Sympathetic understanding:
Guðmundur Finnbogason (1873-1944) was one of the first scientists to explain our inborn capacity to understand each other’s feelings. This doctoral thesis was originally published in Denmark 1911, and in France 1913, where it caught the attention of and inspired the famous child psychologist Jean Pi...
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| Main Author: | |
|---|---|
| Other Authors: | |
| Format: | Thesis Book |
| Language: | English |
| Published: |
Reykjavík
University of Iceland Press
2019
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| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Summary: | Guðmundur Finnbogason (1873-1944) was one of the first scientists to explain our inborn capacity to understand each other’s feelings. This doctoral thesis was originally published in Denmark 1911, and in France 1913, where it caught the attention of and inspired the famous child psychologist Jean Piaget. The book includes contemporary perspectives by Noble Prize Laureate Eric Kandel, MD, and Neuroscientist Pier Francesco Ferrari, Ph.D. |
| Physical Description: | 189 Seiten 1 Porträt 23 cm |
| ISBN: | 9789935232168 |
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| adam_text | TABLE OF CONTENTS Forewords.................................................................................. 9-12 Introduction................................................................................... 13-26 I. 27-30 Two points of view .............................................................. Different needs determine the way living creatures regard their environment. - This is a one-sided perspective. - Science. - Examples of another way of looking at things. II. Involuntary described by examples ............................. 31-36 Individuality must be directly observed. - Observing a figure can arouse imitation tendencies. - Smiling, laughing, yawning, blinking is infectious. Grimaces and other motions. - Imitating body postures. - Imitating hearing impressions. - Imitations under hypnosis. III. The nature and conditions of imitation...................... 37-60 It has not yet been possible to provide a physiological explanation for imi tation. - Psychological analysis is the only solution. - Does the impression work by itself? - How does unconscious imitation come about? - The gen erally accepted theory on the origin of conscious movements. - Critique of this. - The impression appears to work in its own specific manner. - This, however, does not always show up in the imitation. - The effect of visual im pressions on the origin and development of speech sounds. - A form arouses imitation tendencies of its own account. - Two kinds of imitation of seen forms. - Do visual and hearing impressions carry special advantages? Prandtls criticism of imitation
theory. - Images from memory can give rise to the same imitation tendencies as corresponding external impressions. The human organism appears to interact with two worlds. - Objections to our presentation considered. - The imitation of a single characteristic or a specific function tends to alter the physical condition in a certain manner. “One becomes what one sees!” IV. Imitation and suggestion............................................... 61-66 Defining the concept of imitation. - The comparison of this to certain in stances of suggestion.
6 V. TABLE OF CONTENTS Understanding the expressions of the soul................ 67-78 Looking back and considering problematic aspects. - A facial expression may foretell certain actions, which normally follow it. - An example from Fechner. - The objective meaning of an expression. - Understanding the spiritual content of an expression. - Two possible objections. - The difference between “Г and “You”. - We appear to understand other people’s states of mind to the same extent as we can imitate their mode of existence. - The understanding may be right even though it is only fleeting. - Where the mental content of an expression comes from. - How another’s expression can steal over one’s face. - Analogy with becoming a stranger to oneself. VI. The authenticity of an expression ................................ 79-84 Our instinctive faith, in an expression. - A false expression, how it comes about. - Harmony as the hallmark of a true expression. - What it is made of. - The causes of an authentic expression. - A harmonious whole is the hallmark of authenticity. VII. Perception and reaction................................................ 85-110 You can only fully understand another person when you have acquired his perspective. - You cannot understand others merely by imagining yourself in their situation. - We can distinguish between impressions and our reac tions to them. - What is a mood? - Two different methods of viewing the relationship between impression and reaction. - First reaction. - Reacting to an object in accordance with the notions attached to it. - A concept as
