In this study Thomas Peattie offers a new account of Mahler's symphonies by considering the composer's reinvention of the genre in light of his career as a conductor and more broadly in terms of his sustained engagement with the musical, theatrical, and aesthetic traditions of the Austrian fin de siècle. Drawing on the ideas of landscape, mobility, and theatricality, Peattie creates a richly interdisciplinary framework that reveals the uniqueness of Mahler's symphonic idiom and its radical attitude toward the presentation and (...) ordering of musical events. The book goes on to identify a fundamental tension between the music's episodic nature and its often-noted narrative impulse and suggests that Mahler's symphonic dramaturgy can be understood as a form of abstract theatre. (shrink)

Summary The paper celebrates the person and work of Vittorio Benussi, a forgotten genius of psychology. In particular, it addresses the two most important scientific projects that Benussi developed during his time in Graz and Padua, respectively: the psychology of perception and the psychology of emotions and the unconscious. It highlights the originality and topicality of Benussi’s work and emphasizes its proximity to the latest trends in these research fields.

In this paper I explain Wittgenstein’s ambivalent remarks on the music of Gustav Mahler in their proper musico-philosophical context. I argue that these remarks are connected to Wittgenstein’s hybrid conception of musical decline and to his tripartite scheme of modern music. I also argue that Mahler’s conundrum was indicative of Wittgenstein’s grappling with his own predicament as a philosopher, and that this gives concrete sense to Wittgenstein’s admission that music was so important to him that without it he was (...) sure to be misunderstood. (shrink)

A symphony of Gustav Mahler becomes a cathartic experience following the death of a beloved goat.

In his Eighth Symphony Gustav Mahler envisions modern artistic production to steer clear of an alternative emerging at the time: that between popular music on the one hand and esoteric avantgarde music on the other; Mahler’s music is meant to reach the masses, but without descending to audiences’ lowest common denominator. One query through which Mahler’s paradoxical aesthetic vision of an ‘individualism for the masses’ can be explored has been hinted at by the composer himself: Does his integral symphonic (...) work of art (‘Gesamtkunstwerk’) include or rather exclude chamber music? (shrink)

ABSTRACTThis article retrieves, situates, and interprets Ludwig Wittgenstein's overlooked remarks about the composer Gustav Mahler, and connects them with Wittgenstein's philosophical perspective and practice, as well as with his musical aesthetics.

The following article confronts two extremely different ideas of music, namely the more traditional ideal of music of the Austrian philosopher Ludwig Wittgenstein and the innovative path taken on by the bohemian composer Gustav Mahler in its Symphonies. The harsh criticism of Mahler’s work done by Wittgenstein in its writings is widely known, he considered Mahler’s music as an inauthentic and sad product of the cultural crisis of their time. Nonetheless, it’s important to show how both tried to give (...) answer to the same questions with their own opposite methods and ideas. Through the analysis of Wittgenstein criticism first and Mahler’s musical language second, this article aims to reconstruct the ways they tried and the difficulties they met in their quest to inspire people at a time when every cultural value seems to be questioned, by showing the similarities and contrasts in their thoughts about the nature of the musical language and the role of the artist in its relationship with the audience. (shrink)

“The Messiah [...] is the source of all religious art.” This statement, which we find in Cohen’s Über den ästhetischen Wert unserer religiösen Bildung, seems to be not fully consistent with the whole of Cohen’s aesthetics and with Cohen’s thought about the possibility of art having religious themes. In order to explain this statement and Cohen’s perspective about Messianism in art, in §§ 1-3 I examine Cohen’s reflections about this topic in his main works about art and religion; in § (...) 4 I maintain that the goal of this statement is to underline a difference between Jewish and Christian religious art. Finally, in § 5, I offer a short examination of some 20th or 21th century artworks that can be compared to Cohen’s views about Messianism in art: namely, Marc Chagall’s crucifixions, Gustav Mahler’s 4th symphony, and Michelangelo Pistoletto’s Terzo Paradiso. (shrink)

