Einfühlung (German, ‘feeling into’), empathy. In contrast to sympathy, where one’s identity is preserved in feeling with or for the other, in empathy or Einfühlung one tends to lose oneself in the other. The concept of Einfühlung received its classical formulation in the work of Theodor Lipps, who characterized it as a process of involuntary, inner imitation whereby a subject identifies through feeling with the movement of another body, whether it be the real leap of a dancer or the illusory upward lift of an architectural column. Complete empathy is considered to be aesthetic, providing a non-representational access to beauty. Husserl used a phenomenologically purified concept of Einfühlung to account for the way the self directly recognizes the other. Husserl’s student Edith Stein described Einfühlung as a blind mode of knowledge that reaches the experience of the other without possessing it. Einfühlung is not to be equated with Verstehen or human understanding, which, as Dilthey pointed out, requires the use of all one’s mental powers, and cannot be reduced to a mere mode of feeling. To understand is not to apprehend something empathetically as the projected locus of an actual experience, but to apperceive the meaning of expressions of experience in relation to their context. Whereas understanding is reflective, empathy is prereflective. See also DILTHEY, HUSSERL , VERSTEHE. R.A.M.