"See Me, Feel Me": Two Modes of Affect Recognition for Real and Fictional Targets.

It is commonly presupposed that there are no decisive differences between empathy with fictional characters on one hand and empathy with real persons on the other. I distinguish two types of processes of affect recognition "Perceptual Affect Recognition" and "Affective Affect Recognition". The conse...

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Publicado en:Topoi: An International Review of Philosophy Vol. 39; no. 4; pp. 827 - 835
Autor principal: Werner, Christiana
Formato: Artículo
Publicado: Springer Nature Sep2020
Materias:
Acceso en línea:Ver este registro en EBSCOhost
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        atl: "See Me, Feel Me": Two Modes of Affect Recognition for Real and Fictional Targets.
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        au: Werner, Christiana
        affil: Graduate School of Humanities Göttingen, University of Göttingen, Friedländer Weg 2, 37085, Göttingen, Germany
      su:
        Fictional characters
        Social perception
        Empathy
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          Fictional characters
          Social perception
          Empathy
      keyword:
        Direct social perception
        Simulation theory
        Social cognition
        Theory theory
      ab: It is commonly presupposed that there are no decisive differences between empathy with fictional characters on one hand and empathy with real persons on the other. I distinguish two types of processes of affect recognition "Perceptual Affect Recognition" and "Affective Affect Recognition". The consensus view about empathy with fictional characters has to be challenged if "empathy" refers to the former or the latter process because of the significant differences between the fictional and the non-fictional scenario: firstly, readers as "empathizers" cannot perceive the fictional target person directly but only the literary text. This is especially problematic for Affective State Recognition. Secondly, fictional characters do not exist, at least not in the sense that they are real people or entities with mental states which leads to relevant differences of the accuracy conditions of Affective Affect Recognition in the fictional and the nonfictional scenario.
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