By Sophie Ratcliffe
What occurs after we interact with fictional characters? How do our imaginitive engagements undergo on our activities within the wider global? relocating among the literary and the philosophical, Sophie Ratcliffe onsiders the ways that readers suppose once they learn, and the way they comprehend principles of feeling. On Sympathy makes use of dramatic monologues in accordance with The Tempest as its concentration, and broaches questions about fictional trust, morality, and the dynamics among readers, writers, and fictional characters. The ebook demanding situations conventionally authorised rules of literary identity and sympathy, and asks why the assumption of sympathy has been obvious as so very important to liberal humanist theories of literary price. person chapters on Robert Browning, W. H. Auden, and Samuel Beckett, who all drew on Shakespeare's past due play, provide new readings of a few significant works, whereas the book's epilogue tackles questions of latest sympathy. starting from the 19th century to the current day, this crucial new examine units out to elucidate and problem present assumptions approximately examining and sympathetic trust, laying off new mild at the suggestion and excellent of sympathy, the workings of have an effect on and allusion, and the ethics of examining.
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Extra info for On sympathy
For them, as for Stanley Cavell, ‘scepticism, in particular about other minds, is a kind of tragedy’ and ‘tragedy is . . 133 But to understand such concerns about scepticism, we must, at least, recognize the desire for things to be otherwise. This leads to the question of other minds, particularly the minds of the authors. THE SEARCH FOR THE AUTHOR miranda O, wonder! How many goodly creatures are there here! How beauteous mankind is! O brave new world, That has such people in’t! prospero ’Tis new to thee.
The father–daughter wrangle touches on the diYculties of conceiving another’s point of view. It shows how hard it is to recognize that someone else is not just a carbon copy of ourselves. It is hard to let go, and Prospero hangs upon his daughter’s words as she steps forward in a world of her own, for he has lost much already. 134 Miranda’s speech shows her to be her father’s daughter still, 132 ‘Introduction’ to W. H. Auden, The Sea and the Mirror: A Commentary on Shakespeare’s The Tempest, ed.
But such an entry suggests that she too seemed conscious of the ways in which knowledgebased theories of sympathy might have their limits. For her, ‘double consciousness’ could exist, not simply as a medical condition, or an enlarged mental capacity, but as a sense that there might be a larger understanding, beyond her own vision. It is a distinction that G. H. Lewes noted in relation to ‘The Lifted Veil’ itself; that there is a diVerence between ‘the one-sided knowing of . . 55 Nussbaum does Wnd the eudaimonistic cast of her argument somewhat problematic, especially when it comes to discussing the idea of sympathy.