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Analyzing literary texts, plays, films and photographs within a
transatlantic framework, this volume explores the inseparable and
mutually influential relationship between different forms of
national identity in Great Britain and the United States and the
construction of masculinity in each country. The contributors take
up issues related to how certain kinds of nationally specific
masculine identifications are produced, how these change over time,
and how literature and other forms of cultural representation
eventually question and deconstruct their own myths of masculinity.
Focusing on the period from the end of World War II to the 1980s,
the essays each take up a topic with particular cultural and
historical resonance, whether it is hypermasculinity in early cold
war films; the articulation of male anxieties in plays by Arthur
Miller, David Mamet and Sam Shepard; the evolution of photographic
depictions of masculinity from the 1960s to the 1980s; or the
representations of masculinity in the fiction of American and
British writers such as Patricia Highsmith, Richard Yates, John
Braine, Martin Amis, Evan S. Connell, James Dickey, John Berger,
Philip Roth, Frank Chin, and Maxine Hong Kingston. The editors and
contributors make a case for the importance of understanding the
larger context for the emergence of more pluralistic, culturally
differentiated and ultimately transnational masculinities, arguing
that it is possible to conceptualize and emphasize difference and
commonality simultaneously.
Analyzing literary texts, plays, films and photographs within a
transatlantic framework, this volume explores the inseparable and
mutually influential relationship between different forms of
national identity in Great Britain and the United States and the
construction of masculinity in each country. The contributors take
up issues related to how certain kinds of nationally specific
masculine identifications are produced, how these change over time,
and how literature and other forms of cultural representation
eventually question and deconstruct their own myths of masculinity.
Focusing on the period from the end of World War II to the 1980s,
the essays each take up a topic with particular cultural and
historical resonance, whether it is hypermasculinity in early cold
war films; the articulation of male anxieties in plays by Arthur
Miller, David Mamet and Sam Shepard; the evolution of photographic
depictions of masculinity from the 1960s to the 1980s; or the
representations of masculinity in the fiction of American and
British writers such as Patricia Highsmith, Richard Yates, John
Braine, Martin Amis, Evan S. Connell, James Dickey, John Berger,
Philip Roth, Frank Chin, and Maxine Hong Kingston. The editors and
contributors make a case for the importance of understanding the
larger context for the emergence of more pluralistic, culturally
differentiated and ultimately transnational masculinities, arguing
that it is possible to conceptualize and emphasize difference and
commonality simultaneously.
This book takes both transgender and intersex positions into
account and asks about commonalities and strategic alliances in
terms of knowledge, theory, philosophy, art, and life experience.
It strikes a balance between works on literature, film,
photography, sports, law, and general theory, bringing together
humanistic and social science approaches. Horlacher adopts a
non-hierarchical perspective and asks how transgender and intersex
issues are conceptualized from a variety of different viewpoints
and to what extent artistic and creative discourses offer their own
uniquely relevant forms of knowledge and expression.
This book is about ways to understand masculinity as systemic and
corporeal, structural and performative all at once. It argues that
the tension between an understanding of "masculinity" in the
singular and "masculinities" in the plural poses a problem that can
better be understood in relation to a concomitant tension: between
systems on the one hand, and bodies on the other - between abstract
structures such as patriarchy, kinship or even language, and the
various concrete forms taken by gendered, individuated
corporeality. The contributions collected here investigate how
masculinities become apparent, how they take shape and what
systemic functions they have. What, they ask, are the relations
between the abstract and corporeal, metaphorical and metonymic
manifestations of masculinity? How are we to understand masculinity
as a simultaneously systemic and corporeal, performative concept?
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