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Empathy with the Animal Christine N. Brinckmann I. In her short story “Painwise,” the science fiction author James Tiptree, Jr. describes creatures endowed with an excess of empathy.¹ These “empaths” seek to be exclusively in the presence of happiness, since they immediately assume both the pleasurable and the painful feelings of others. They often struggle to distinguish their own thoughts from those of other beings, and they say what their dialogue partner was in fact going to say or wanted to say. There are three kinds of empaths: the golden

Memory, Trauma and Empathy1 On the (Un)representability of the Civil War in Art NADINE SIEGERT “There is no denying – we are a very wounded people. These works capture not only the horrors of war as portrayed by the mutilated bodies – the unimaginable damage to our souls, and the horrible violation of the common consciousness that emanates through every image.”2 BRIGITTE MABANDLA/DEPUTY MINISTER OF ARTS, CULTURE, SCIENCE AND TECH- NOLOGY SOUTH AFRICA “In the autopsy I performed on my innocence I discovered the beginnings of secrecy and

Patricia Pisters DExTER's PLasTIC BRaIN Mentalizing and Mirroring in Cinematic Empathy First published by: Patricia Pisters: Dexters Plastic Brain. Mentalizing and Mirroring in Cinematic Empathy. In: Cinéma&Cie 22–23 (2014), p. 53–63. 11 6 Patricia Pisters Dexter has a problem. Well, actually in the course of the eight seasons of the popular television show Dexter the blood spatter analyst of Miami Metro Police, alias serial killer-with-a-moral-code, will encounter many problems and moral dilemmas—and so will we as spectators. Dexter’s main

The Ethics and Politics of Empathy in US Hip-Hop Diplomacy The Case of the Next Level Program Kendra Salois In the mid-2000s, the US State Department revised its historic musical diploma- cy strategies, sending more genres abroad, linking to existing exchange pro- grams, and increasing opportunities for musical interaction. The newest initia- tive, named Next Level, conducts workshops in the hip-hop arts for beginners and professionals alike while refining its domestic and foreign audiences. Unlike the mid-twentieth century “Jazz Ambassadors,” Next

Feeling In and Out: Contact Improvisation and the Politics of Empathy ANN COOPER ALBRIGHT In his poetic short essay on Rembrandt’s paintings, art critic John Berger traces the differences between the artist’s drawings and his paintings – par- ticularly the late portraits. Whereas in his drawings Rembrandt is a master of proportion, in his paintings this realistic perspective is radically altered. Ber- ger asks: “Why in his paintings did he forget – or ignore – what he could do with such mastery in his drawings?” Alluding to the historical context of

Breaking the Ice, Freezing the Laughter Authorial Empathy, Reader Response, and the Kafkaesque Poetics of Guilt and Shame ELISE NYKÄNEN This article explores the process of writing emotions through the lens of rhetori- cal approaches to narrative. It specifically focuses on one aspect of authorial empathy that so far has gained relatively little attention, namely, the process of writing negative emotions such as guilt and shame.1 The concept of “authorial empathy” is used in this article to refer to the narrative imagination that guides an

Martin Usborne’s Dogs: On Entangled Empathy in The Silence of Dogs in Cars and Where Hunting Dogs Rest Claudia Lillge The fact that artists maintain affinities to specific animals is well-known. Most of the paintings by Jean-Baptiste Oudry (1686-1755) show hunting scenes and hunted animals. Rosa Bonheur (1822-99) concentrated on livestock and wild- life; Wilhelm Kuhnert (1865-1926) was fascinated by lions, and Paul Klee (1879- 1940) preferred to paint fish. The London-based photographer Martin Usborne (1973–) cannot hide the fact that his camera’s eye

When Anna moved to a Nursing Home Empathic Movements between Self and Others in the Decision Making and Process of Moving KAMILLA NØRTOFT INTRODUCTION Becoming very old often involves becoming dependent on other people’s help for different things in everyday life. Many very old people witness the death of life partners such as spouses and friends and maybe even children. Thus this very late life stage also involves reconfigurations of social relations, when friends are not around or are themselves dependent and children might get a new care

The Bronx in American Popular Culture
Holocaust-Literatur aus Täterperspektive. Eine interdisziplinäre Textanalyse
Series: Lettre