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Linguistic Approaches to Literature #15
The Art of Sympathy in Fiction
By taking an interdisciplinary approach ― with methods drawn from narratology, aesthetics, social psychology, education, and the empirical study of literature ― The Art of Sympathy in Fiction will interest scholars in a variety of fields. Its focus is the sympathetic effects of stories, and the possible ways these feelings can contribute to what has been called the “moral imagination.” Part I examines the dynamics of readers’ beliefs regarding fictional characters and the influence of those impressions on the emotions that readers experience. The book then turns its attention to sympathy, providing a comprehensive definition and considering the ways in which it operates in life and in literature. Part I concludes with a discussion of the narratological and rhetorical features of fictional narratives that theoretically elicit sympathy in readers. Part II applies these theories to four stories that persuade readers to sympathize with characters who seem unsympathetic. Finally, based on empirical findings from the responses of adolescent readers, Part III considers pedagogical approaches that can help students reflect on emotional experiences that result from reading fiction.
206 pages, Hardcover
First published March 15, 2013
11 people want to read
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August 8, 2013
Perhaps the best work to start with for anyone interest in sympathy and fiction as the author gives an extensive overview of the research that has been done up over the years. This man has done to research, so to speak. Sklar's writing style is very accessible and he is capable of explaining even the more complicated theories in such a way that they are easy to follow. His arguments, although you can decide to agree or disagree with them, are generally well researched and presented.
The only exception seems to be the reasons which Sklar gives for focusing solely on "negative emotions" in relation to sympathy. Although he does state that researching the relation between sympathy and positive emotions would be outside the scope of his research, he does briefly make a case for why he believes emotions such as joy should not be perceived as sympathetic. He argues that when we feel happy for someone else, this is based purely on empathy, as it does not involve the judgment factor which forms an inherent part of sympathy. I would, however, argue that whether or not we are happy for someone else depends on whether or not we believe that person deserves this happiness and that it should therefore be regarded as belonging to the category of sympathy, rather than empathy.
Another argument which Sklar puts forward for the exclusion of happiness and other positive emotions is that the word sympathy in everyday use only has the negative connotations of "to pity" or "to feel sorry for". He subsequently argues that people are only able to express sympathetic joy (if there is such a thing) by using euphemisms such as “I feel so happy for you” (or, as I would personally put it "I am so happy for you"). We simply do not say “I sympathize with your pleasure”. In arguing thus Sklar fails to note that people tend to use very similar euphemisms when it comes to expressing emotions such as concern, pity etc. We just as readily say “I am so sorry for you” as we say “I am so happy for you”. Moreover, just as we would not say "I sympathize with your pleasure" would not say "I sympathize with your pain" either.
Nevertheless, The Art of Sympathy in Fiction is overall a very well researched book, which I would highly recommend to those who wish to learn more about sympathy in fictional works.
The only exception seems to be the reasons which Sklar gives for focusing solely on "negative emotions" in relation to sympathy. Although he does state that researching the relation between sympathy and positive emotions would be outside the scope of his research, he does briefly make a case for why he believes emotions such as joy should not be perceived as sympathetic. He argues that when we feel happy for someone else, this is based purely on empathy, as it does not involve the judgment factor which forms an inherent part of sympathy. I would, however, argue that whether or not we are happy for someone else depends on whether or not we believe that person deserves this happiness and that it should therefore be regarded as belonging to the category of sympathy, rather than empathy.
Another argument which Sklar puts forward for the exclusion of happiness and other positive emotions is that the word sympathy in everyday use only has the negative connotations of "to pity" or "to feel sorry for". He subsequently argues that people are only able to express sympathetic joy (if there is such a thing) by using euphemisms such as “I feel so happy for you” (or, as I would personally put it "I am so happy for you"). We simply do not say “I sympathize with your pleasure”. In arguing thus Sklar fails to note that people tend to use very similar euphemisms when it comes to expressing emotions such as concern, pity etc. We just as readily say “I am so sorry for you” as we say “I am so happy for you”. Moreover, just as we would not say "I sympathize with your pleasure" would not say "I sympathize with your pain" either.
Nevertheless, The Art of Sympathy in Fiction is overall a very well researched book, which I would highly recommend to those who wish to learn more about sympathy in fictional works.
Displaying 1 of 1 review