Ludwig Wittgenstein's life and writings attest the extraordinary importance that the art of music had for him. It would be fair to say even that among the great philosophers of the twentieth century he was one of the most musically sensitive. Wittgenstein’s Denkbewegungen contains some of his most unique remarks on music, which bear witness not only to the level of his engagement in thinking about music, but also to the intimate connection in his mind between musical acculturation, the perils (...) of modernity, and the challenge, which was very personal to Wittgenstein, of philosophizing amidst what he believed was a dissolution of the resemblances which unite his culture’s ways of life. In particular, Denkbewegungen contains unique remarks on modern music, the problem of Gustav Mahler’s music, and the music of the future. Also, it contains, among other things, some unusually forward-looking remarks on the differences between Brahms and Bruckner, which both probe deeply into the nature of musical creativity and anticipate his later philosophical move beyond the inner/outer divide in his last writings. I shall offer a close reading of Wittgenstein’s remarks on music in Denkbewegungen, which situates them in the broader context of his philosophical development in his middle-period and beyond. I aim to show the deep integration of Wittgenstein’s thinking about music with his philosophical development, his deep sense of cultural lamentation, and his development as a person and as a philosophical expositor. (shrink)

This article explains Wittgenstein's distinction between good, bad, and vacuous modern music which he introduced in a diary entry from January 27, 1931. I situate Wittgenstein's discussion in the context of Oswald Spengler's ideas concerning the decline of Western culture, which informed Wittgenstein's philosophical progress during his middle period, and I argue that the music theory of Heinrich Schenker, and Wittgenstein's critique thereof, served as an immediate link between Spengler's cultural pessimism and Wittgenstein's threefold distinction. I conclude that Wittgenstein's distinction (...) between bad and vacuous modern music is analogous to Schenker's distinction between the compositional fallacies of the progressive and the reactionary composers of his time. Concomitantly, Wittgenstein's philosophically problematic notion of good modern music transcended the conceptual framework of both Schenker and Spengler. In this context, I examine Wittgenstein's remarks on Gustav Mahler as well as his remark on the music of the future as monophony, which, I conclude, should be understood ultimately as an ellipsis of his much later view of musical meaning and intelligibility. (shrink)

Modernism has been a celebration of the present. Why does it need a legacy ? Why should that which was born in the spirit of rebellion perpetuate itself as tomorrow’s past? Modernism has been profoundly reflective of late nineteenth- and twentieth-century cultural values. Is that not enough? It is not that modernism has forgotten the past—an art that rebels against its past must understand its adversary—but rather that it asks us not to forget the present. The revolt of modernism was (...) made possible, if not inevitable, by the rediscovery of the past. In earlier, eras, when the past was less readily accessible, artists worked for their present with little thought about their heritage. Renaissance composers, for example, generally knew little of music even two generations old; much medieval music theory and composition were based on misconceptions of Greek models. Yet by the nineteenth century, works from the past were available and understood. Virtually all composers agreed with Johannes Brahms, who reputedly said of Ludwig van Beethoven, “You have no idea how the likes of us feel when we hear the tramp of a giant like him behind us.” Historical consciousness had entered the arts, and artists were both threatened by competition with the past and seduced by the powerful idea that their works might outlive them. The Romantic artist became a genius speaking to posterity. Gustav Mahler was not the only Romanticist to pin his hopes on the future: “My time will yet come.” Small wonder that, once the future came to be, its artists rebelled against pronouncements from their past—the time rightfully belonged to them and no longer to Mahler’s generation. While many twentieth-century artists continued to create for their future, the most extreme modernists rejected not only their past but also the quest for immortality. They have written of their day and for their day. The real legacy of modernism is that it has no legacy. Jonathan D. Kramer is professor of music theory and composition at the College-Conservatory of Music at the University of Cincinnati and also program annotator and new music advisor of the Cincinnati Symphony Orchestra. He is currently working on Time and the Meanings of Music . His previous contribution to Critical Inquiry, “New Temporalities in Music,” appeared in Spring 1981. (shrink)

Metaphors of nature and organism play a central role in the epistemes of the Western culture and arts. The entire project of the 'modern' meant a separation of man from the cosmos and its laws. Signs and symbols are thought to be arbitrary and conventional social constructions. However, there are many returns to iconic imitations of nature and biological principles also in such an esoteric art as music. One of the highest aesthetic categories in Western art music is the so-called (...) 'organic growth' which particularly manifests in symphony. The concepts of 'organic/inorganic' can be used as analytic terms, whereby one might even compare such composers as Jean Sibelius and Gustav Mahler. Music is said to be 'organic' when (I) its theme actors live in their proper Umwelt (or isotopy); (2) all music material stems from the same themes (it is innerly iconic); (3) all musical events follow each other coherently (inner indexicality or the principle of Growth); (4) music strives for some goal (temporality). Moreover the Ueküll idea of a particular lch-Ton of every organism can be turned back to music. Hence we can say that every musical piece is like an 'organism' which has its lch-Ton detennining which signs it accepts and how it acts in the musical environmentof its own and formed by other musical works. (shrink)

