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Some historical preliminaries -- Some conceptual preliminaries -- Empathy as simulation -- A priori and a posteriori empathy -- Re-enacting the thoughts of others -- Empathy and the emotions -- Empathy and ethics -- Empathy and aesthetics

"Early readers are introduced to a foundation of daily mindfulness practices in the My Mindful Day series. Empathy explores the importance of listening and building friendships.This engaging early approach to mindfulness helps readers develop word recognition and reading skills. Each book in this series includes a table of contents, glossary, index, and an author biography"--

Intro -- Table of Contents -- 1. What Is Empathy? -- 2. The Building Blocks of Empathy -- 3. Why Is Empathy Important? -- 4. Why Is Empathy So Difficult to Achieve? -- 5. Linking Interpersonal and Social Empathy -- 6. Tools for Measuring and Assessing Empathy -- Appendix A. Research and Statistical Analysis of the Relationship Between Interpersonal Empathy and Social Empathy -- Appendix B. Empathy Assessment Index -- Appendix C. Social Empathy Index -- Appendix D. Interpersonal and Social Empathy Index -- Appendix E. Spanish Translation of the Empathy Assessment Index, the Social Empathy Index, and the Interpersonal and Social Empathy Index, by David Becerra and María del Rosario Silva Arciniega -- References -- Index

The paper deals with the concept of empathy applied in the contemplative experiment to understand the suffering of the victims of the war in Ukraine. I discuss the concept of empathy in the phenomenological perspective and symbolic interactionists' view. I needed this discussion to frame the conclusions from the contemplative experiment I did with my students. I used the contemplative methods of research. The students did self-observations and self-reports on their lived experiences while observing photos of the victims and refugees from Ukraine. Breathing exercises (pranayama) were practiced between different self-observations to clean the minds and release tensions. At the end of the experiment, the students were also asked about the empathy deficit in contemporary society, and provided comments on it. Finally, I concluded how empathy is evoked and embodied, and I answered the question about whether it is possible to be empathetic toward people in a totally different and traumatic situation. I end with the statement that empathy is a direct reaction to the condition of the suffering of other people. However, it is also socially-framed. I conclude that it could be socially-developed to cope with an empathy deficit.

Gelare Khoshgozaran, a Los Angeles–based multidisciplinary artist, gave her initial performance of "UNdocumentary" as part of the welcome to what we took from is the state exhibition at Queens Museum in New York City. This performance entailed a reading, by the artist and audience members, of Khoshgozaran's original declaration of asylum to the US government. When this produced empathetic and, in Khoshgozaran's words, "depressed" reactions from the audience, Khoshgozaran altered the performance, rewriting the document to reflect how she understands her life trajectory, as opposed to what queer asylum seekers are expected to produce to become subjects of and legible to empire. The next iteration of the performance is a refusal of legibility and empathy for a life narrative she, in some ways, lived, but simultaneously did not identify with. This article argues that the revised performance of "UNdocumentary" interrupts heteronormative space and time, crafting a queer otherwise world where relationality is pushed out of the realm of identification, inviting a bond forged through opacity rather than the violence of transparency.

The essay stresses the potential value of empathy in designing strategies for resilience. We question the traditional idea of empathy as an individual skill addressed to understand the other, in support of a conceptualization closer to the phenomenological interpretation, focused on the relational dynamics at stake in human encounters. The paper reconsiders empathy as an experience valuable for strengthening a resilient attitude within collaborative projects. A case study will be featured, i.e. Design in The Middle, an ongoing project that gathers designers, architects and social activists from the Middle East/Euro-Med regions with the aim of generating design proposals to address challenges relevant to the Middle East. As participants come from very different cultural, political and religious backgrounds, their cooperation is a central and critical issue, which might benefit from contextual and relational "rules" enabling empathic experiences. In the context of the first Design in The Middle workshop (2017), some strategies have proven to be crucial in enabling effective communication over complex design issues. These strategies will be analysed according to a methodology developed in a previous research carried out by the author(s) (Devecchi, 2018) about the role of empathy in collaborative processes. Assuming that a resilient society preserves and supports cultural diversity, Design in the Middle stands as an example of collaborative design practice aimed at creating a more resilient future for these regions in which the coexistence of diverse cultural, religious and political positions is a substantial matter of concern.

