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- Fåhraeus, Anna, 1963
(författare)
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Black males and white masculinity in four Renaissance tragedies of blood
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this study is to look at how the black North African man is repre-sented in relation to white men in four Renaissance tragedies of blood: Shake-speare?s Titus Andronicus, the multi-authored Lust?s Dominion, William Rowley?s All?s Lost by Lust, and Thomas Rawlins? The Rebellion. While previous studies have traced the most common racist tropes in 16th and 17th century lit-erature, such as the demonization trope and the animality trope (e.g. Hall), and the historical presence of modern stereotypes of the black man (Jones, Barthelemy, Tokson), they have not looked at Renaissance discourses of white masculinity and their relationship to the construction of the black man. There-fore, the present study focuses on the articulation of the black man as a gendered concept, and specifically its racialized difference in relation to localized white masculinity. I argue that black masculinity is not its own discourse that is separate from white masculinity, but rather is fashioned using the same strategies that enabled white masculine self-fashioning in the sixteenth and seventeenth centuries, i.e. through the manipulation of discourses to enhance the self and discredit male enemies or rivals. I specifically look at four discourses that were important to the social perception and thus construction of white masculinity in the Renais-sance: relationships to women and the feminine, honour, sociality (humour), and ambition. What emerges as an overall feature in all four tragedies of blood is that there is not a polar distinction between black and white masculinity. My approach builds on Michel Foucault and the idea that discourses structure society and relationships of power. It is also indebted to Reinhardt Koselleck?s theory that concepts have a history, i.e. a contemporary polemic edge in Renaissance even as other meanings looked to the past, and others to the future. I argue that the difference in English tragedies of blood between the black men and the white men in the relationship to honour is temporal; that the distinction in vice and humour is a matter of attitude; and that black men have a blurred rather than distinct relationship to femininity. Racialization oc-curs through the discourse on blackness but also through everyday Renaissance discourses in historically contingent ways.
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- Fåhraeus, Anna, 1963-
(författare)
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Creating Racialized Objects of Horror : The Black Renaissance Villain
- 2009
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- It is accepted that the roots of modern horror go back through the literary Gothic to old English poetry (in e.g. “Beowulf”), the medieval Romance, and Renaissance drama. This paper will focus on the Renaissance, and in particular on the black villain. Aaron in Titus Andronicus, Eleazar in Lust’s Dominion, Mulymumen in All’s Lost by Lust, and Raymond in The Rebellion are four of the major black villains of the period. They have been studied from the perspective of modern understandings of racial stereotypes but not of racism as based in fear. This paper will deal with the black Renaissance villain and his relationship to the literary terms ‘horror’ and ‘terror’.In the modern art lexicon of horror, Noel Coward defines it as characterized by the existence of monsters that are both fearsome and impure, i.e. they are threatening and they violate sanctioned cultural categories in some way. From this point of view, the construction of black men as monsters becomes cognitively definable rather than simply a racial slur. A major focus will therefore be on how their threatening character as villains is gradually exposed as having connections to their blackness, a blackness which violates the expected color of human skin in an all-white society.This paper will also go back to Ann Radcliffe’s article “On the Supernatural in Poetry” from 1826 and thus to the beginnings of modern horror criticism. She argued that horror is specific and defined while terror is ambiguous and fostered in the imagination. This theoretical perspective makes it possible to see a clear pattern in the Renaissance plays and trace a clear transition from where the black villain is associated with terror in the play to the point where he becomes seen as both the source and main object of horror.
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- Fåhraeus, Anna, 1963-
(författare)
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Cultural Materialism in the Production and Distribution of Exploitative Lesbian Film : A Historical Case Study of Children of Loneliness (1935)
- 2020
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Ingår i: Nordic Journal of English Studies. - Göteborg : Göteborgs universitet. - 1502-7694 .- 1654-6970. ; 19:5, s. 121-154
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Tidskriftsartikel (refereegranskat)abstract
- Raymond Williams developed a vocabulary and framework for analyzing the ideological forces at work in literature and art, as objects, but also in terms of their production and distribution. This article looks back at his elaboration of cultural materialism and its relationship to film in Preface to Film (1954), written with Michael Orrin, as a way of understanding the media traces of the lost film Children of Loneliness (dir. Richard C. Kahn). The film was an early sex education about homosexuality and this article explores its connections to early exploitation films as a cinematic form, and the dominant and emergent discourses that were used to promote it, as a well as at structures of feeling that these discourses reflect.
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- Fåhraeus, Anna, 1963-
(författare)
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Fiction as a Means for Understanding the Dynamics of Empathy : A 3-year Empirical Study with Students
- 2020
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Ingår i: Educare. - Malmö : Malmö universitet. - 1653-1868 .- 2004-5190. ; :3, s. 46-76
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Tidskriftsartikel (refereegranskat)abstract
- The current study investigated whether the reflective reading of fiction can provide an experiential definition of empathy to supplement more traditional concept analyses. A secondary aim was to look at the rates of absorption (loss of time and space) relative to the rate of reported empathic engagement. Based on earlier studies on reading fiction as an engagement in a social simulation, it was predicted that because fiction is a controlled experience, reading and talking about fiction could provide a forum in which to examine actual experiences of empathy elicitation in relation to an evolving situation. A survey was conducted with 210 student participants over a three-year period. The results show that the empathetic response to narrative is affected in a variety of ways by the presence or absence of an initial sense of affinity and by cognitive input over time, that is, the changing perception of characters and the situations with which they are confronted. Adept readers are more likely to experience absorption, and those who experience absorption are more likely to be empathetically responsive to input and changes in a situation. Empathetic emotions and cognitive empathy can be experienced for multiple objects simultaneously in one situation and relate to past events and potential futures, but they also shift from object to object.
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- Fåhraeus, Anna, 1963-
(författare)
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Historicising Racialised Objects of Horror : The Black Renaissance Villain
- 2020
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Ingår i: Villains and Heroes, or Villains as Heroes?. - Oxford : Inter-Disciplinary Press. - 9789004399341 - 9781848881303 - 9004399348 - 1848881304 ; , s. 89-93
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Bokkapitel (refereegranskat)abstract
- This paper argues that black stereotypes are not ahistorical but rather should be studied in a longer historical perspective because the types change according to political and social contexts. It illustrates this by presenting the contrasts between the Renaissance black villain and its appropriation and adaptation in the Restoration period. © Inter-Disciplinary Press 2010.
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- Fåhraeus, Anna, 1963-
(författare)
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Litteraturvetenskap som demokratiprojekt
- 2018. - 1
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Ingår i: Samverkansformer. - Lund : Studentlitteratur AB. - 9789144121383 ; , s. 133-152
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Bokkapitel (refereegranskat)
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