the point where different rivers fall into the same channel. - The feelings and ideas, which are most likely to enter the consciousness simultaneously with a given reaction. - A reaction limits our potential feelings. - And our potential concepts and ideas. - How does mood affect the perception of our surround ings? - Does this happen because our mood alters the train of thought? Our understanding of the objective world is to a great extent determined by our preconceived ideas. - But why does a mood or frame of mind change our thought processes in a certain manner? - A brief excursion into the domain of physiology - We must keep to the facts themselves. - The interaction be tween mood and the flow of ideas. - Rhythm. - The effect of rhythmic move ment on our thought processes. - The impact of other movements on our thoughts. VIII. Accommodation.............................................................. 111-120 By imitating another person’s attitude or stance towards a certain subject, one becomes adjusted in a similar manner as he is, and thus gradually approaches
TABLE OF CONTENTS 7 his perspective. - Personal characteristics. - Personality may be implied in a single expression. - How boots create a new person. - How quickly an at titude develops. - An attitude is the organism’s immediate adjustment to a certain task. - Any function which becomes dominant results in a character istic posture or attitude. - How one’s entire way of living may be changed by the mode of walking. - History justifies our view. - Attitudes can assume the greatest variety. - The expression “tone-setting”. IX. Mimicry........................................................................... 121-134 Looking back. - A creative recognition of another’s being. - Ihe significance of imitation as a mode of recognition has been underestimated. Campanella - Fechner. - “Imitators”. - Estcourt. - Investigation of “imitator” psychol ogy. - Why people “imitate”. - How does the imitator approach his task? Sometimes imitations succeed on first attempt. - But sometimes practice is needed. - Does facial expression and posture adapt to voice, and the other way round? - The imitator feels more or less penetrated by the thoughts and feelings of the person presented. - The difference between the reproductive and the creative imitator. - How does the imitator manage to “present” oth ers in new situations? - How does the imitator know when his presentation has been a success? - Does one acquire a better understanding of those one imitates? X. “I don’t understand .................................................. 135-138 Those physical expressions of mental states which
cannot be imitated, are not readily understood. - “I don’t understand often means only this: “I can not react in this way”. - Every function which may be consciously or uncon sciously imitated is in and of itself “understandable”. - What prevents imita tion also prevents understanding. XI. On “understanding” music........................................... 139-146 The singer’s condition, when singing. - The audience. - The understanding of a melody in comparison with the understanding of a poem. - Music as the art of thinking in tones. - Understanding the format of a poem. - The mood of a melody. - Can music express certain emotional states? - Music composed to accompany a certain text. - The ideas aroused by music. - Must a musical composition have a title? - Tone paintings. XII. Individuality in work..................................................... 147-162 Our understanding of those we have neither seen nor heard. - Our under standing of the priest and the Levite. - The marks a person has left behind in his work can be of a more or less personal character. - How does one trace
TABLE OF CONTENTS 8 their individuality? - The art of painting. ֊ Handwriting. - Architecture. Mathematics is impersonal. - “We discover the facts piece by piece.” - The understanding of symbols which are to be translated into individualistic ac tions. - The musician, the reciter. - The actor. XIII. Literary characters......................................................... 163-178 The understanding of people on the basis of individual expressions is akin to the understanding of musical motifs. - The writer’s or poets artistic talent for creating personalities. - The possibilities intrinsic to the writer himself. Literary expression of historical figures. - Sometimes the writer begins with an abstract situation. - How the first idea of a work of fiction is born. - Jakob Knudsen on childhood memories. - Citing Karl Larsen. - The writers soul appears to be able to create a new individual from a single expression. - Cit ing “Jón Trausti”. - F. de Curei. - “Ihe endowment of a soul”. XIV. Conclusion....................................................................... 179-186 Looking back. - How the “understanding” dealt with here relates to other types of “understanding”. - The role of this “understanding” in human life. Translator’s notes 187-189