AbstractEmpathy is an important building block for social interactions, that not only allows individuals experience and understand others' affective states, but also to helpfully respond to them. Although empathy can already be observed from infancy, only one questionnaire has been specifically developed to examine young children's empathy. This study translated and validated the original Dutch Empathy Questionnaire (EmQue) into Portuguese. A total of 250 caregivers of preschool typically developed children, aged between 3 and 6 years old, participated in this study. To assess the validation, a confirmatory factor analysis (CFA) was conducted, and internal consistency and concurrent validity were tested. The outcomes confirmed that the Portuguese version of the EmQue is also organized in a three‐factor structure (i.e., Emotion Contagion, Attention to Others' Feelings, and Prosocial Actions). The validation required the exclusion of five of the original items. The internal consistencies of the three EmQue scales for this Portuguese version were good. Associations between the three empathy scales with emotion recognition and prosocial behaviors were in accordance with previous research confirming concurrent validity. Divergent validity assessed through the association of the three empathy scales with aggression was partially confirmed.

"Due to its potential transformative nature, empathy has increasingly received attention in business, psychology, neuroscience, education, medicine, social sciences and design, to mention only a few. During the last two decades, discussions about the role of empathy in design and creative research and practice have developed, with empathy perceived as a key instrument in human-centred design and design thinking. This book revisits the powerful concept of empathy in the new post-pandemic era in which ubiquitous digitalisation presents challenges to retaining human-centredness when developing products and services. The book presents a practical four-step approach to the challenges presented concerning how organisations can turn from merely feeling empathy with or for people, to actions of empathy and compassion that can be implemented with and by communities. A wide range of organisations and organisational settings can benefit from the presented case studies and research methods. Through them, the book explores how to discover, share and act with empathy and compassion in the new digitally driven post-pandemic era to innovate across a wide range of organisations, including for-profit and not-for-profit businesses and those in the public and third sectors. This edited volume will appeal to global researchers in the fields of product and service design and digital, social innovation, as well those interested in organisational development. The practical, interdisciplinary nature of the book and innovative four-step approach will also appeal to upper-level students"--

This paper was accepted for publication in the journal New Formations and the definitive published version is available at https://doi.org/10.3898/NEWF:89/90.09.2016. ; This article questions the assumption that empathy is a positive, politically beneficial emotion through two examples of poetry about deaths with sensitive political dimensions. I begin by returning to the origins of 'empathy' in English, as written about by Vernon Lee in the earlytwentieth-century, to show how far the word has drifted from Lee's sense of it as an embodied aesthetic response to an artwork. Rob Halpern's book of poems Common Room refuses imaginative empathy with its subject, a dead Guantanamo Bay detainee, and yet, I show, surprisingly aligns with Lee's sense of empathy through the author's erotic and imaginative response to the man's autopsy report. What results in this revivification of Lee's empathy is a violation of the religious beliefs of the detainee. In contrast, Andrea Brady's poem 'Song for Florida 2' takes up a more contemporary sense of empathy in its focus upon the killing of the unarmed teen Trayvon Martin by George Zimmerman in 2012. Brady's poem presents several possibilities for empathising with Martin's mother - by imagining being her, or imagining similarly losing a son - but eventually draws back from this as a limit. Empathy here risks erasing the specificity of the racialized context which led to Martin's unjust death. The white poet's son cannot 'replace', even imaginatively, the black mother's son without effacing the difference which saw Martin targeted in the first place. Brady's poem, I argue, marks how empathy can violate through supplanting the grief and political context for that grief of the person to whom empathy is extended. What is needed instead of empathy is a commitment to political change.