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Relevant bibliographies by topics / Western masculinity

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Journal articles
Dissertations / Theses
Books
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Academic literature on the topic 'Western masculinity'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Western masculinity"

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Green, David. "What Men Want? Initial Thoughts on the Male Goddess Movement." Religion and Gender 2, no. 2 (February 19, 2012): 305–27. http://dx.doi.org/10.1163/18785417-00202007.

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This article examines the sociological dynamics of a number of contemporary Pagan men who venerate goddesses. Rejecting both mythopoetic and normative Western social constructions of masculinity, the Male Goddess Movement (MGM) equates social problems with traits usually associated with masculinity such as aggression and competitiveness. The MGM is built around the interiorization of the female antitype as a form of liberation from these dogmas of masculinity. In this respect ritual practice centred on Goddesses becomes of central importance to the performance of non-essentialized and enchanted forms of masculinity. This interiorization and ritualization has importance for both theory and practice. In sociological terms the MGM marks a new form of gendered religious practice which deliberately resists epistemological labels such as ‘modern’ or ‘postmodern’. Within Contemporary Paganisms it marks a new second wave of masculinist consciousness which, contrary to mythopoetic constructions of masculinity, seeks to dismantle essentialist forms of gender difference.

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Pelayo Sañudo, Eva. "NEVER-AGING STORIES: AGE, MASCULINITY AND THE WESTERN MYTH IN THE ELECTRIC HORSEMAN." Revista de Estudios Norteamericanos, no. 24 (2020): 181–201. http://dx.doi.org/10.12795/ren.2020.i24.09.

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According to Gabriela Spector-Mersel there are no cultural models for old men, in comparison to the easily available scripts in early and middle adulthood. As such, this is a considerably unsettling phase of negotiation for men as they need to (re)define their identity and their sense of masculinity particularly when aging. The masculinity embodied by the cowboy prototype certainly fits this model that sees masculinities as a “temporal script” (67). In the classic 1979 movie The Electric Horseman, directed by Sydney Pollack, the factor of age runs as a subtext that not only informs masculine identity but also takes on a broader significance to express an important cultural transformation. Instead of simply focusing on the effects of the passing of time for an individual man, the film explores the changes in US society through one of its most celebrated cultural icons, the cowboy. To analyze Sonny Steele’s distinctiveness within hegemonic ageless narratives in The Electric Horseman, this article will set him alongside two archetypal figures of the genre of the western: the cowboy and the horse, which serves as a key vehicle of the character’s own exalted masculinity. This critical approach shows how the prevailing model of youthful or ageless masculinity in cowboy stories can thus be challenged.

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Sul, Hea-sim. "The Major Agendas for Western Masculinity Studies." Gender and Culture 10, no. 2 (December 31, 2017): 7–44. http://dx.doi.org/10.20992/gc.2017.12.10.2.7.

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Cook, Ian. "Western Heterosexual Masculinity, Anxiety, and Web Porn." Journal of Men's Studies 14, no. 1 (October 1, 2005): 47–63. http://dx.doi.org/10.3149/jms.1401.47.

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Spector-Mersel, Gabriela. "Never-aging Stories: Western Hegemonic Masculinity Scripts." Journal of Gender Studies 15, no. 1 (March 2006): 67–82. http://dx.doi.org/10.1080/09589230500486934.

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Jarman-Ivens, Freya. "Book Review: Masculinity and Western Musical Practice." Men and Masculinities 15, no. 3 (July 25, 2012): 336–39. http://dx.doi.org/10.1177/1097184x12438770.

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Hiramoto, Mie. "Wax on, wax off: mediatized Asian masculinity through Hollywood martial arts films." Text & Talk 35, no. 1 (January 1, 2015): 1–23. http://dx.doi.org/10.1515/text-2014-0028.

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AbstractThis paper examines the mediatization of Asian masculinity in representative Hollywood martial arts films to expose the essentialism on which such films rely. Asian martial arts films are able to tap into viewers’ familiarity with idealized images of Asian masculinity; such familiarity is an essential part of the pleasure provided by these films and hence of their economic success. This study focuses on non-Asian (that is, western) protagonists’ appropriation of Asian masculinity because it succinctly encapsulates precisely how western hegemonies co-opt and commodify Asian-ness for their own purposes. Such appropriation is a use of intertextuality that not only allows western viewers to easily access a simplified model of Asian masculinity, but also allows them to reference earlier works to further facilitate the mediation and mediatization of Asian masculinity. This is a process which continues to Other and exoticizes Asian identities, even as it ostensibly carves out a niche for Asian bodies and identities in the institution of the film industry.