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| adam_txt |
TABLE OF CONTENTS Forewords. 9-12 Introduction. 13-26 I. 27-30 Two points of view . Different needs determine the way living creatures regard their environment. - This is a one-sided perspective. - Science. - Examples of another way of looking at things. II. Involuntary described by examples . 31-36 Individuality must be directly observed. - Observing a figure can arouse imitation tendencies. - Smiling, laughing, yawning, blinking is infectious. Grimaces and other motions. - Imitating body postures. - Imitating hearing impressions. - Imitations under hypnosis. III. The nature and conditions of imitation. 37-60 It has not yet been possible to provide a physiological explanation for imi tation. - Psychological analysis is the only solution. - Does the impression work by itself? - How does unconscious imitation come about? - The gen erally accepted theory on the origin of conscious movements. - Critique of this. - The impression appears to work in its own specific manner. - This, however, does not always show up in the imitation. - The effect of visual im pressions on the origin and development of speech sounds. - A form arouses imitation tendencies of its own account. - Two kinds of imitation of seen forms. - Do visual and hearing impressions carry special advantages? Prandtls criticism of imitation
theory. - Images from memory can give rise to the same imitation tendencies as corresponding external impressions. The human organism appears to interact with two worlds. - Objections to our presentation considered. - The imitation of a single characteristic or a specific function tends to alter the physical condition in a certain manner. “One becomes what one sees!” IV. Imitation and suggestion. 61-66 Defining the concept of imitation. - The comparison of this to certain in stances of suggestion.
6 V. TABLE OF CONTENTS Understanding the expressions of the soul. 67-78 Looking back and considering problematic aspects. - A facial expression may foretell certain actions, which normally follow it. - An example from Fechner. - The objective meaning of an expression. - Understanding the spiritual content of an expression. - Two possible objections. - The difference between “Г and “You”. - We appear to understand other people’s states of mind to the same extent as we can imitate their mode of existence. - The understanding may be right even though it is only fleeting. - Where the mental content of an expression comes from. - How another’s expression can steal over one’s face. - Analogy with becoming a stranger to oneself. VI. The authenticity of an expression . 79-84 Our instinctive faith, in an expression. - A false expression, how it comes about. - Harmony as the hallmark of a true expression. - What it is made of. - The causes of an authentic expression. - A harmonious whole is the hallmark of authenticity. VII. Perception and reaction. 85-110 You can only fully understand another person when you have acquired his perspective. - You cannot understand others merely by imagining yourself in their situation. - We can distinguish between impressions and our reac tions to them. - What is a mood? - Two different methods of viewing the relationship between impression and reaction. - First reaction. - Reacting to an object in accordance with the notions attached to it. - A concept as
the point where different rivers fall into the same channel. - The feelings and ideas, which are most likely to enter the consciousness simultaneously with a given reaction. - A reaction limits our potential feelings. - And our potential concepts and ideas. - How does mood affect the perception of our surround ings? - Does this happen because our mood alters the train of thought? Our understanding of the objective world is to a great extent determined by our preconceived ideas. - But why does a mood or frame of mind change our thought processes in a certain manner? - A brief excursion into the domain of physiology - We must keep to the facts themselves. - The interaction be tween mood and the flow of ideas. - Rhythm. - The effect of rhythmic move ment on our thought processes. - The impact of other movements on our thoughts. VIII. Accommodation. 111-120 By imitating another person’s attitude or stance towards a certain subject, one becomes adjusted in a similar manner as he is, and thus gradually approaches
