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By exploring the concept of the "tender gaze" in German film,
theater, and literature, this volume's contributors illustrate how
perspective-taking in works of art fosters empathy and prosocial
behaviors. The gaze, understood as a way of looking at others that
involves contemplation and the operation of power, has an extensive
history of iterations such as the male gaze (Mulvey), the
oppositional gaze (hooks), and the postcolonial gaze (Said). This
essay collection develops a supplemental theory of what Muriel
Cormican has coined the "tender gaze" and traces its occurrence in
German film, theater, and literature. More than qualifying the
primarily voyeuristic, narcissistic, and sexist impetus of the male
gaze, the tender gaze also allows for a differentiated
understanding of the role identification plays in reception, and it
highlights various means of eliciting a sociopolitical critique in
works of art. Emphasizing the humanizing potential of the tender
gaze, the contributors argue that far from simply exciting
emotional contagion, affect in art promotes an altruistic,
rational, and fundamentally ethical relationship to the other. The
tender gaze elucidates how perspective-taking operates in art to
foster empathy and prosocial behaviors. Though the contributors
identify instances of the tender gaze in artistic production since
the early nineteenth century, they focus on its pervasiveness in
contemporary works, corresponding to twenty-first-century concerns
with implicit bias and racism.
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