Sguardo d'insieme -- Armonia delle sfere celesti : Hildegard von Bingen, symphonia -- Il tempo di Dio : Johann Sebastian Bach, Cantata Gottes Zeit -- Trasmutazioni : Wolfgang Amadeus Mozart, Die Zauberflöte -- "Questo bacio vada al mondo intero" : Ludwig van Beethoven, An die Freude -- Viaggio d'inverno : Franz Schubert, Winterreise -- Inni all notte : Richard Wagner, Tristan und Isolde -- L'ultimo rito : Richard Wagner, Parsifal -- Azzurre solitudini : Gustav Mahler, Terza sinfonia -- Universi (...) sonori : Gustav Mahler, Ottava sinfonia -- Orizzonti perduti : Gustav Mahler, Das Lied von der Erde -- Labirinti : Richard Strauss, Also sprach Zarathustra -- Cortei di ombre : Richard Strauss, Metamorphosen -- La terza via : Omaggio a Francesco d'Avalos. (shrink)

This book provides the first in-depth exploration of the importance of music for Ludwig Wittgenstein’s life and work. Wittgenstein’s remarks on music are essential for understanding his philosophy: they are on the nature of musical understanding, the relation of music to language, the concepts of representation and expression, on melody, irony and aspect-perception, and, on the great composers belonging to the Austrian-German tradition. Biography and philosophy, this work suggests that Wittgenstein was a composer of philosophy who used the musical form (...) as a blueprint for his own writing and thought. For Wittgenstein music is not alone, but connects and resonates with our cultural forms of life. His relation to composers, especially to Richard Wagner and Gustav Mahler, enables Wittgenstein to address the question of how to do philosophy and compose music in the breakdown of tradition. Unlike his conservative musical sensibility, Wittgenstein’s philosophy is open to musical experiments. Reflecting on his remarks on music makes it possible to compare the therapeutic aim of his philosophical activity with that of music, and thus notice affinities between Wittgenstein and John Cage. Béla Szabados has a Ph.D. in philosophy from the University of Calgary and is professor of philosophy at the University of Regina. His publications include Wittgenstein Reads Weininger (2004), Wittgenstein at the Movies (2011) and Wittgenstein on Race, Gender, and Cultural Identity: Philosophy as a Personal Endeavour (2010). (shrink)

Music to create a universe -- Theme, Part 1: the haunting melody -- Theme, Part 2: creativity -- Theme, Part 3: Freud and Mahler -- Coda -- Interlude -- Tender is the night -- Interlude -- Ingmar Bergman's persona -- Coda: Saraband -- Music and alchemy : Beethoven -- Gallery of the soul : Munch, Kahlo, Rivera -- To the lighthouse -- The fisher king and the handless maiden -- Prelude: the Alexandria quartet -- The Alexandria quartet -- Interlude: industrialization (...) as seen by Antonioni and Lawrence -- Gustav Mahler -- Epilogue -- The end of boundaries -- Georgia O'Keeffe: the touch of desire -- Music in film : introduction to chapters 14 & 15 -- The piano -- Tim winton's the riders -- Maeterlinck, Ibsen, Strindberg -- Pelleas and Melisande -- Finale: why I wrote this book. (shrink)

