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What is the political significance of difference? Why are ethnic, racial, or religious differences frequently politically significant while differences in height, hair color, or weight are not? Why are linguistic differences sometimes relevant politically, and other times are not salient? What about age? Gender or sexual preferences? What fosters tolerance of differences judged ethically and politically salient? What encourages respect for these differences, leading some of us to reach out across divides that isolate others? These questions take on a poignant immediacy with reports of continuing prejudice and discrimination; ongoing ethnic, religious, and sectarian violence—even genocidal activities and war; and increasing polarization over issues of race, religion, and ethnicity, at home and abroad. They are questions students need to consider as they go out into a world where they will meet new people, from diverse cultures, religions, and ethnicities. How can we best prepare them for this?

"This book analyzes the impact that large socio-economic inequalities have on how we relate to each other emotionally and intellectually. How, the question is, could these inequalities not influence the goods we aspire to or the content of what we imagine to be (or what could be) the case? How could they not influence our capacity to empathize with those who are either higher or lower on the socio-economic ladder? The book thus sets itself the task of proving that the impact of inequality reaches far beyond measurable differences of income or capital. Inequalities have emotional impacts and influence our aspirational, imaginative, and empathic capacities. Further, the study suggests that feelings do not just passively register given inequalities but serve themselves as engines of social differentiation."

Abstract: The quantitative study examined diversity training and police service differences on levels of ethnocultural empathy among Florida's public university campus police officers. Enrollment in Florida's public universities has increased markedly along all social, cultural, and racial lines during the last decade (State University System of Florida [SUS], 2017). As such, campus police officers must interact more routinely with members of various minority groups. Relationships between police officers and minority members have long been strained by a myriad of social, political, and economic issues (Clayton, 2018). As a result, campus police officers must maintain cultural competence to promote positive relationships within these diverse campus communities (Moule, 2012). The researcher used the model of ethnocultural empathy (MEE) as a conceptual lens to examine the topic (Wang et al., 2003), along with the Scale of Ethnocultural Empathy (SEE) to collect data relating to ethnocultural empathy levels (Wang et al., 2003) among a small sample (n = 37) of police officers from five public universities in Florida. Ethnocultural empathy is the model's singular concept. Statistical testing compared group differences using independent samples t-tests. The results identified a statistically significant difference relating to an ancillary factor but not in relation to diversity training or police service. The conclusions drawn from the study infer heightened supervisor interest in diversity training development, demographic underrepresentation in Florida's campus police departments, and the need to standardize diversity training curriculum for campus police officers in Florida. The study has implications for researchers, campus police administrators, police trainers, and campus stakeholders. ; by Stefan Wayne Vaughn. ; College of Education and Professional Studies; Department of Educational Research and Administration ; Dissertation (Ed.D.) University of West Florida 2018 ; Includes bibliographical references. ; Also available in print.

The purpose of the article is to identify the features of kinesthetic empathy in the context of the specifics of dance partnership in modern dance. Research methodology. The method of cognitive and systems analysis was used (to highlight the basic essential characteristics of kinesthetic empathy and its manifestation in modern dance); comparative method (to identify the features of dance partnership in modern dance); method of theoretical generalization (to formulate research conclusions). Scientific novelty. Kinesthetic empathy in modern dance has been studied through the prism of dance partnership; the concepts of "kinesthetics", "empathy" and "kinesthetic empathy" in the context of the specifics of dance art are specified; the development of the kinesthetic-empathic approach in modern dance in retrospect is considered; the peculiarities of the manifestation of kinesthetic empathy in the process of partnership interaction are analyzed. Conclusions. The act of modern dance is a unique pattern of conscious movements in space-time, and a dancer endowed with the ability to go beyond it can cause a local experience in himself and his partner in kinesthetic communication. Contemplating the body of a partner in motion, he sees a possible move that can be made by his own body. The study found that the nature of relationships represents kinesthetic empathy in the dance partnership of modern dance, the specifics of physical performance parameters, external form of the existence and is based on three main aspects: contact (direct physical, emotional, visual, etc.); coherence of actions; mutual understanding (manifested both in functional technical characteristics, from the coincidence of rhythm, consistency of steps to visual consistency, and in the ethics of contact). Considering the partnership between dancers as a rhetorical act based on a particular type of nonverbal confidence between two (or more) people who move together physically and/or energetically (according to F. Adrin) and includes time, balance, strength, body shape, and personality, united in movement (according to K. Lowe), we can state that the concept of kinesthetic empathy in the context of the specifics of partnership in modern dance is manifested as an empirical interaction between performers, embodying aspects of their movements. This unique interaction is positioned as a sensory experience facilitated by the emotional component, memory, and imagination of the dancers - aspects of emotions and memory become ways to kinesthetically enhance their interaction. Dancers create motor images that combine positions of movement, so their partners can kinesthetically experience the dynamics of movement sequences, and thanks to the kinesthetic imagination, they "connect" to the energy and rhythms of the partner's movements.
Key words: kinesthetic empathy, kinesthetic imagination, dancers, partners, improvisation, movements.

When Barack Obama nominated Sonia Sotomayor to the US Supreme Court, his comments that a judge should have "the heart, the empathy, to recognize what it's like to be a young teenage mom, the empathy to understand what it's like to be poor or African-American or gay, disabled, or old" caused a furor. Objective, reasoned, and impartial judgment were to be replaced by partiality, sentiment, and bias, critics feared. This concern about empathy has since been voiced not just by conservative critics, but by academics and public figures. In The Space Between Heidi Maibom combines results from philosophy, psychology, and neuroscience to show how empathy really works and how, rather than making us biased, it makes us more impartial and more objective.

"From the creator of @Drawings of Dogs comes this illustrated examination of empathy and the necessity of being kinder. Building on his academic studies in metaethics and using his signature animal cartoons, the author explores the sources and the limitations of human empathy and the many ways that we can work toward being our best selves for the people around us and the society we need to build"--

Abstract
Multifaith engagement must be motivated by ethics, sustained by ethics, and constructive of ethics. Written from the perspective of Christian ethics, this article locates empathy at the core of the ethics of building meaningful inter-religious relationships and activities. It draws on the life and work of Christian theologian Dietrich Bonhoeffer to illustrate the transformative role of empathy in constructing moral courage and action.

In the history of aesthetics the problem of art creativity long time hasn't realized by the greater part of researchers in total of all its structural elements. It formed a rather paradoxical situation, because definition of aesthetics is always a part of it, such as art and – simultaneously – the issue is no science that reveals the essence of the person who creates the art. The purpose of this article is to study empathy as a special manifestation of human sensibility in the process flow of the creative act that reveals the essence of the artist's creative activity, developed sensuality is transformed into a work of art. Methodological and theoretical basis of the study was a combination of systemic, structural-functional and hermeneutic approaches; psychological and philosophical concepts of empathy problems and theoretical analysis of foreign and domestic literature in the field of philosophy, aesthetics, psychology. The scientific novelty of the research results is determined by the subject of study. The problem of art itself is in the field of modern aesthetic science, but in the context of its consideration of empathy reveals new theoretical aspects that deepen the level of processing and correcting the problem. Conclusions. Empathy, being a particular manifestation of human sensibility, is a necessary condition for creativity. After analyzing the nature of human creativity we came to the conclusion that the basis of the embodiment of sensibility of the artist in a work of art is a process of empathy. It is noted that the method of empathy is one of heuristic methods of creative activity, which is based on a process of empathy, i.e. identification of the object and the subject of creativity, "use", and creator inherent in any field of activity and is widely used in solving problems of art.