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

By Thomas Strychacz

In Dangerous Masculinities, Thomas Strychacz has as his objective not anything below to show scholarship on gender and modernism on its head. He specializes in the best way a few early twentieth-century writers painting masculinity as theatrical functionality, and examines why students have commonly ignored that fact.
Strychacz argues that writers akin to Conrad, Hemingway, and Lawrence--often considered as misogynist--actually represented masculinity of their works by way of theatrical and rhetorical performances. they're theatrical within the feel that male characters continue staging themselves in aggressive screens; rhetorical within the feel that those characters, and the very narrative type of the works during which they seem, render masculinity a type of persuasive argument readers can and will debate.
Perhaps finest is Strychacz's rivalry that scholarship has obscured the truth that frequently those writers have been relatively serious 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 serious approach with which to discover the ways that students gender texts via the very act of examining.

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Extra resources for Dangerous Masculinities: Conrad, Hemingway, and Lawrence

Sample text

Given the way in which discourses of authentic manhood have been used to push some men toward the margins, it makes sense for Boone to be wary of the category of authenticity. Yet it would still seem possible for some men to claim a more authentic, or more “authentic,” or more “authentic” voice and status. Perhaps it is unfair to cavil: the essay in its irresolution deliberately defers questions such as the ones above. Boone sets out to be provocative and confessedly utopian, not prescriptive. That is appropriate for a field in the early stages of genesis; and appropriate to Boone’s own consistently acute sense of the pressures of professionalism as they interlock with the study of gender issues, for the process of establishing a professional identity can “tempt us to ‘pass’ as ‘men’ rather than ‘me(n)’” (24).

Nor does she need to: her complex language and jargon (“differently located women,” “category of oppression”), and her extensive knowledge of pertinent research, denote the presence of a group of scholars who already understand the terms of the debate, and who, in exercising their privileged right to speak, demonstrate how “differently located” they are. Lurie’s expert knowledge is the condition of her being able to interrogate the turn to esotericism of others; and her challenge operates within the structure of professional discourse not to close down, but to generate, new avenues of research.

Its effectiveness does not depend on the agreement it might find among most people in the United States. ’ All scholars know that the ‘truth’ of any scholarly argument exists to be debated, and usually contested. That is demonstrably true of contemporary gender studies. Indeed, it is precisely the ‘truth’ of the commonsensical way of thinking about essential gender differences that the poststructuralist critique of full (gendered) identity is designed to contest. The evidence of the last twenty years of debate in feminist studies suggests that logic and fact can never conclusively establish the ‘truth’ of these positions; they simply cannot be reconciled, though the differences between them will keep on being elaborated in new ways.

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