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Hall, Matthew. "The man problem: destructive masculinity in Western culture." NORMA 12, no. 2 (April 3, 2017): 176–79. http://dx.doi.org/10.1080/18902138.2017.1313506.

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Doroholschi, Claudia Ioana. "Masculinity, Parody and Propaganda in the “Transylvanians” Trilogy." Gender Studies 19, no. 1 (December 1, 2020): 90–108. http://dx.doi.org/10.2478/genst-2021-0006.

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Abstract The article focuses on the successful series of Red Westerns/Easterns produced in Romania in the late 1970s and early 1980s, known as the “Transylvanians” trilogy. The article will look at the films in the specific context of the period, one characterized by the increasingly idiosyncratic evolution of the Romanian communist regime and by growing economic difficulties, and will examine the way in which the films construct models of masculinity at the intersection between three different types of masculine models: those of the American Western (whether adopted or parodied), those of traditional Romania (such as the idealized, wise peasant), and masculine typologies derived from communist propaganda. I will argue that the films skillfully balance the tension between a critique of American models, in the face of which Romanian models emerge as superior, and legitimizing themselves as well as relying heavily in their entertainment value on the very models of the American Western they are supposed to subvert.

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Igaeva, Ksenia V., and Natalia V. Shmeleva. "Transformation of Masculinity in the Russian Cinema." Observatory of Culture 18, no. 2 (May 31, 2021): 140–48. http://dx.doi.org/10.25281/2072-3156-2021-18-2-140-148.

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The article discusses the issues of gender identity and the crisis of masculinity in the Soviet and post-Soviet cinema in comparison with Western films. Social instability becomes the basis for rethinking cultural identity and expanding the typology of masculinity. This imbalance is most clearly visible in the cinema, which is a beneficial environment for actualizing problematic socio-cultural issues and forming some gender stereotypes and normative behaviors that later enter everyday reality. Following the West, the Russian cinema also focuses on the substantive side of the concept of “masculinity”, which is based on the specifics of national identity, traditional goals and social foundations. It is significant that the hegemonic masculinity characteristic of the Western cinema was not basically common in the Soviet era, whose masculinity model was the image of a leader, a worker, and, in the post-war period, a front-line soldier. The collapse of the Soviet Union and the beginning of capitalist relations in Russia caused the overthrow of former cultural values and the crisis of Soviet identity. The suppression of the male characters’ “sensitivity” was replaced by a total emancipation and sexuality, which can be witnessed in the abundance of scenes of a sexual nature in the films of the 1990s. However, in the post-Soviet cinema, the focus on the values of Western culture, in which a crisis of masculinity was already evident, stimulated the interest in the Russian image of masculinity, which initially manifested itself in romanticizing the image of a “fair gangster,” and later — in the appeal to traditional Russian and Soviet heroes. Since the 2010s, the glorification of the Russian criminal past has declined, opening the space for the emergence of new types of Russian masculinity. The general context of these transformations is represented by the changes of masculinity from the Soviet traumatic, through the post-Soviet (crisis) to the contemporary one.

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Dissertations / Theses on the topic "Western masculinity"

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Durham, Christopher Louis. "Masculinity in the post-war western John Wayne and Clint Eastwood /." Online version, 2004. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.412655.

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Durham, Christopher Louis. "Masculinity in the post-war western : John Wayne and Clint Eastwood." Thesis, University of Newcastle Upon Tyne, 2005. http://hdl.handle.net/10443/216.