Georg Henrik von Wright was not only the first interpreter of Wittgenstein, who argued that Spengler’s work had reinforced and helped Wittgenstein to articulate his view of life, but also the first to consider seriously that Wittgenstein’s attitude to his times makes him unique among the great philosophers, that the philosophical problems which Wittgenstein was struggling, indeed his view of the nature of philosophy, were somehow connected with features of our culture or civilization. -/- In this paper I draw inspiration (...) and courage from Von Wright’s insistence that trying to understand Wittgenstein in relation to his times is a philosophic task in its own right in order to probe into a relatively obscure region in Wittgenstein’s thought: his relation to the music of his times. It is a topic, on which Von Wright, and most other prominent Wittgenstein scholars, have said very little, but it is also one, which Wittgenstein himself attested was so important to him that he felt without it he was sure to be misunderstood. -/- I offer textual and historical evidence in support of my claim that, parallel to Wittgenstein’s exposure to Spengler’s Decline of the West in 1930, he was also introduced to the music theory of Heinrich Schenker, which helped him to articulate, partly by way of critique, a complex and unique position concerning the modern music of his times, which exhibits his rejection of what Von Wright later dubbed ‘the myth of progress’. As Von Wright observed in other regions of Wittgenstein’s work, he believed also with regards to the arts and to music in particular, neither in a brilliant future nor in the good old days. -/- I argue that Wittgenstein actually made a distinction between three kinds of modern music: (a) bad modern music, which is clearly a case of confusing means for ends, the hallmark of the myth of progress, as Von Wright observed; (b) vacuous modern music, which embodies some sort of diffidence, a difficulty to see through the omnipresence of what Von Wright called (following Habermas) a ‘colonialization’ of reified measures of progress; (c) good modern music, a paradoxical notion for Wittgenstein, which betokens the unlikely yet possible striving to penetrate through what appears as dissolution of the resemblances which unite this culture’s ways of life by rendering this condition as expressible and intransitively understandable. In the context of this third category, I offer an interpretation of Wittgenstein’s complex remarks on the music of Gustav Mahler, which palpably show that the problem of good modern music and the problem of philosophizing in the time of civilization were one and the same in Wittgenstein’s mind. -/- I conclude that, with regards to Von Wright’s own critical view of the modern myth of progress, we can learn from Wittgenstein that progress in the realm of art is closely aligned with the ideal of the perfection of man, yet transcending a social or political context. It is the ideal of cultural cohesion: affinity that the arts show to other human practices and cultural artifacts of its period. Wittgenstein’s tentative notion of good modern music (and its circumscription by his notion of the music of the future) may show its true colors when viewed in the context of Von Wright’s plea not to abandon work for progress as a critical task. (shrink)

Theodor W. Adorno claims that a philosophy that tried to imitate art would defeat itself, yet he seems to have based his own model for philosophical interpretation, which he compares to changing constellations, on Gustav Mahler’s musical montage (the first Ländler from the second movement of the Ninth Symphony.) The paper first examines two aspects of montage that Adorno mentions in his reading of the Ländler: (1) its reified working material and (2) its combinatory procedure. Next, these aspects are (...) located within the interpretive model advanced in the inaugural lecture of 1931. The latter part of the paper makes a case for the philosophically binding force of constellations by drawing on the concepts of aesthetic semblance [ästhetischer Schein] and praxis. (shrink)

Theodor W. Adorno claims that a philosophy that tried to imitate art would defeat itself, yet he seems to have based his own model for philosophical interpretation, which he compares to changing constellations, on Gustav Mahler’s musical montage The paper first examines two aspects of montage that Adorno mentions in his reading of the Ländler: its reified working material and its combinatory procedure. Next, these aspects are located within the interpretive model advanced in the inaugural lecture of 1931. The (...) latter part of the paper makes a case for the philosophically binding force of constellations by drawing on the concepts of aesthetic semblance [ästhetischer Schein] and praxis. (shrink)

Einleitung. Auftakt ; Welt, Anschauung, Weltanschauung : Begriffshorizonte für Musik ; Weltanschauung und Kunst ; Der Begriff "Weltanschauung" ; Zur Konzeption des Buches : Ästhetisch-kulturelle Inbilder der Moderne ; Ästhetische und gesellschaftlische Moderne -- Gemeinschaft. Eine Idee und ihre Korruption : zur Einführung ; Das Finale von Beethovens neunter Symphonie -- Bildung. Anagogische Formationen : zur Einführung ; Symphonische Mythen bei Franz Liszt ; Musiklyrische Schicksalsformen bei Johannes Brahms -- Religion. Religion, Nation, Kunst : zur Einführung ; Geistliche Weltanschauungmusik von (...) Bach, Mendelssohn Bartholdy und Brahms ; Konfessionelle Markierungen bei Max Reger ; Verheißung und Erlösung im Bühnenweihfestspiel Parsifal -- Heldentum. Im Ausgang von der Eroica : zur Einführung ; Totenfeier und Gedächtniskultur bei Wagner und Mahler ; Diskursnormen bei Richard Strauss und Max Reger ; Kommunismus gegen Nationalsozialismus : Ideologien im Kampf um Deutschland -- Liebe. Destruktion und Kosmogonie : zur Einführung ; Frau Minne in Wagners Tristan und Isolde ; Lyric-Energien bei Schönberg und Zemlinsky ; Schöpfung aus Liebe : Gustav Mahlers Faust-Komposition in der Achten Symphonie -- Allnatur. Von "Natur" bis "All" : zur Einführung ; Nietzsche-Spiegelungen mit Delius, Strauss und Mahler ; Der Atem des Monismus bei Schönberg und Webern ; Der Gesang der Planeten in Kosmos-Musik Langgaards und Hindemiths. (shrink)

