20000 Leagues Of Misinterpretation By James W. Maertens

In the article “Toxic Masculinity Is Killing Men: The Roots of Male Trauma,” Kali Holloway explains why the ideal of masculinity is so unrealistic and harmful to men. Holloway also gives many studies and writings to back the idea that to be a strong man you have to suppress feelings and pain. In these studies, it proclaims that both men and women start off equally feminine as babies and that these ideas are taught to boys and girls as they grow up learning how to “be a man.” Holloway goes on to say that masculinity is not just taught by parents, but also taught through television and movies that portray men as masculine and strong. There are many examples given showing the ways men release their stress differently than women. This makes it

Masculinity is a quality of a man, a man who empowers strength and expertise to achieve goals easier. The essence of being masculine, illustrates powerful behavior, such as courage, and audacity. Stephen, fifteen-year-old pulp-cutter trying to fit into an environment, feeling extremely honored, as his father modeled, "become a man", impels a decent reputation in his father’s

Did you know there is a great controversy with today’s society, putting men over women? It is sparking debates across the world on why men are thought to be stronger and be able to do more activities than women. There is an ongoing debate between men and women on equality. Beowulf and contemporary culture assert their masculinity through physical strength, financial wealth, honor, perseverance, reputation, and intelligence.

Masculinity can be defined as the behaviours, social roles, and relations of men within a given society in addition to the meanings that are attributed to them. The term masculinity stresses gender, unlike male, which stresses biological sex. Despite, this we often times see masculinity being represented as directly correlating to men with an inability to adhere to this is shown making you less of a "man". As put by Katz (1999) there is an expectation that men on screen must be void of emotion, not backing down from a fight, tough and an embodiment of the male gaze. Katz (1999) argues that essentially what

Within comptemporary society, there are many ways to define gender. Gender includes all the characteristics that differentiate masculinity and femininity. The existence of masculinity create problems for every men because they are constantly pressured to behave in a certain way in order to look masculine. In the story “The Maltese Falcon” by Dashiell Hammett, masculinity is negatively depicted as problematic toward men. In this story, the author displays the negativity of masculinity through the conduct, manliness and reputation of the main character.

In ancient Greece, it was crucial that men proved their masculinity in order to uphold their worth and earn them a place in social establishments. An important aspect of human life is a man’s masculine identity and how it plays a role in society. However with this idea of masculinity came limitations that were not to be crossed. Ancient Greek epics, the Iliad and the Odyssey, both function to provide their own view on masculinity in society through the reverse sex similes. In the Iliad the crucial role of Achilles as a warrior and his association with maternal protection, as represented through it’s reverse sex maternal similes, ultimately proves problematic. This intrinsic part of man to fight on the battlefield to win timê and kleos is ultimately

　　Though the thought of masculinity is ideal, Vonnegut seems to prefer compassion and sensitivity over the so called masculinity. The Englishmen were probably "manlier" than everyone fighting, but their behavior contradicts with the

The author stereotypically socializes the gender roles of males through the quote “The choice is made straightforward. Either you, too, do your very utmost to efficiently smash and be smashed or you admit incompetence or cowardice and quit.” (McMurtry 251). This quote portrays that stereotypically males should possess characteristics of courage and strength and that weakness is frowned upon. Society portrays an image that male should be strong and warrior-like whereas female are nurturing and supportive at the early ages through toys and sports. Gender appearances are also introduced in the early stages of the children. ( try and make this flow more with your previous sentence)

In “The Things They Carried”, Tim O’Brien uses male gender roles and masculinity as additional devices in telling a fictionalized war story. Throughout “The Things They Carried”, each of the characters is putting up a facade that highlights their hyper masculine traits based on male gender roles and social norms. Therefore, masculinity influences all of the soldiers in one way or another. Some traits even become synonymous with particular characters. Each one being a different representation of what gender roles they are to follow or not, even in a setting of war. By using male gender roles and masculinity in telling this fictionalized war story, their actions and ways of speaking are“performative actions” that either enforce their masculinity or takes away it.