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Together, John Wayne and Clint Eastwood are the most prominent defining icons of the Western genre. As resonant American cultural icons, their respective images are determined by, and signify, aspects of Americanism, the Western, and masculinity. By examining the gendered identities adopted by Wayne and Eastwood in their Westerns, I hope to identify the extent to which their characterisationss, panning the historical periods marked by the Westerns! prominence, decline, and ultimate fall, attest to the cultural underpinning of the genre's representation of gender, revealing the manner in which a definitively American genre offered portrayals of gender that resonated in the wider American culture. Following a review of critical work undertaken on the genre, masculinity , and stars,I will proceed to examine the negotiation of masculinity in the roles played by Wayne and Eastwood in the Western from 1948 to 1976 in the case of the former, and 1964 to 1992 in the case of the latter. With reference to the structural approach adopted for each star, Eastwood's films invite a chronological analysis, owing to the chronological development of his screen persona, in which the Eastwood hero is variously typified as broadly parodic, castrated, vengeful, and paradoxical; Wayne's films evidence an oscillating type of characterisation, which for the most part defies a chronological analysis. Consequently, his films from 1948 to 1963 will be addressed in a non-linear, thematic fashion, based on the alternately 'good' and 'bad', or coherent and incoherent, representations of the paternal identity which formed the determining aspect of Wayne's persona. His post- 1969 films, which invite a more chronological analysis, will be separately considered as evidencing a more stable representation oIf the paternal identity. The Shoolist, as Wayne's last film, will be considered on an individual basis. While Wayne and Eastwood portray very different 'types' of the Western hero, as the alternative structural approaches described above suggests, the resonance of their gendered representations unites them, and merits a sustained analysis of both.

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Jeftha, Alethea. "The construction of masculinity and risk-taking behaviour among adolescent boys in seven schools in the Western Cape." Thesis, University of the Western Cape, 2006. http://etd.uwc.ac.za/index.php?module=etd&amp.

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The term, risk-taking, has often been used to describe some of the behaviours and their associated negative outcomes occurring during adloscence. Statistics have shown that South Africa has one of the highest rates of HIV/AIDS infection in the world, with most infections occurring during adolescence. The central aim in this study was to explore the relationship between current constructions of masculinity and risk-taking behaviours among a group of young South African men. It was an exploratory study, focused on exploring how young men construct their masculinities, and how this intersects with or impacts on adolescent male risk-taking behaviours. A key conclusion drawn at the end of this project was that some traditional notions of manhood still held sway, and these tied in strongly with how these participants constructed their masculinity.

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Angus, Fiona Leslie. "Key to the midway, masculinity at work in a Western Canadian carnival." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ61054.pdf.

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Wildschut, Alvino Vernal. "The construction of young musculine sexualities in rural Western Cape /." Link to the online version, 2005. http://hdl.handle.net/10019/1312.

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Morris, Emily. "Breaking Down Masculinity in Breaking Bad and the Western Genre: Performance and Disruption." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/192.

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I am proposing a critical inquiry into the structural function of the character of Skyler White in AMC’s Breaking Bad as well as a further investigation of show’s relationship to the Western genre and the construction of masculinity.

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Clark, J. J. ""Breaking Bad" as a Modern Western| Revising Frontier Myths of Masculinity, Savagery, and Empire." Thesis, University of Colorado at Denver, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1563555.

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This paper offers an analysis of the AMC television series Breaking Bad by placing it directly into the tradition of frontier narratives and the Western film. It looks to understand the aspects of the Western genre that the series revises as well as understand Breaking Bad as both a revisionist Western that redefines certain tropes common to the family-centered Western, as well as a Meta-Western that calls attention to the impact of the frontier myth on modern characters like Walter White. It finds that to make a "contemporary Western," as creator Vince Gilligan termed it, the show revises the traditional Western narrative by denying a regenerative quality to violence and demanding a multicultural, complicated, and ongoing understanding of the American frontier. The paper concludes by analyzing how the show's cultural allegories are a reaction to, and a critique of, a modern crisis of masculinity and the American empire.

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Simiyu, Catherine Kituko. "An investigation into masculine-atypical behaviour : a study among Moi university students Western Kenya." Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/851.

