Chapter 4 of this book is freely available as a downloadable Open Access PDF under a Creative Commons Attribution-Non Commercial-No Derivatives 4.0 license available at http://www.taylorfrancis.com/books/e/9780429431197 Focused on the emergence of US President Donald Trump, the United Kingdom's departure from the European Union, and the recruitment of Islamic State foreign fighters from Western Muslim communities, this book explores the ways in which the decay and corruption of key social institutions has created a vacuum of intellectual and moral guidance for working people and deprived them of hope and an upward social mobility long considered central to the social contract of Western liberal democracy. Examining the exploitation of this vacuum of leadership and opportunity by new demagogues, the author considers two important yet overlooked dimensions of this new populism: the mobilization of both religion and masculinity. By understanding religion as a dynamic social force that can be mobilized for purposes of social solidarity and by appreciating the sociological arguments that hyper-masculinity is caused by social injury, Roose considers how these key social factors have been particularly important in contributing to the emergence of the new demagogues and their followers. Roose identifies the challenges that this poses for Western liberal democracy and argues that states must look beyond identity politics and exclusively rights-based claims and, instead, consider classical conceptions of citizenship.

Finalist for the 2011 Gilder Lehrman Lincoln Prize "A seminal work. . . . One of the best examples of new, sophisticated scholarship on the social history of Civil War soldiers." -The Journal of Southern History "Will undoubtedly, and properly, be read as the latest word on the role of manhood in the internal dynamics of the Union army." -Journal of the Civil War Era During the Civil War, the Union army appeared cohesive enough to withstand four years of grueling war against the Confederates and to claim victory in 1865. But fractiousness bubbled below the surface of the North's presumably united front. Internal fissures were rife within the Union army: class divisions, regional antagonisms, ideological differences, and conflicting personalities all distracted the army from quelling the Southern rebellion. In this highly original contribution to Civil War and gender history, Lorien Foote reveals that these internal battles were fought against the backdrop of manhood. Clashing ideals of manliness produced myriad conflicts, as when educated, refined, and wealthy officers ("gentlemen") found themselves commanding a hard-drinking group of fighters ("roughs")-a dynamic that often resulted in violence and even death. Based on extensive research into heretofore ignored primary sources, The Gentlemen and the Roughs uncovers holes in our understanding of the men who fought the Civil War and the society that produced them.

This is an open access title available under the terms of a CC BY-NC-ND 3.0 International licence. It is free to read at Oxford Scholarship Online and offered as a free PDF download from OUP and selected open access locations. The relationship between men and the domestic in eighteenth-century Britain has been obscured by two well-established historiographical narratives. The first charts changes in domestic patriarchy, founded on political patriarchalism in the early modern period and transformed during the eighteenth century by new types of family relationship rooted in contract theory. The second describes the emergence of a new kind of domestic interior during the long eighteenth century, a 'home' infused with a new culture of 'domesticity' primarily associated with women and femininity. The Little Republic shifts the terms of these debates, rescuing the engagement of men with the house from obscurity, and better equipping historians to understand masculinity, the domestic environment, and domestic patriarchy. Karen Harvey explores how men represented and legitimized their domestic activities. She considers the relationship between discourses of masculinity and domesticity, and whether there was a particularly manly attitude to the domestic. In doing so, Harvey suggests that 'home' is too narrow a concept for an understanding of eighteenth-century domestic experience. Instead, focusing on the 'house' foregrounds a different domestic culture, one in which men and masculinity were central. Reconstructing men's experiences of the domestic as shaped by their own and others' beliefs, assumptions and expectations, Harvey argues for the continuation of a model of domestic patriarchy and also that effective domestic patriarchs remained important to late-eighteenth-century political theory. It was a discourse of 'oeconomy' - the practice of managing the economic and moral resources of the household for the maintenance of good order - that shaped men's attitudes towards and experiences in the house. Oeconomy combined day-to-day and global management of people and resources; it was a meaningful way of defining masculinity and established the house a key component of a manly identity that operated across the divide of 'inside' and 'outside' the house. Significantly for histories of the home which so often narrate a process of privatization and feminization, oeconomy brought together the home and the world, primarily through men's domestic management.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. In Hitchcock's Appetites, Casey McKittrick offers the first book-length study of the relationship between Hitchcock's body size and his cinema. Whereas most critics and biographers of the great director are content to consign his large figure and larger appetite to colorful anecdotes of his private life, McKittrick argues that our understanding of Hitchcock's films, his creative process, and his artistic mind are incomplete without considering his lived experience as a fat man. Using archival research of his publicity, script collaboration, and personal communications with his producers, in tandem with close textual readings of his films, feminist critique, and theories of embodiment, Hitchcock's Appetites produces a new and compelling profile of Hitchcock's creative life, and a fuller, more nuanced account of his auteurism.

