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This volume critically discusses the role empathy plays in different processes of understanding. More precisely, it clarifies empathy’s role in interpersonal understanding and appreciating works of literature and art. The volume also includes a section on historical theories of empathy’s role in understanding. When it comes to understanding other persons, empathy is typically seen as a process that enables the empathizer to recognize a target person’s mental states, a process which is in turn seen as “understanding” this person. This volume, however, explores empathy’s role in understanding beyond mere mental state recognition. With contributions on processes of interpersonal understanding and understanding of literature and art, it provides readers with an overview over both differences and similarities regarding empathy’s epistemic role in two rather different areas. Since important roots of the debate about empathic understanding lie at the end of the nineteenth and the beginning of the twentieth century, the historical section of the volume focusses specifically on this period. Empathy’s Role in Understanding Persons, Literature, and Art will appeal to scholars and advanced students working in the philosophy of mind, epistemology, aesthetics and the history of philosophy, as well as in literary studies and art history.

Experiential Spectatorship offers a lens for analyzing audience experience with(in) a variety of contemporary media. Using a broad-based perspective, this media includes participatory theatre, video games, digital simulations, social media platforms, alternate reality games, choose your own adventure narratives, interactive television, and a variety of other experiential performance events. Through a taxonomy that includes Immersion, Participation, Game Play, and Role Play the book guides the reader to understand the ways mediatization and technics brought about by digital technologies are changing the capacities and expectations of contemporary audiences. In their daily interactions and relations with their technologies, they become mediatized spectators. By reading these technologies'impacts on individual subjectivity prior to acts of spectatorship, one gains the tools to best describe how the spectator creates forms of relational exchange with their experential media.This book prepares the reader to think in a digital manner so they can best recognize how performance and spectatorship in the twenty-first century are evolving to meet the needs of future waves of spectators brought up in a postdigital world.

Comprehensively updated, the second edition is a user- friendly resource for teachers and administrators to ensure their school's success in implementing and maintaining a dual language program. The book is filled with step-by-step instructions and strategies you can try immediately. The second edition includes key updates on technology, digital resources, and current demographics, standards, and data. Educators will learn how to choose a model for their dual language program involving all stakeholders in the transition process, set proficiency targets and use assessments to track progress, and much more.

Immersive Storytelling and Spectatorship in Theatre, Museums, and Video Games is the first volume to explore immersion as it is experienced in all three of these storytelling forms: the theatre, museums and historic sites, and video games. It theorizes what it means for a work to be called immersive and how immersion impacts audience experience in each of these modes.The presentation of story is deepened when it involves the spectator in an immersive way. Author Kelly I. Aliano concentrates on the central idea that the use of immersion in each medium allows the story being told to feel present for the spectator. It puts them at the center of the experience, making its events for and about them. Throughout, the book discusses how immersion is employed to make narrative feel more resonant and relevant for the audience. Analyzing the impact of offering a first-hand experience of story events, this book looks at how immersive storytelling can highlight the ways in which we can interact with and shape our understandings of ourselves and our society as well as our histories and identities.Ideal for students, scholars, and researchers of immersive theatre, spectatorship, museum studies, and video game studies, this is an innovative study into the power of immersive storytelling across three interactive mediums.

Reading Digital Fiction offers the first comprehensive and systematic theoretical, methodological, and analytical examination of digital fiction from a cognitive and empirical perspective. Proposing the new concept of “medial reading”, it argues for the centrality of an audience’s interest in, awareness of and/or attention to the medium in which a text is produced and received, and which we argue should be applied to reader data across media. The book analyses and theorises five generations of digital fiction and their reading including hypertext fiction, hypermedia fiction, narrative video games, app fiction, and virtual reality. It showcases medium- and platform-specific methods of qualitative reader response research across a variety of contexts and settings from screen-based and embodied interaction to gallery installation, and from reading group and individual interview to think-aloud methodologies. The book thus addresses the unique affordances of digital fiction reading by designing and reporting on new empirical studies focusing on hypertextuality, interactivity, immersion, as well as medium-specific forms of textual “you”, ontological ambiguity, reader orientation and empathy. In so doing, the book refines, critiques, and expands cognitive, transmedial, and empirical narratology and stylistics by placing the reader of these new narratives front and centre. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND)] 4.0 license.

Cultural organizations are increasingly turning to immersive technologies such as Extended Reality to create more embodied and interactive experiences of remote cultural objects. Yet, museum computing’s overriding focus on cultural understandings of presence in terms of objects has obscured the broader role that these systems’ reconfiguration of perception and attention play in shaping user experience. While cultural presence generally complicates the issue of technological mediation, the chapter argues that modern and contemporary visual art actually provides a unique test case to disentangle the nexus of immersion, presence, attention and ability at the core of these experiences. Its central claim is that the way in which wearable technologies ‘augment’ users by sensing, capturing, analyzing and processing sensorimotor action should be taken into account in the curation and design of future immersive experiences rather than assuming that the technology will eventually become transparent and ‘naturalized.’

Recently there has been a re-articulation of the concept of ‘presence’, which has evolved into an important trend in the humanities. Despite the many cross-disciplinary endeavours to define what ‘presence’ is, it proves a rather elusive concept, with different conceptualisations of the term found across different disciplines. In museum studies, presence is associated with the type of experience that a visitor can have in a museum setting, in an attempt to find the balance between interpretation/meaning and embodiment/immersion in the museum space. The rapid advancement of technology and the turn towards immersive experiences in museums, however, has raised a set of new questions regarding the effects of technology on presence. The aim of this chapter is to provide a multidisciplinary discussion of the concept of presence and critically explore the different approaches to it to pinpoint the limitations and gaps in existing literature. The chapter explores the dichotomy between presence and meaning effects and the application of presence in museum environments with an emphasis on embodiment, affect and atmosphere. It also investigates how presence is defined and studied in computer science. The ultimate aim of this chapter is to provide the theoretical basis for the exploration of the potential role of technologies as facilitators of presence in museums.