_Psychological Types_ is one of Jung's most important and most famous works. First published by Routledge in the early 1920s it appeared after Jung's so-called fallow period, during which he published little, and it is perhaps the first significant book to appear after his own confrontation with the unconscious. It is the book that introduced the world to the terms 'extravert' and 'introvert'. Though very much associated with the unconscious, in _Psychological Types_ Jung shows himself to be a supreme theorist (...) of the conscious. In putting forward his system of psychological types Jung provides a means for understanding ourselves and the world around us: our different patterns of behaviour, our relationships, marriage, national and international conflict, organizational functioning. Appearing in paperback for the first time this central volume from Jung's Collected Works will be essential to anyone requiring a proper understanding of Jung's psychology. (shrink)

In 'Arbeit am Kanon', Italian musicologist Federico Celestini and German philosopher Andreas Dorschel discuss aesthetic issues in the work of composers Joseph Haydn, Franz Schubert, Johannes Brahms, Anton Bruckner, Hugo Wolf, Gustav Mahler, Anton Webern, and Franz Schreker.

To explain the phenomena in the world of our experience, to answer the question “why?” rather than only the question “what?”, is one of the foremost objectives of all rational inquiry; and especially, scientific research in its various branches strives to go beyond a mere description of its subject matter by providing an explanation of the phenomena it investigates. While there is rather general agreement about this chief objective of science, there exists considerable difference of opinion as to the function (...) and the essential characteristics of scientific explanation. In the present essay, an attempt will be made to shed some light on these issues by means of an elementary survey of the basic pattern of scientific explanation and a subsequent more rigorous analysis of the concept of law and of the logical structure of explanatory arguments. (shrink)

_Aion_ is one of a number of major works that Jung wrote during his seventies that were concerned with the relations between psychology, alchemy and religion. He is particularly concerned in this volume with the rise of Christianity and with the figure of Christ. He explores how Christianity came about when it did, the importance of the figure of Christ and the identification of the figure of Christ with the archetype of the Self. A matter of special importance to Jung (...) in his seventies - the problem of opposites, particularly good and evil - is further discussed and the importance of the symbolism of the fish, which recurs as a symbol of both Christ and the devil, is examined. As a study of the archetype of the self, _Aion_ complements _The Archetypes and the Collective Unconscious_, which is also published in paperback. (shrink)

Extracted from Volumes 10, 11, 13, and 18. Includes Commentary on The Secret of the Golden Flower, Psychological Commentary on The Tibetan Book of the Dead and The Tibetan Book of the Great Liberation, Foreword to Suzuki's Introduction to Zen Buddhism, and Foreword to the I Ching.

The classic logical positivist account of historical explanation, putting forward what is variously called the "regularity interpretation" (#Gardiner, The Nature of Historical Explanation), the "covering law model" (#Dray, Laws and Explanation in History), or the "deductive model" (Michael #Scriven, "Truisms as Grounds for Historical Explanations"). See also #Danto, Narration and Knowledge, for further criticisms of the model. Hempel formalizes historical explanation as involving (a) statements of determining (initial and boundary) conditions for the event to be explained, and (b) statements of (...) general laws that imply that whenever events of the kind described in (a) occur, an event of the kind to be explained will take place. He admits that in practice historians rarely explain historical events in this way, but instead give only fragmentary "explanation sketches." Such sketches can, however, be "scientifically acceptable," providing it points to where "more specific statements" are to be found (351). An interesting aspect of the article is its "late" positivist, proto‑Kuhnian assertion that "the separation of 'pure description' and 'hypothetical generalization and theory construction' in empirical science is unwarranted" (356). But Hempel does not work out the wider implications of this important conclusion. It is also worth noting that he himself was not much interested in the philosophy of history; other authors took up his model and discussed it within that context. Usefully discussed by #Ricoeur, Time and Narrative, 1:112‑17. (shrink)

Editor James Fetzer presents an analytical and historical introduction and a comprehensive bibliography together with selections of many of Carl G. Hempel's most important studies to give students and scholars an ideal opportunity to appreciate the enduring contributions of one of the most influential philosophers of science of the 20th century.