In 1782, J. Hector St. John de Crevecoeur wrote, "What then, is the American, this new man? He is an American, who, leaving behind him all his ancient prejudices and manners, receives new ones from the new mode of life he has embraced." In casting aside their European mores, these pioneers, de Crevecoeur implied, were the very embodiment of a new culture, society, economy, and political system. But to what extent did manliness shape early America's character and institutions? And what roles did race, ethnicity, and class play in forming masculinity? Thomas A. Foster and his contributors grapple with these questions in New Men, showcasing how colonial and Revolutionary conditions gave rise to new standards of British American manliness. Focusing on Indian, African, and European masculinities in British America from earliest Jamestown through the Revolutionary era, and addressing such topics that range from slavery to philanthropy, and from satire to warfare, the essays in this anthology collectively demonstrate how the economic, political, social, cultural, and religious conditions of early America shaped and were shaped by ideals of masculinity. Contributors: Susan Abram, Tyler Boulware, Kathleen Brown, Trevor Burnard, Toby L. Ditz, Carolyn Eastman, Benjamin Irvin, Janet Moore Lindman, John Gilbert McCurdy, Mary Beth Norton, Ann Marie Plane, Jessica Choppin Roney, and Natalie A. Zacek.

The twenty-first century has seen the emergence of a new style of man: the metrosexual. Overwhelmingly straight, white, and wealthy, these impeccably coiffed urban professionals spend big money on everything from facials to pedicures, all part of a multi-billion-dollar male grooming industry. Yet as this innovative study reveals, even as the industry encourages men to invest more in their appearance, it still relies on women to do much of the work. Styling Masculinity investigates how men's beauty salons have persuaded their clientele to regard them as masculine spaces. To answer this question, sociologist Kristen Barber goes inside Adonis and The Executive, two upscale men's salons in Southern California. Conducting detailed observations and extensive interviews with both customers and employees, she shows how female salon workers not only perform the physical labor of snipping, tweezing, waxing, and exfoliating, but also perform the emotional labor of pampering their clients and pumping up their masculine egos. Letting salon employees tell their own stories, Barber not only documents occasions when these workers are objectified and demeaned, but also explores how their jobs allow for creativity and confer a degree of professional dignity. In the process, she traces the vast network of economic and social relations that undergird the burgeoning male beauty industry.

The 'Dandy' is not just an elaborately, well-dressed man - nor is he an exclusively English phenomenon. He is something far more universal and intriguing. The author captures the lives of the Dandies - some were aristocratic but most were not. All, however, had the chutzpah and style to be a true Dandy. Their stories are told against a backdrop of revolutions and war in the world's great cities (London, Paris, New York, Hollywood, Moscow, Berlin), and amid financial and sexual scandals. All too often Dandies lived in luxury but died in penury. The Dandy's place in history is assured. Not because Dandies have made any major contributions to politics, economics or warfare, but because they were, and continue to be, figures of huge but subtle significance - baffling, enigmatic, iconic.

In early-twentieth-century motion picture houses, offensive stereotypes of African Americans were as predictable as they were prevalent. Watermelon eating, chicken thievery, savages with uncontrollable appetites, Sambo and Zip Coon were all representations associated with African American people. Most of these caricatures were rendered by whites in blackface.

Few people realize that from 1915 through 1929 a number of African American film directors worked diligently to counter such racist definitions of black manhood found in films like D. W. Griffith's The Birth of a Nation, the 1915 epic that glorified the Ku Klux Klan. In the wake of the film's phenomenal success, African American filmmakers sought to defend and redefine black manhood through motion pictures.

Gerald Butters's comprehensive study of the African American cinematic vision in silent film concentrates on works largely ignored by most contemporary film scholars: African American-produced and -directed films and white independent productions of all-black features. Using these "race movies" to explore the construction of masculine identity and the use of race in popular culture, he separates cinematic myth from historical reality: the myth of the Euro American-controlled cinematic portrayal of black men versus the actual black male experience.

Through intense archival research, Butters reconstructs many lost films, expanding the discussion of race and representation beyond the debate about "good" and "bad" imagery to explore the construction of masculine identity and the use of race as device in the context of Western popular culture. He particularly examines the filmmaking of Oscar Micheaux, the most prolific and controversial of all African American silent film directors and creator of the recently rediscovered Within Our Gates-the legendary film that exposed a virtual litany of white abuses toward blacks.

"Black Manhood on the Silent Screen" is unique in that it takes contemporary and original film theory, applies it to the distinctive body of African American independent films in the silent era, and relates the meaning of these films to larger political, social, and intellectual events in American society. By showing how both white and black men have defined their own sense of manhood through cinema, it examines the intersection of race and gender in the movies and offers a deft interweaving of film theory, American history, and film history.

Increasing numbers of people in our culture, particularly middle-aged men, are finding that the things they worked for over the past two decades are simply not providing the fulfillment they originally expected from them. We are coming to realize that our homes, vehicles, jobs and possessions are not sufficient to stave off the crisis of meaning many of us find when life does not meet our expectations. Sojourn reminds us that life is often messy--complex and full of fear--just as it should be. Learning from the few wild places still available to us in our culture can provide us with the realization that a weighty life is a life on its way to an important integration of body, soul, heart, and spirit.