Download e-book for iPad: Dangerous Masculinities: Conrad, Hemingway, and Lawrence by Thomas Strychacz

By Thomas Strychacz

ISBN-10: 0813031613

ISBN-13: 9780813031613

In Dangerous Masculinities, Thomas Strychacz has as his target not anything below to show scholarship on gender and modernism on its head. He specializes in the way in which a few early twentieth-century writers painting masculinity as theatrical functionality, and examines why students have mostly missed that fact.
 
Strychacz argues that writers similar to Conrad, Hemingway, and Lawrence--often considered as misogynist--actually represented masculinity of their works when it comes to theatrical and rhetorical performances. they're theatrical within the experience that male characters continue staging themselves in aggressive monitors; rhetorical within the feel that those characters, and the very narrative type of the works during which they seem, render masculinity one of those persuasive argument readers can and will debate.
 
Perhaps best is Strychacz's rivalry that scholarship has obscured the truth that frequently those writers have been rather severe of masculinity. Writing with a readability and scope that enables him to either invoke the Schwarzeneggarian "girly guy" and borrow from the theories of Judith Butler and Bertolt Brecht, he models a severe strategy with which to discover the ways that students gender texts via the very act of examining.

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Additional info for Dangerous Masculinities: Conrad, Hemingway, and Lawrence

Sample text

These doubts about whether (white heterosexual) male privilege can be parlayed into any truly critical standpoint contribute toward the larger question—really, an intense and continuing controversy—of what role, if any, male scholars have to play in feminism and gender studies more generally. 27 As we shall see in the next section, the question is still very much alive as men keep rethinking their relationship to feminism, to gender studies, and to their own political and professional experiences.

Writing as a potentially unwelcome guest at the margins of feminist discourse, where, to some degree always alienated, he must keep interrogating the principles that grant him scholarly credibility, Boone allows his formulations to reveal the rhetorical principles at work in the construction of his discourse. Like Kimmel and Kaufman, Boone is very alert to the gender politics of speaking as a male professional in late- twentieth-century academic institutions. Yet none of these writers shows the same acuity on the issue of being a male professional: someone whose right to speak, whose very authority as an inquirer, depends on observing discursive protocols that govern every moment of the analysis, and which make a profound difference to how we understand the claims on truth that eventuate.

On that basis American manhood can be diagnosed (it is suffering from a flight from femininity) and an antidote prescribed (American men should move toward a holistic accommodation of feminism and ‘feminine’ values). But what if one argued that the United States contains multitudinous and contradictory definitions of manhood—of which the Men’s Movement is merely one, the New Men’s Studies another—and that a worthy political goal and interpretive strategy is to encourage men to revel in a potential freeplay of self-definition rather than trying to resolve the form true manhood might take?

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Dangerous Masculinities: Conrad, Hemingway, and Lawrence by Thomas Strychacz


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