Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people''s minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. Afuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by theeditors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people's minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. A fuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by the editors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people's minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. A fuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by the editors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions.This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition?What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner?How are memory, empathy, and moral agency related in Blade Runner?How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance?Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies.Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions.This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition?What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner?How are memory, empathy, and moral agency related in Blade Runner?How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance?Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies.Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions.

This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions:

How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition? What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner? How are memory, empathy, and moral agency related in Blade Runner? How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance? Is Blade Runner a meditation on the nature of film itself?

Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies.

Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.

Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people''s minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. Afuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by theeditors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people's minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. A fuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by the editors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Empathy has for a long time, at least since the eighteenth century, been seen as centrally important in relation to our capacity to gain a grasp of the content of other people's minds, and predict and explain what they will think, feel, and do; and in relation to our capacity to respond to others ethically. In addition, empathy is seen as having a central role in aesthetics, in the understanding of our engagement with works of art and with fictional characters. A fuller understanding of empathy is now offered by the interaction of research in science and the humanities. Empathy: Philosophical and Psychological Perspectives draws together nineteen original chapters by leading researchers across several disciplines, together with an extensive Introduction by the editors. The individual chapters reveal how important it is, in a wide range of fields of enquiry, to bring to bear an understanding of the role of empathy in its various guises. This volume offers the ideal starting-point for the exploration of this intriguing aspect of human life.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions.This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition?What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner?How are memory, empathy, and moral agency related in Blade Runner?How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance?Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies.Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions.This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions: How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition?What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner?How are memory, empathy, and moral agency related in Blade Runner?How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance?Is Blade Runner a meditation on the nature of film itself? Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies.Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.

Ridley Scott’s Blade Runner is widely regarded as a "masterpiece of modern cinema" and is regularly ranked as one of the great films of all time. Set in a dystopian future where the line between human beings and ‘replicants’ is blurred, the film raises a host of philosophical questions about what it is to be human, the possibility of moral agency and freedom in ‘created’ life forms, and the capacity of cinema to make a genuine contribution to our engagement with these kinds of questions.

This volume of specially commissioned chapters systematically explores and addresses these issues from a philosophical point of view. Beginning with a helpful introduction, the seven chapters examine the following questions:

How is the theme of death explored in Blade Runner and with what implications for our understanding of the human condition? What can we learn about the relationship between emotion and reason from the depiction of the ‘replicants’ in Blade Runner? How are memory, empathy, and moral agency related in Blade Runner? How does the style and ‘mood’ of Blade Runner bear upon its thematic and philosophical significance? Is Blade Runner a meditation on the nature of film itself?

Including a brief biography of the director and a detailed list of references to other writings on the film, Blade Runner is essential reading for students – indeed anyone - interested in philosophy and film studies.

Contributors: Colin Allen, Peter Atterton, Amy Coplan, David Davies, Berys Gaut, Stephen Mulhall, C. D. C. Reeve.