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We are presented with a situation in which ‘the male identity is a fragile and tentative thing with no secure anchorage in the contemporary world’ (Brittan, 1989:3). However, empirical evidence surrounding the commonly perceived contemporary crisis of masculinity fails to support any overall crisis of masculinity thesis (Edwards, 2006:16). Instead, the different perceptions of the crisis tend to rest on at least one of the three propositions pointed out by Edwards (2006:17): Firstly; masculinity as a set of values, practices or dispositions may be suffering a crisis in so far as it is being undermined and devalued, or, moreover that masculinity per see is now to a greater or lesser degree equated with a series of negative rather than positive associations and connotations. Secondly; masculinity may be in crisis due to its perceived tendency to implore into femininity, whether through an undermining of any gender role distinctions or through feminization of some forms of masculinity as, for example, in the case of the rise of contemporary consumerist, fashion conscious or sexually uncertain masculinities such as metrosexuality. Thirdly, the crisis of masculinity may relate to the sense that masculinity in terms of the male sex role is itself ipso facto crisis-inducing. In this sense, masculinity is not in crisis, it is crisis. This study was based on the second proposition. In the patriarchal Kenyan society where gender roles are fairly traditional, and the male person perceived superior to the female and male things valued above female things, the aspect of feminization of masculinity is not just new but indeed strange. This investigation was intended to find explanations for the feminizing behaviour by males. The sex role paradigm developed in the 1970s explains acquisition of masculinity through socialization, sex role learning and social control. These mainstream theories of learning gender were explored in the assumption that they form the basis for the contemporary theories, and further, although much had changed with the times, a large part of the society still perceived gender roles from this traditional viewpoint. The masculine crisis theory and the constructionist views of gender constituted the theoretical framework of the study. This was due to the researcher’s acknowledgement that individuals were active participants in the construction of their own gender identity, and that there was likelihood for the individuals to deviate from the social expectations of what masculinity means and should be. As a result they could construct a masculinity that did not reflect normality, hence portraying a crisis. Data relating to the respondents’ perception of and reasons for feminine behaviour among young male adults was gathered from young males, young females, and both male and female parents through questionnaire and interview methods. Information about the home environment of the respondents was also necessary to help explore environmental factors that contribute to gender construction. In addition, observation was used to obtain information to dispute, confirm or complement the findings from the other mentioned methods. An exploratory-descriptive qualitative type of research was undertaken at Moi University, Eldoret in Kenya, where the feminization of masculinity was observed. 100 male students chosen through both purposive and simple systematic sampling responded to the open-ended questionnaire which contained perception-eliciting items. A discussion with two focused groups of seven female students each, from the same institution obtained their opinion on the subject of cross-gender behaviour of their male colleagues. Selection of the females was based on willingness to participate. An in-depth interview with two male and three female parents of young male adults whose selection was upon availability, was done on a one-on-one basis to capture the view of adults (likely reasons for, and attitudes) on the matter of feminine behaviour among boys. Data was qualitatively processed and analyzed, taking into account issues of dependability and accuracy. Explanations, findings and conclusions were made, based on the fairly rich data. Overall, the researcher concluded that an interplay between various factors in the young males’ environments, including peers, media, parents and the general dynamics of society (including the feminist movements) explained the feminization of the masculine identity. All these were perceived as influenced by the postmodern movement that had transcended boundaries, thanks to modern communication techniques, to reach the initially very traditional societies. The researcher acknowledged the irreversibility of the clock of time and behaviour trends, hence suggested inclusiveness of this group of males for overall society development, but against the backdrop of responsible guidance and understanding. The study was seen as significant, both for education as an institution that empowered individuals for social function, as well as for peaceful coexistence for the society at large. Conclusively, a redefinition of ‘masculinity’ and a change in the current social attitudes about masculinity and femininity was recommended. Hopefully this was a step towards enhancing an understanding of behaviour dynamics in the largely changing social systems which, in the same vein, remained the touchstone for behaviour formation, modification and prediction not only in Kenya, but Africa as a whole.

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Zaidan, Sarah Z. "The adventures of MetaMan : the superhero as a representation of modern Western masculinity (1940-2010)." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22375/.

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The Adventures ofMetaMan: The Superhero as a Representation ofModem Western Masculinity (1940-2010) is a practice-based research project. The aim of this research project is to develop interactive works of art that interrogate superhero narratives and representations of male identity, with the potential to relate to the experiences of relevant users in educational environments. At the current stage of the project, young men aged 11-14 in the English school system are a possible target audience. The work of art takes the form of interactive software written in Adobe Flash, with additional visuals created by myself in Adobe Photoshop, Adobe lllustrator and through traditional pen-and-ink drawings. The conceptualisation, development and execution of both software and content took place over a three-year period. While numerous literary and artistic references were employed in order to actualise this work, the software's visuals and words were entirely self-created. The work's original contribution to knowledge is found in the project's form. In combining the platform of digital media with the artistic styles and narrative themes of the superhero genre of comic books, the project explores the subjects of heroes and masculinity and has the potential to help its target audience to understand that the definition of masculinity is always in a state of flux. As evidenced by the historical texts, studies of visual culture, gender, and media representations of heroes and men that were referenced to develop the software, different types of men, ranging from the civil rights activist of the 1960s to the macho action movie star of the 1990s and significant representations of masculinity between these decades have been regarded as hero figures at different points in time. The conc~pt of masculinity is fluid and reliant upon a variety of factors such as current events, cultural trends, politics, economics and popular culture and this is reflected in the evolution of the superhero in Western mass media. The MetaMan project showcases the impact that heroes and role models have and the way that art can echo culture and society. It can provide a fully interactive experience that places modern masculinity into the context of the user's life and circumstances, adapting to each user. The software is accompanied by a written component detailing the reasons for its form and potential audience, the artistic process necessary to create it, an account of a pilot scheme conducted with 120 male students aged 11-14 in the English school system and the further applications and plans for the future stages of the MetaMan project.