Masculinity, as developed in the dime novel, has provided a model for modernism by reforming the social world in terms of both literary and art form. This claim holds valid as representations of frontier masculinity with literary modernism’s representations will be reviewed. Within Western literature, gender and queer theory seems to not only reform manhood, but also challenges the tendency to read literary western masculinity as embodying patriarchy, and heteronormativity. Instead, many nineteenth-century writers use the frontier and its assertion of masculinity to protest masculinity by presenting it as performative, rather than being the physical characteristic of the male body.

To understand either work’s take on hegemonic masculinity, it is important to identify masculinity as a gendered hegemony. In her definition of gender, Judith Halberstam notes that gender is socially systematized, performed, and reproduced in cultures, institutions, and individual identities (Burgett, Bruce, and Hendler, 116). In a like manner, in her article on gendered violence, Mimi Schippers notes R.W. Connell’s research on masculinity to expand this definition, implying that masculinity is central to gender relations. In short, Connell defined masculinity as “simultaneously a place in gender relations, the practices through which men and women engage… in gender, and the effects of these practices on bodily experience, personality, and culture” (Schippers, 86). Here, masculinity is classified as a social position, the set and practice

Herman Melville’s novels, with good reason, can be called masculine. Moby-Dick may, also with good reason, be called a man’s book and that Melville’s seafaring episode suggests a patriarchal, anti-feminine approach that adheres to the nineteenth century separation of genders. Value for masculinity in the nineteenth century America may have come from certain expected roles males were expected to fit in; I argue that its value comes from examining it not alone, but in relation to and in concomitance with femininity. As Richard H. Brodhead put it, Moby-Dick is “so outrageously masculine that we scarcely allow ourselves to do justice to the full scope of masculinism” (Brodhead 9). I concur with Brodhead in that remark, and that Melville’s

Masculinity is a term that is often associated with strength, power, control, and dominance in men. However, many texts support the claim that masculinity can be perceived as “socially constructed” and available for systematic discrepancy, similar to femininity. For example, in Michael Kimmel’s “Men, Masculinity, and the Rape Culture,” Kimmel identifies the “traditional masculinity” in which men exclusively can experience the “right to manhood” and the “dare and aggression” that is rightfully theirs (Kimmel, 142).

In Tragedy, masculinity is primarily used as a cause of tragedy. It creates rifts in relationships, suffering, and death due to a character (or society) failing to look past a preset standard for gender. In Things Fall Apart, Okonkwo’s downfall comes from him relying too much on his own masculinity. He lets it control him and be his defining feature, viewing anyone who does not meet this standard (if they are male) not a true man. In Tess of the D’urbervilles, Tess’ tragedy stems from the men in her life and their inability to see her as human. She is held to a double standard and is ridiculed for acting on her own accord. Both texts look at how masculinity can be a cause for the destruction of relationships, a person’s livelihood, and leads

Masculinity, a seemingly simple concept. Yet, when examined more closely, it is clear that masculinity is constantly changing in its definition as well as in its most basic essence. Throughout the years, one can see this evolution firsthand by looking back at the men who have been portrayed in popular media in the United States of America. From the suave Don Draper types of the 1950s to the more casual, educated, and easygoing men- with perfectly chiseled abs, of course- that are portrayed in media today, the difference is clear. This drastic, yet unsurprising, shift in ideals, as well as the exponential increase of media consumed every day, has led to a change in how “masculinity” is perceived, as well as how it is enforced by society in the modern day. Alarmingly, this trend has led to the birth of so-called “toxic masculinity”, a bastardization of the original ideas behind masculinity which has created an enormous, detrimental effect on society as a whole. As defined in the article The Difference Between Toxic Masculinity and Being a Man, toxic masculinity is “manhood as defined by violence, sex, status, and aggression. It’s the cultural ideal of manliness, where strength is everything… where sex and brutality are yardsticks by which men are measured,” (O’Malley) This is a clearly displayed truth, and it’s astounding to see how even from a young age boys are taught not to show emotions other than anger, conditioned to believe that being “like a girl” is the worst possible