TABLE OF CONTENTS 7 his perspective. - Personal characteristics. - Personality may be implied in a single expression. - How boots create a new person. - How quickly an at titude develops. - An attitude is the organism’s immediate adjustment to a certain task. - Any function which becomes dominant results in a character istic posture or attitude. - How one’s entire way of living may be changed by the mode of walking. - History justifies our view. - Attitudes can assume the greatest variety. - The expression “tone-setting”. IX. Mimicry. 121-134 Looking back. - A creative recognition of another’s being. - Ihe significance of imitation as a mode of recognition has been underestimated. Campanella - Fechner. - “Imitators”. - Estcourt. - Investigation of “imitator” psychol ogy. - Why people “imitate”. - How does the imitator approach his task? Sometimes imitations succeed on first attempt. - But sometimes practice is needed. - Does facial expression and posture adapt to voice, and the other way round? - The imitator feels more or less penetrated by the thoughts and feelings of the person presented. - The difference between the reproductive and the creative imitator. - How does the imitator manage to “present” oth ers in new situations? - How does the imitator know when his presentation has been a success? - Does one acquire a better understanding of those one imitates? X. “I don’t understand . 135-138 Those physical expressions of mental states which
cannot be imitated, are not readily understood. - “I don’t understand often means only this: “I can not react in this way”. - Every function which may be consciously or uncon sciously imitated is in and of itself “understandable”. - What prevents imita tion also prevents understanding. XI. On “understanding” music. 139-146 The singer’s condition, when singing. - The audience. - The understanding of a melody in comparison with the understanding of a poem. - Music as the art of thinking in tones. - Understanding the format of a poem. - The mood of a melody. - Can music express certain emotional states? - Music composed to accompany a certain text. - The ideas aroused by music. - Must a musical composition have a title? - Tone paintings. XII. Individuality in work. 147-162 Our understanding of those we have neither seen nor heard. - Our under standing of the priest and the Levite. - The marks a person has left behind in his work can be of a more or less personal character. - How does one trace
TABLE OF CONTENTS 8 their individuality? - The art of painting. ֊ Handwriting. - Architecture. Mathematics is impersonal. - “We discover the facts piece by piece.” - The understanding of symbols which are to be translated into individualistic ac tions. - The musician, the reciter. - The actor. XIII. Literary characters. 163-178 The understanding of people on the basis of individual expressions is akin to the understanding of musical motifs. - The writer’s or poets artistic talent for creating personalities. - The possibilities intrinsic to the writer himself. Literary expression of historical figures. - Sometimes the writer begins with an abstract situation. - How the first idea of a work of fiction is born. - Jakob Knudsen on childhood memories. - Citing Karl Larsen. - The writers soul appears to be able to create a new individual from a single expression. - Cit ing “Jón Trausti”. - F. de Curei. - “Ihe endowment of a soul”. XIV. Conclusion. 179-186 Looking back. - How the “understanding” dealt with here relates to other types of “understanding”. - The role of this “understanding” in human life. Translator’s notes 187-189 |
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| spelling | Guðmundur Finnbogason 1873-1944 Verfasser (DE-588)104209984 aut (DE-588)1214764401 Den sympatiske forstaaelse Sympathetic understanding Guðmundur Finnbogason ; translated by Laufey Vilhjálmsdóttir Bustany ; introduction by Jörgen L. Pind Reykjavík University of Iceland Press 2019 189 Seiten 1 Porträt 23 cm txt rdacontent n rdamedia nc rdacarrier Dissertation University of Copenhagen 1911 Guðmundur Finnbogason (1873-1944) was one of the first scientists to explain our inborn capacity to understand each other’s feelings. This doctoral thesis was originally published in Denmark 1911, and in France 1913, where it caught the attention of and inspired the famous child psychologist Jean Piaget. The book includes contemporary perspectives by Noble Prize Laureate Eric Kandel, MD, and Neuroscientist Pier Francesco Ferrari, Ph.D. Einfühlung (DE-588)4133262-3 gnd rswk-swf (DE-588)4113937-9 Hochschulschrift gnd-content Einfühlung (DE-588)4133262-3 s DE-604 Laufey Vilhjálmsdóttir Bustany trl Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032104337&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
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| title_full | Sympathetic understanding Guðmundur Finnbogason ; translated by Laufey Vilhjálmsdóttir Bustany ; introduction by Jörgen L. Pind |
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| title_full_unstemmed | Sympathetic understanding Guðmundur Finnbogason ; translated by Laufey Vilhjálmsdóttir Bustany ; introduction by Jörgen L. Pind |
| title_short | Sympathetic understanding |
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