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• W1509589319 abstract "If the possible ends of art criticism are taken to include not only theprovision of a detailed evaluation of the artwork, but, cognately, an elaborationupon how one has been, or believes oneself to have been, changed by aparticular artistic encounter, then the very praxis of art criticism stands to benefitfrom a theoretical elucidation of the possible nature of the subjectivetransformations that may flow from the critical appreciation of art. We areentitled to enquire, in particular, into the conditions under which, and indeed theextent to which, such putative change at the personal level can be explicated inmoral epistemological terms. It is pertinent in this context also to investigate thephenomenal character of the experiences that have been operative and theiressential structures; to enquire, in short, into the phenomenology of thetransformative artistic encounter. In this thesis, the bearing, in particular, ofintersubjectivity upon the content and modalities of disclosure in a literarycontext will be investigated. It will be shown how an understanding of therelevance of intersubjectivity to the phenomenology of literary experience caninform an assessment of the claims of literary aesthetic moral cognitivism.Yet the intention to clarify the connection between literary experienceand intersubjectivity also requires reflection upon what it is in the first place toencounter someone else, and to apperceive a foreign subjectivity and itsmotivations. For this reason, the contributions of Edmund Husserl and EdithStein to the investigation of the phenomenology of empathy will be discussedand evaluated. This discussion will in turn be shown to be of assistance inclarifying the role of the imagination in the apperception and comprehension ofanother person’s mental life. The thought of Jean Starobinski will prove toelucidate the question of why the insights of the phenomenological tradition arehighly pertinent to the investigation of literary experience, and to thedevelopment, in particular, of a conception of an imagined ‘Other’ who is (in asense that will be clarified) embedded within the literary text, a person, that is, towhom one might coherently refer as the “implied author”.For reasons which will emerge in the course of this study, it will beargued that authentic empathy, in its fulfilling explication (in the Steinian sense),is given to the empathising consciousness in the manner of a semblance, and,consonantly, that the phenomenological structure of authentic empathy ischaracterised in its mature phases by an homological relation to pictureconsciousness.The epistemological significance of literature’s capacities formoral suggestion will be explicated principally in terms of the unfolding ofvalues within the human personality, and in terms of the disclosure of thephenomenal character and structures of virtuous experience. It will be explainedwhy the structure of empathy has implications for the aesthetic value ofliterature. The question of the relation between aesthetic and ethical value willbe clarified. In this context, it will be argued on phenomenological grounds thatthe appresentation of moral virtue in an implied author could contribute to theaesthetic value of a literary work, although it will also be shown that impliedauthorial moral virtue could conflict irremediably with other qualities like moraldoubt and uncertainty, which may themselves be important sources of aestheticvalue. For this reason, the thesis will conclude by challenging the ethicist viewthat an aesthetically relevant ethical flaw in a literary work must count as anaesthetic flaw." @default.
• W1509589319 created "2016-06-24" @default.
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• W1509589319 date "2013-05-01" @default.
• W1509589319 modified "2023-09-24" @default.
• W1509589319 title "Images of otherness : on the problem of empathy and its relevance to literary moral cognitivism" @default.
• W1509589319 hasPublicationYear "2013" @default.
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