当代共情研究视域下的“Einfühlung”:一个美学概念的再解读  

Einfühlung from the Perspective of Contemporary Empathy Research:A Re-interpretation of an Aesthetic Concept

作　　者：杨玲[1] YANG Ling(School of Film,Xiamen University,Xiamen 361005,Fujian)

机构地区：[1]厦门大学电影学院,福建厦门361005

出　　处：《厦门大学学报（哲学社会科学版）》2024年第4期142-154,共13页Journal of Xiamen University(A Bimonthly for Studies in Arts & Social Sciences)

基　　金：福建省社会科学基金一般项目“跨媒介叙事文献整理与研究”(FJ2021B091)。

摘　　要：共情是当代最引人瞩目的跨学科概念之一,它源自德国美学传统中的“Einfühlung”概念。费舍尔、利普斯、沃林格和布莱希特都对“Einfühlung”进行过论述,并对这一概念的兴衰产生了重要影响。随着当代共情研究的发展,费舍尔和利普斯的“Einfühlung”理论在心理学、哲学和神经美学等领域获得新的阐释。尽管“Einfühlung”概念现已被学界重新激活,但其内在的伦理难题并未得到解决。探究“Einfühlung”的概念史,有助于我们重构现有的文艺理论知识谱系,进一步挖掘美学的跨学科潜力。Empathy,one of the most captivating interdisciplinary concepts of our time,finds its origins in the concept of Einfühlung in the German aesthetic tradition.Prominent figures such as Robert Vischer,Theodor Lipps,Wilhelm Worringer,and Bertolt Brecht have all contributed to the discussion of Einfühlung,leaving a lasting impact on the rise and decline of this concept.In contemporary empathy research,Einfühlung has garnered renewed interest and has been reinterpreted in the fields of psychology,philosophy,and neuroaesthetics.However,the ethical quandaries inherent in Einfühlung still remain unresolved.A thorough exploration of the history of Einfühlung can assist in reshaping our current understanding of art and literature and potentially uncover new interdisciplinary possibilities within the realm of aesthetics.

关 键 词：“Einfühlung” 共情 费舍尔 利普斯 美学 

分 类 号：B83-0[哲学宗教—美学]