Written three years before his death, The Undiscovered Self combines acuity with concision in masterly fashion and is Jung at his very best. Offering clear and crisp insights into some of his major theories, such as the duality of human nature, the unconscious, human instinct and spirituality, Jung warns against the threats of totalitarianism and political and social propaganda to the free-thinking individual. As timely now as when it was first written, Jung's vision is a salutary reminder of why we (...) should not become passive members of the herd. With a new foreword by Sonu Shamdasani. (shrink)

Over the centuries, magicians have developed extensive knowledge about the manipulation of the human mind—knowledge that has been largely ignored by psychology. It has recently been argued that this knowledge could help improve our understanding of human cognition and consciousness. But how might this be done? And how much could it ultimately contribute to the exploration of the human mind? We propose here a framework outlining how knowledge about magic can be used to help us understand the human mind. Various (...) approaches—both old and new—are surveyed, in terms of four different levels. The first focuses on the methods in magic, using these to suggest new approaches to existing issues in psychology. The second focuses on the effects that magic can produce, such as the sense of wonder induced by seeing an apparently impossible event. Third is the consideration of magic tricks—methods and effects together—as phenomena of scientific interest in their own right. Finally, there is the organization of knowledge about magic into an informative whole, including the possibility of a science centered around the experience of wonder. (shrink)

The relation between Kant’s conception of modalities in the Postulates of Empirical Thought and Hegel’s conception in the Logic of Essence has not been addressed in the current scholarship. I argue that there is in fact a close connection that becomes visible if the desideratum which is implied by Kant’s conceptions is understood. Thus, after an analysis of the Kantian modal postulates, the article shows that they are sufficient to characterize the necessity of Kant’s Grundsätze and, hence, a specific form (...) of synthetic propositions a priori. However, I will prove that they are insufficient to characterize Kant’s synthetic propositions a priori about transcendental philosophy. This insufficiency in the characterization of transcendental philosophy itself brings into the arena Hegel, who supplements the Kantian modalities with a self-reflexive form of transcendental modality. (shrink)

BackgroundWhen rationing health care, a commonly held view among ethicists is that there is no ethical difference between withdrawing or withholding medical treatments. In reality, this view does not generally seem to be supported by practicians nor in legislation practices, by for example adding a ‘grandfather clause’ when rejecting a new treatment for lacking cost-effectiveness. Due to this discrepancy, our objective was to explore physicians’ and patient organization representatives’ experiences- and perceptions of withdrawing and withholding treatments in rationing situations of (...) relative scarcity.MethodsFourteen semi-structured interviews were conducted in Sweden with physicians and patient organization representatives, thematic analysis was used.ResultsParticipants commonly express internally inconsistent views regarding if withdrawing or withholding medical treatments should be deemed as ethically equivalent. Participants express that in terms of patients’ need for treatment withholding and withdrawing should be deemed ethically equivalent. However, in terms of prognostic differences, and the patient-physician relation and communication, there is a clear discrepancy which carry a moral significance and ultimately makes withdrawing psychologically difficult for both physicians and patients, and politically difficult for policy makers.ConclusionsWe conclude that the distinction between withdrawing and withholding treatment as unified concepts is a simplification of a more complex situation, where different factors related differently to these two concepts. Following this, possible policy solutions are discussed for how to resolve this experienced moral difference by practitioners and ease withdrawing treatments due to health care rationing. Such solutions could be to have agreements between the physician and patient about potential future treatment withdrawals, to evaluate the treatment’s effect, and to provide guidelines on a national level. (shrink)

Compassion collapse is a phenomenon where feelings and helping behavior decrease as the number of needy increases. But what are the underlying mechanisms for compassion collapse? Previous research has attempted to pit two explanations: Limitations of the feeling system vs. motivated down-regulation of emotion, against each other. In this article, we critically reexamine a previous study comparing these two accounts published in 2011 and present new data that contest motivated down-regulation of emotion as the primary explanation for compassion collapse.