On the Limits of Empathy

  title={On the Limits of Empathy},
  author={Juliet Koss},
  journal={The Art Bulletin},
  pages={139 - 157}
In late-nineteenth-century Germany, Einfühlung, or empathy (literally, “feeling into”) described an individual spectator's active perceptual experience—both haptic and optical—of an image, object, or spatial environment Critique from within the discourse and a loss of interest among art historians and psychologists around 1900 preceded more forceful rejections by Wilhelm Worringer in 1908 and, later, Bertolt Brecht. The concept's critical history reveals and reflects disciplinary fractures; a… Expand
Empathy, Sympathy, Aesthetics, and Childhood: Fledgling Thoughts
The pulse of modernism: experimental physiology and aesthetic avant-gardes circa 1900.
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Motion, emotion and empathy in esthetic experience
Practicing psychology in the art gallery: Vernon Lee's aesthetics of empathy.
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Performance and the Pace of Empathy


The philosophical development of the conception of psychology in Germany.
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Conversation with Her­ bert Muschamp," Architecture New York 21 (1998): 16-17
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The call for papers for a session devoted to empathy at the Society of Architectural Historians
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Feeling" here describes an active, physical sensation, as in the phrase "I feel the groimd beneath my feet
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According to the cultural histo rian Alison Landsberg, "technologies of mass culture," film especially, "are a preeminent site for the production of empathy
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The Ger­ man is found in Nietzsche, "Richard Wagner in Bayreuth," in Unzeitgemisse Betrachtungen IV, reprinted in Nietzsche Werke: Kritische Gesamtausgabe
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Other relevant recent works include Georges Didi-Huberman, Vintage survivanU: L'histoire de I'art et temps des fantbmes selon Aby Warburg
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Problems in German Aesthetics, 1873-1893, ed
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