Chapter 10 Empathy in Experimental Narratives
于Empathy: Emotional, Ethical and Epistemological NarrativesSearch for other papers by Barış Mete in
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Empathy in narrative fiction is broadly defined as the capability of readers to share the feelings or the experiences of characters. It is already indisputable that all forms of character identification in fictional narratives essentially require empathy. In other words, readers have empathy with fictional characters whose experiences they personally share. In addition to this, readers have empathy especially with protagonists for they spend most of their time dealing with them during the course of reading. What should specifically be underlined here, moreover, is the fact that empathy not only emerges but also fully develops between readers and characters mostly in narratives that have traditional characteristics in terms of their plot structures and character development. Non-traditional narratives either interrupt or exactly block the possibilities of the rise of shared feelings between readers and characters by reason of a number of elements. As empathy in fictional narratives necessarily builds on the spoken descriptions of the events by the narrator, any divergence from traditional roles of the narrator – especially the role of the narrator as a truthful and reliable entity for the reader – could possibly affect the nature of interactions between readers and characters. Instead of empathy, it might then be the disagreement and the disunity that would better define what readers feel in such situations. The British novelists John Robert Fowles’ The Collector (1963) and Jean Iris Murdoch’s The Black Prince (1973) are two fictional narratives where readers become unable to have empathy with the protagonists as a result of the experimental narrative structures of the novels.