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The Collected Works of EDITH STEIN ON THE PROBLEM OF EMPATHY

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44 Edith Stein<br />

usually comes up in other contexts. we usually look at sensations<br />

as whar ,.give" us the outer n'orld, and in this sense we separate<br />

.,sensatioi" from "what is sensed" or "content <strong>of</strong> sensation"<br />

fiom ..sensatlon as function" in stumpfs sense. we separate, for<br />

example, the seen red and the possessing <strong>of</strong> this red.65 I cannot<br />

agree with him.'fhe object's redis "perceived" and I must distingi,irh<br />

b.t*.en perception and what is perceived. <strong>The</strong> analysis <strong>of</strong><br />

4g> p.r..pti.rn leais me to "sensory dara" so that I can look at the<br />

p..."ptio,-'<strong>of</strong>qualitiesas-an..objectificatiorr<strong>of</strong>sensorydata,''But<br />

thisdoesnotmakequalitiesintoperceptionsnorperceptionsinto<br />

qualities or giving aits. As constitu.ents <strong>of</strong> outer perception, both<br />

are elements not further anall'zable'<br />

Non,if we consider sensation in terms <strong>of</strong> the side turned torvard<br />

the living body, we find an entirely analogous phenomenal state<br />

<strong>of</strong> affairs. I can speak <strong>of</strong> a "sensed" living body as little as <strong>of</strong> a<br />

,.sensed" object in the outer world. However, this also requires an<br />

objectifyingapprehension.Ifmyfingertipscontactthetable,I<br />

ha"ve to clisiing.rirh, first, the sensation <strong>of</strong> touch' the tactile datum<br />

nor further divisible. secondly, there is the hardness <strong>of</strong> the table<br />

with its correlative act <strong>of</strong> outer perception and, thirdly, the touching<br />

fingertip and the correlative act <strong>of</strong> ..bodlly percePtion.,' What<br />

mikes'the connection betrveen sensation and bodilv Perceptioll<br />

particularly intimate is the fact that sensations are given at the<br />

iiving body to the living body as senser'<br />

An investigation <strong>of</strong> all kinds <strong>of</strong> sensations in their meaning for<br />

bodilvperceptionwouldbebeyorrdthescope<strong>of</strong>thiswork.Butwe<br />

must discuss one more point. We said that the ..outer', and<br />

,.bodily perceived" living body is given as the same. This requires<br />

still further elucidation. I not only see my hand and bodily perceive<br />

it as sensing, but I also "see" its {ields <strong>of</strong> sensation corlstitured<br />

for me in bodily perception. on the other hand, if I consciousll<br />

emphasize certain parts <strong>of</strong> mv living body, I have an<br />

,,image" <strong>of</strong> itris part <strong>of</strong> the physical body. 'fhe one is give' rvith<br />

the oiher, thougir rhey are not perceived together. This is exactly<br />

analr_rgous to the province <strong>of</strong> outer percePtion. we n9t only see<br />

the taLle and feel its hardness, but n'e also "see" its hardness. <strong>The</strong><br />

robes in Van DVck's paintings al.e not only as shiny as silk but also<br />

as smooth and as s<strong>of</strong>i as silk. Psychologists call this phenomenon<br />

Constitution <strong>of</strong> the Psycho-Phlsical Indiuidual 45<br />

fusion and usually reduce it to "mere association." This "mere"<br />

indicates psychology's tendency to look at explanation as an explaining<br />

away, so that the explained phenomenon becomes a <br />

"subjective creation" without "objective meaning'" We cannot<br />

accept this interpretation. Phenomenon remains phenomenon'<br />

An explanation is very desirable, but this explanation adds nothing<br />

to or subtracts nothing from it. Thus the certainty <strong>of</strong> tactile<br />

qualities would continue to exist and lose none <strong>of</strong> its merit<br />

whether or not association can explain it.<br />

'fo be sure, we do not think such an explanation possible because<br />

it contradicts the "phenomenon" <strong>of</strong> association. Association<br />

is tlpicallv experienced as "something remindirrg me ol<br />

something." For example, the sight <strong>of</strong> the table corller reminds<br />

me I once bumped myself on it. However, this corner's sharpness<br />

is not remembered, but seen. Here is another instructive example:<br />

I see a rough lump clf'sugar and know or rememtrer that it is<br />

sweet. I do not remember it is rough (or only incidentally), nor<br />

see its sweetness. By contrast, the flower's fragrance is really<br />

sweet and does not remind me ol'a s\^/eetaste. This begins to<br />

()pen up perspectives for a phenomenology <strong>of</strong> the senses and <strong>of</strong><br />

sense perceptions that, <strong>of</strong> course, we cannot go into here. At this<br />

point we are only interested in applving these insights to our case'<br />

-I'he seen living body does not remind us it can be the scene <strong>of</strong><br />

manifold sensations. Neither is it merely a physical thing taking<br />

up the same space as the living body given as sensitive in bodily<br />

perception. It is given as a sensing, living body.<br />

So far we have only considered the living body at rest. Now we<br />

can go a step farther. Let us suppose that I (i.e., my living body as<br />

a rvhole) nrove through the ro()m. As long as we disregarded the<br />

constitution <strong>of</strong> the living body, this was not a peculiarly characterized<br />

phenomenon. It was no different than the kaleidoscopic<br />

shifting ol-the surrounding outer world. Nou' the experience that<br />

"I mr>ve" becomes entirely new. It becomes the apperceptior.r <strong>of</strong><br />

our own movement based on manifold sensations and is entirely<br />

different from the outwardly perceived movement <strong>of</strong> physicaL<br />

b

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