In this lively, student-centered work, Dr. Mary Ehrenworth presents a complete curriculum for vocabulary acquisition, one that can be embedded as a separate component or taught inside of any reading curriculum in grades 3–6.Your students will learn to collect and apply literary vocabulary. They will learn a repertoire of writing about reading strategies for deepening literary vocabulary, close reading, and literary conversations. They will dive into a study of etymology, cognates, and compound words, as well as a deep study of morphology. These word conscious learners—budding linguists—will become flexible word solvers and creators as they learn to collect and apply domain vocabulary and develop expertise in attending to varied and subtle context clues not only to acquire domain vocabulary, but to comprehend more complex nonfiction texts.Teachers will appreciate the student-centered, affirming, and inclusive pedagogy, the attention to multilingualism, the focus on transfer and independence, the solid core of undergirding research, the room for immersion and inquiry, and the tremendous impact on reading comprehension and criticality as well as vocabulary.With a thoughtful progression across Literary Vocabulary, Word Consciousness, and Domain Vocabulary, Ehrenworth offers dozens of use-tomorrow lessons designed to be easily replicated with multiple texts, in a variety of learning experiences. Specifically, Vocabulary Connections presents practical structures to help teachers develop replicable protocols for: collecting literary and domain vocabulary writing about reading as a way to deepen vocabulary and interpretation investigating word choice as a way of thinking about point of view exploring context clues in complex nonfiction building word consciousness - morphology, compound words, cognates Grounded in both inquiry and direct instruction and supported with a variety of engaging visuals and instructional tips, Vocabulary Connections will quickly become a trusted resource you'll want to return to for planning and instruction year after year.

This book sets out a new model for psychodynamic supervision, designed around relational psychoanalytic theory and practice. It emphasizes the development of the self of the therapist and working directly with the emergent therapeutic relationship. Building on Barsness's seminal Core Competencies of Relational Psychoanalysis text, this book is grounded in those theoretical competencies. The author offers what he calls the MAMAL method of supervision—(M—muse; A—affect; M—metabolization; A—articulation; and L—learning), a method that privileges (1) affect over cognition, (2) the use of the therapist's subjectivity as the primary portal to the patient's internal and interpersonal world, (3) the immersion of the supervisor's subjectivity in the supervisory process, and (4) viewing the patient as a muse rather than an object of assessment. The MAMAL method approach enriches the supervisory experience and enhances the therapeutic process, fostering a therapeutic climate where both therapist and patient can thrive. It is attention to our own humanity and woundedness that facilitates a deep connection to our patients and animates the progression of the therapeutic process and is at the core of this supervision model.Drawing on clinical experience, this book is grounded in research and is a readable resource for psychoanalysts, psychotherapists, and mental health professionals, providing a clear guide to a relational model of supervision and a concise understanding of relational theory and practice.

How can we create writing instruction that allows Latine youth to desahogarse, where writing is a release? How can we learn more about Latinx youth and the issues that matter to them so that we can all reimagine a better world?In Narrative Writing with Latinx Teens: Testimonios, Texts, and Teaching, Dr. Carla España introduces the Writing for Desahogo Teaching Framework, a foundation for twenty writing lessons that immerse students in texts on topics that include (im)migration, mental health, language, resilience, and community to facilitate their discussions and writing.Inspired by research with Latinx teens and young adults, Dr. España bookends each chapter with the words of Latinx youth and testimonios by Latinx educators while inviting teachers to share in the vulnerability of writing to heal with her own creative writing expanding on these topics. Poems and narratives give readers a lens into Dr. España's particular experience while setting up teacher and student text sets as entry points into the topic of study. Each chapter's lesson sequences include four text types for study:● Multimedia introduction● Poetry immersion● Middle-grade literature● Young adult literatureNarrative Writing with Latinx Teens is a weaving of Dr. España's teaching in different settings with Latinx teens in middle grade classrooms and presently, in the Department of Puerto Rican and Latinx Studies at Brooklyn College. It's reimagined writing workshops meets Ethnic Studies.Ultimately, this book invites educators to consider the complexity of the Latinx diaspora, dispel myths of Latinidad, and consider the ways we can create spaces for the writers in our midst to feel like they can flourish in their criticality and in their joy.With a foreword by award-winning author, arts activist, and translator, Aida Salazar, Narrative Writing with Latinx Teens calls us to grow in our courage, curiosity, and criticality, following the examples of the youth and creators of Latin American descent it features and celebrates.

This book takes the unique approach of combining cognitive approaches with more established close-reading methods in analysing a selection of Japanese novels and a film.They are by four well-known male authors and a director (Natsume Sôseki, Shiga Naoya, Ôe Kenzaburô, Ibuse Masuji and Imamura Shôhei) and five female authors (Kirino Natsuo, Kawakami Mieko, Murata Sayaka, Tsushima Yûko, and Ishimure Michiko) from the early twentieth century up to the early millennium. It approaches the different artistic strategies that oscillate between emotional immersion and critical reflection. Inspired by new developments in cognitive theory and neuroscience, the book seeks to put a spotlight on the aspects of modern Japanese novels that were not fully appreciated earlier; the eclectic and fluid nature of the novel as a form, and the vital roles played by affects and emotions often complicated under the impact of trauma.Rejuvenating previously established cultural theories through a cognitive and emotional lens (narratology, genre theory, historicism, cultural study, gender theory, and ecocriticism), this book will appeal to students and scholars of modern literature and Japanese literature.