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Schmiedl, Dominic. "Crisis and Masculinity on Contemporary Cable Television." Doctoral thesis, Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-176166.

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Both the “crisis of masculinity” and “quality TV” have been popular discourses in academia in recent years. Many of these contemporary quality TV series feature male anti-heroes at the center of their narratives. This dissertation argues that the constructions of masculinity in series such as "Breaking Bad" and "The Walking Dead" are informed by the Western hero. Furthermore, the dissertation links this recourse to an arguably outmoded model of masculinity to recent crisis tendencies in the USA, most notably the recent economic downturn and the aftermath of September 11 2001. Moreover, the return of the Western hero can be understood as a process of remasculinization in light of the crisis of masculinity.

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Books on the topic "Western masculinity"

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1978-, Gibson Kirsten, ed. Masculinity and western musical practice. Burlington, VT: Ashgate, 2008.

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K, Johnson Michael. Black masculinity and the frontier myth in American literature. Norman, Okla: University of Oklahoma Press, 2002.

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Black masculinity and the frontier myth in American literature. Norman: University of Oklahoma Press, 2002.

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Stigma and perseverance in the lives of boys who dance: An empirical study of male identities in western theatrical dance training. Lewiston, N.Y: Edwin Mellen Press, 2009.

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The perfectible body: The Western ideal of male physical development. New York: Continuum, 1995.

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The perfectible body: The Western ideal of male physical development. London: Cassell, 1995.

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Mitchell, Lee Clark. Westerns: Making the man in fiction and film. Chicago: University of Chicago Press, 1996.

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Art and politics in Have gun-- Will travel: The 1950s television Western as ethical drama. Jefferson, North Carolina: McFarland & Company, Inc., Publishers, 2014.

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With blood in their eyes. Tucson: University of Arizona Press, 2012.

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Clint Eastwood: A cultural production. Minneapolis: University of Minnesota Press, 1993.

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Book chapters on the topic "Western masculinity"

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Roberts, Andrew Michael. "Masculinity, ‘Woman’ and Truth: The Secret Agent, Under Western Eyes, Chance." In Conrad and Masculinity, 137–62. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230288973_7.

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Fabian, Tom. "Turkish Oil Wrestling and the Western Gaze: Hegemonic Heteronormativity, Islamic Body Culture, and Folk Wrestling Masculinities." In The Palgrave Handbook of Masculinity and Sport, 497–515. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19799-5_28.

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Cooper, Lydia R. "Of Fertility and Sterility: Feminine Masculinity and the Western in Ceremony." In Masculinities in Literature of the American West, 47–68. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137564771_3.

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McLain, Robert. "Frontline Masculinity: The Indian Corps on the Western Front, 1914–1915." In Gender and Violence in British India, 61–88. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137448545_4.

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Mock, Erin Lee. "Paladin Plays the Field: 1950s Television, Masculinity, and the New Episodic Sexualization of the Private Sphere." In Love in Western Film and Television, 91–109. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137272942_7.

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Günsberg, Maggie. "The Man With No Name: Masculinity as Style in the Spaghetti Western." In Italian Cinema, 173–214. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230510463_6.

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Volkmann, Laurenz. "Fortified Masculinity: Daniel Defoe’s Robinson Crusoe as a Literary Emblem of Western Male Identity." In Constructions of Masculinity in British Literature from the Middle Ages to the Present, 129–46. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9781137015877_8.

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Worden, Daniel. "Masculinity for the Million: Gender in Dime-Novel Westerns." In Masculine Style, 17–34. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230337992_2.

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Biddle, Ian, and Kirsten Gibson. "Introduction." In Masculinity and Western Musical Practice, 1–12. Routledge, 2017. http://dx.doi.org/10.4324/9781315091419-1.

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Biddle, Ian, and Kirsten Gibson. "Introduction." In Masculinity and Western Musical Practice, 135–40. Routledge, 2017. http://dx.doi.org/10.4324/9781315091419-10.

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