The Work On Empathy And Its Effects On The World Of Art And Aesthetics

1155 Words May 10th, 2016 null Page
The earliest work on empathy dates back to Aristotle, mentioned in his treatise, Rhetoric, and again in 1873, empathy was introduced into the world of art and aesthetics (Verducci, 2000). According to Verducci (2000), Friedrich Vischer (1807–1887), advanced the idea that the viewer of a work of art contributes to the perception of form in art. These views were expressed in his work titled Aesthetik, four volumes composed over a decade beginning in 1846 (Verducci, 2000). Vischer’s son, Robert, attached a name to the process, calling it Einfuhlung, literally meaning in-feeling (Verducci, 2000). This word, sometimes attributed to another German psychologist, Theodor Lipps, and the American psychologist, Edward Tichener, who broadened the definition in the early 1900s (Gerdes et al., 2011). This early view of empathy eventually led to the identification of two different components of empathy: emotional and cognitive (Verducci, 2000). Some investigators consider empathy to be largely a cognitive phenomenon, emphasizing the importance of the accurate perception of others (Dymond, 1949). Other researchers have stressed its emotional components (Mehrabian & Epstein, 1972).
Why is empathy so important in schools today? In a recent article in “School Leadership,” authors Tschannen-Moran and Tschannen-Moran (2014) point out the importance of empathy:
This is an era of unprecedented accountability and schools are not often happy places. Empathy, properly understood and…

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