Search Results

You are looking at 1 - 10 of 194 items for :

Clear All
Full access

Selective Empathy

Workers, Colonial Subjects, and the Affective Politics of French Romantic Socialism

Naomi J. Andrews

community. Socialists’ inconsistent empathy with various subjugated groups in the French body politic are acutely apparent when we examine their positions on key metropolitan and imperial issues during the July Monarchy, especially colonial slavery, wage

Full access

David Davies

is only extreme pessimists like McFee who share Fodor’s belief that the most we can get from neuroscience is an implementation model. Empathy: Its Value in Film Experience Empathy plays a central role in Smith’s account of the nature of film reception

Full access

“Mind the Gap”

Between Movies and Mind, Affective Neuroscience, and the Philosophy of Film

Jane Stadler

representation and expression of emotion in film. My particular interest is in the account Smith advances of the nature of emotion and its role in relation to empathy and imagination in the film experience. As Smith contends, quantitative empirical research adds

Full access

Ta' Pinu

Ritualised Empathy on the Doorstep of Heaven

Philip Kao

This article explores the miracles and ex-votos (votive offerings) associated with the Ta' Pinu shrine on Gozo, Malta's northernmost island. Drawing from ethnographic data, analysis of various personal accounts, and observations of people's interactions with the bricolage of Ta' Pinu ex-votos, I seek to show that Gozitans perform a highly personal yet ritualised form of empathy in the context of miracle worship. The miracles associated with Ta' Pinu are thus seemingly 'contagious' and meaningful, because they elicit existential connections and reflections on the nature of supplication and Gozitan social relations.

Full access

The "Moving" Image

Empathy and Projection in the International Slavery Museum, Liverpool

Silke Arnold-de Simine

The moving image has become ubiquitous in museums that deal with traumatic, violent, and difficult histories and could be described as "memorial museums." This article investigates exhibition practices in the International Slavery Museum, Liverpool, in which large-scale video installations provide evocative recreations of traumatic experiences that are designed to unsettle and disturb visitors, providing them with a visceral and vicarious experience that calls for witnessing and "empathic unsettlement." It also queries the assumption that the capacity for empathy forms the basis for responsible moral agency, and whether museums aiming to encourage social responsibility should rely on such technologies.

Full access

Joerg Fingerhut

relation to social interactions (as, e.g., in the case of empathy). He, therefore, does not fully address in which ways they become re-appropriated in our interactions with cultural artifacts and factor in our appreciation of these artifacts. Following

Full access

Showcasing Dictatorship

Memory and the Museum in Argentina and Chile

Jens Andermann

This article compares two recently inaugurated museums dedicated to the period of dictatorial terror and repression in the Southern Cone: the Museum of Memory and Human Rights at Santiago, Chile (opened in 2009), and the Museum of Memory at Rosario, Argentina (2010). Both museums invoke in their very names the "memorial museum" as a new mode of exhibitionary remembrance of traumatic events from the past. They seek to sidestep the detachment and "objectivity" that has traditionally characterized historical museum displays in favor of soliciting active, performative empathy from visitors. Neither of the two institutions, however, complies entirely with the memorial museum's formal characteristics; rather, they reintroduce modern museographical languages of history and art, thus also challenging the emergent "global canon" of memorial museum aesthetics.

Full access

Educating Educators of Memory

Reflections on an InSite Teaching Program

Joanne Sayner

This article reports on a continuing professional development program run by the Imperial War Museum in London for educators involved in teaching about European memories. On the basis of two sites visited in Hungary which were elements of the educational program, the Memorial Shoes on the Danube Promenade and the Memento Statue Park, this article suggests that Alison Landsberg's concept of prosthetic memory can be applied to these sculptural monuments. It explores the political potential of empathy in transmitting diverse European pasts and of mapping individual performative responses to less familiar cultural contexts.

Full access

Gal Raz and Talma Hendler

This article reviews significant developments in affective neuroscience suggesting a refinement of the contemporary theoretical discourse on cinematic empathy. Accumulating evidence in the field points to a philogeneticontogenetic-neural boundary separating empathic processes driven by either cognitive or somato-visceral representations of others. Additional evidence suggests that these processes are linked with parasympathetically driven mitigation and proactive sympathetic arousal. It presents empirical findings from a functional magnetic resonance (fMRI) film viewing study, which are in line with this theoretical distinction. The findings are discussed in a proposed cinematographic framework of a general dichotomy between eso (inward-directed) and para (side by side with)—dramatic cinematic factors impinging on visceral representations of real-time occurrences or cognitive representations of another's mind, respectively. It demonstrates the significance of this dichotomy in elucidating the unsettling emotional experience elicited by Michael Haneke's Amour.

Full access

Sarah Kozloff

This article seeks to prompt a reevaluation of the efficacy of mainstream fiction films to convey liberalism's political and ethical values. First, it challenges still-influential Marxist claims about counter-cinema and distanciation, then it deplores the influence of contemporary irony and postmodernism. The article proceeds to enumerate the characteristics of “a cinema of engagement”; for example, moving us to empathy—even empathetic anger—rather than distancing us or making us feel superiority; manifesting a level gaze; analyzing structures of power; basing scripts on real events; employing both the realist and melodramatic modes; and inspiring viewers to work against social injustice. It invokes the theories of liberal philosophers, literary scholars, cognitive scientists, and psychologists, and draws supporting evidence from a close reading of The Insider (1999).