic phenomena in which this is the case: identification and engagement with fictional characters. It argues that the conflict and interplay between distributed and focused attention is an important feature of many artworks. (shrink)

This book is a guide to the poetics of the two Greek fountainheads of Western literary theory. Part I traces the development of Plato's great themes of inspiration and imitation but makes no attempt to reduce his disparate statements to a system. Part II demonstrates that Aristotle's Poetics embodies a powerful theory of literature that answers Plato's objections to poetry as an emotionally powerful, and therefore dangerous, communication of false opinion. Originally published in 1987. A UNC Press Enduring Edition -- (...) UNC Press Enduring Editions use the latest in digital technology to make available again books from our distinguished backlist that were previously out of print. These editions are published unaltered from the original, and are presented in affordable paperback formats, bringing readers both historical and cultural value. (shrink)

For philosophers, the current phase of the debate with which this volume is concerned can be taken to have begun in 1986, when Jane Heal and Robert Gordon published their seminal papers (Heal, 1986; Gordon, 1986; though see also, for example, Stich, 1981; Dennett, 1981). They raised a dissenting voice against what was becoming a philosophical orthodoxy: that our everyday, or folk, understanding of the mind should be thought of as theoretical. In opposition to this picture, Gordon and Heal argued (...) that we are not theorists but simulators. For psychologists, the debate had begun somewhat earlier when Heider (1958) produced his work on lay psychology; and in more recent times the psychological debate had continued in developmental psychology and in work on animal cognition. (shrink)

For philosophers, the current phase of the debate with which this volume is concerned can be taken to have begun in 1986, when Jane Heal and Robert Gordon published their seminal papers (Heal, 1986; Gordon, 1986; though see also, for example, Stich, 1981; Dennett, 1981). They raised a dissenting voice against what was becoming a philosophical orthodoxy: that our everyday, or folk, understanding of the mind should be thought of as theoretical. In opposition to this picture, Gordon and Heal argued (...) that we are not theorists but simulators. For psychologists, the debate had begun somewhat earlier when Heider (1958) produced his work on lay psychology; and in more recent times the psychological debate had continued in developmental psychology and in work on animal cognition. (shrink)

Stephen Stich and Shaun Nichols advance the debate over folk psychology with their vivid depiction of the contest between the simulation theory and the theory-theory (Stich & Nichols, this issue). At least two aspects of their presentation I find highly congenial. First, they give a generally fair characterization of the simulation theory, in some respects even improving its formulation. Though I have a few minor quarrels with their formulation, it is mostly quite faithful to the version which I have found (...) attractive (Goldman, 1989).Second, I concur with Stich and Nichols in their assertion that the theory-theory and the simulation theory are the only two games in town. Where I disagree, of course, is in Stich and Nichols’s contention that their arguments so dim the prospects of the simulation theory that it should no longer be taken seriously. On the contrary, I shall maintain, the simulation theory remains a very plausible contender, and should receive careful and respectful consideration in the continuing investigation. (shrink)

Against the consensus that Aristotle in the "Poetics" sets out to give tragedy a role in exercising or improving the mature citizen's moral sensibilities, I argue that his aim is rather to analyse what makes a work of literature successful in its own terms, and in particular how a tragic drama can achieve the effect of suspense. The proper pleasure of tragedy is produced by the plotting and eventual dispelling of the play's suspense. Aristotle claims that poetry 'says what is (...) universal' not in order to suggest that poetry achieves anything of the effect of philosophy, but to explain how in creating his plots the poet takes into consideration what, in general, could be expected to happen. Chapter 4 of the "Poetics" is not a theory of mimesis but an analysis of the lowest common denominator of the pleasure we take in fictions. The inevitability or likelihood by which events in the tragic plot are to be connected has an aesthetic rather than a moral function. Doing away with the irrationality of chance and increasing the human intelligibility of the action is not its point; the point is to furnish the plot with the second half of the formula for successful suspense: that events in the plot should happen 'against expectation because of one another'. The first half of the formula is examined under the rubric of peripety or reversal. The formula as a whole describes the pivotal moment when the pieces of the plot suddenly fit with a configuration that only in retrospect can we see to have been falling into place all along. Pity and fear are the emotions on which Aristotle focusses because they are the emotions engaged by the tightening-towards-release of literary suspense. And the pleasure of catharsis is the pleasure of that release. (shrink)

What mediates between sensory input and motor output? What makes it possible to act on what you perceive? Bence Nanay argues that pragmatic representations provide the perceptual guidance for performing actions. They play a key role in our mental lives, and help explain why the majority of our mental processes are very similar to those of animals.

This paper explores two models of empathy. One model places theory centre stage; the other emphasises our capacity to re‐enact fragments of another's mental life. I argue that considerations of parsimony strongly support the latter, simulative approach. My results have consequences for the current debate between the theory‐theory and simulation theory. That debate is standardly conceived as a debate about mental state attribution rather than about empathy. However, on the simulation model, empathy and mental state attribution involve a common mechanism. (...) Thus the strength of the simulative approach to empathy lends considerable credence to the simulation account of mental state attribution. Considerations of empathy are thus surprisingly important in the philosophy of mind.. (shrink)

Against the consensus that Aristotle in the "Poetics" sets out to give tragedy a role in exercising or improving the mature citizen's moral sensibilities, I argue that his aim is rather to analyse what makes a work of literature successful in its own terms, and in particular how a tragic drama can achieve the effect of suspense. The proper pleasure of tragedy is produced by the plotting and eventual dispelling of the play's suspense. Aristotle claims that poetry 'says what is (...) universal' not in order to suggest that poetry achieves anything of the effect of philosophy, but to explain how in creating his plots the poet takes into consideration what, in general, could be expected to happen. Chapter 4 of the "Poetics" is not a theory of mimesis but an analysis of the lowest common denominator of the pleasure we take in fictions. The inevitability or likelihood by which events in the tragic plot are to be connected has an aesthetic rather than a moral function. Doing away with the irrationality of chance and increasing the human intelligibility of the action is not its point; the point is to furnish the plot with the second half of the formula for successful suspense: that events in the plot should happen 'against expectation because of one another'. The first half of the formula is examined under the rubric of peripety or reversal. The formula as a whole describes the pivotal moment when the pieces of the plot suddenly fit with a configuration that only in retrospect can we see to have been falling into place all along. Pity and fear are the emotions on which Aristotle focusses because they are the emotions engaged by the tightening-towards-release of literary suspense. And the pleasure of catharsis is the pleasure of that release. (shrink)