Examples Of Masculinity In A View From A Bridge

In one scene of the memoir, Allison describes her uncles and their need to be depicted as masculine and to act “hard” to the world around them. She also remembers her cousins as young boys and how quickly they seemed to turn into men. The time came for them to act as the world expected them to. This action shows how gender may oppress some males when they feel the pressures of the world to act a certain way. Otherwise, they are at risk for being seen as different and abnormal. Men who do not portray masculinity well are often seen as feminine and weak. When Allison describes her uncles she states, “If you didn’t look close, you might miss the sharp glint of pain in their eyes, the restless angry way they gave themselves up to fate,” (Allison, 28). These men already had their futures planned for them though the society and gender norms. Acting against these norms was seen as unusual, radical, and

Have you ever felt that men always screw things up? Perhaps it is not men themselves that cause destruction; maybe it is merely the result of the presence of a masculine character. The role of masculinity is an essential aspect in both Bobbie Ann Mason's short story entitled, Shiloh, and in Tennessee Williams' play, A Streetcar Named Desire, although it functions very differently in each story. In Shiloh, we see the detrimental effects that the male role has even in its absence through the interactions that Leroy has with his with wife, Norma Jean. Contrasting this particular perspective, in A Streetcar Named Desire the destructive manner of the

Eddie is introduced as a moral man with ethics and principles. Miller showed that at the beginning of the play, Eddie tells the story of a young boy who ratted on immigrant relatives staying in his home and warn Catherine that she must be absolutely silent about Marco and Rodolpho. Moreover, there was a discussion between Eddie and Beatrice; where Beatrice is afraid of her immigrant cousins being caught. Therefore, Eddie told her: “listen if everybody keeps his mouth shut, nothing can happen. They’ll pay for their board.”(Miller, 1955, p.9).Later in the story, Eddie revealed a different identity .He was blinded with passion to the point of immorality. When he knew about Catherine falling in love with Rodolpho, he told Alfieri that he is going to call the immigration so he can keep Catherine just for him. Even though he knew that he is going to suffer for calling immigration, but does so anyway .Eddie: “Give me the number if the Immigration Bureau.”(Miller, 1955, p.61).To sum up, Miller displayed identity that could be moral with ethics and turns to be and identity that is blinded with

For example, he also saying how much he does for his family. He acts as though because he does all this work for his family, he deserves more respect from them and they should do as he pleases. Although Eddie constantly reminds everyone of all the work he has done for his family, it is clear that he initially only is concerned for himself. He tries to guilt people into doing what he wants. Near the end of the play, on Catherine’s wedding day, Beatrice tries to encourage Eddie to come with her to the wedding but Eddie think that what he wants is the final word. He tells her that if she attends Catherine’s wedding, she is not allowed back in the house, even though she begs and says it would be in honor of her sister. He cannot condone his niece getting married to Rodolpho, so anyone who is supportive of the marriage means nothing to him. The fact that Eddie would cast out his wife because of his niece’s marriage is a big reason why Eddie is an unsympathetic protagonist. In the beginning of the play, Eddie warns Beatrice and Catherine not to tell anyone about Marco and Rodolpho living with them. He tells a story about Vinny, a kid who snitched on his uncle to the Immigration Bureau and was publicly disgraced and spit on by his own family. When Beatrice asked where he is now, Eddie responds saying that they would never see a guy like that again. He shows no sympathy for him and implies that he

Miller, throughout his play, shows each character as an individual, and to highlight their strengths

Also when she sees Eddie and Rodolfo boxing she is deeply alarmed. This scene tells us that Rodolfo is timid when around Eddie. He is frightened of Eddie's reaction to things that he does. One example of

In A View From The Bridge, Arthur Miller explores what it is to be a man in many ways, such as the jobs and skills the characters have, power within family, sexuality and having honor. Many of these ways are shown directly, but are also shown indirectly in what the characters say. Eddie Carbone as he main protagonist of this play, a lot of the themes of masculinity are linked to Eddie and his views.

In order to reinforce or focus the attention of the audience on this particular theme, I would focus on the kiss that Eddie forces on Rodolfo. Rather than Eddie pushing himself onto Rodolfo, I think it would express more if Eddie pulled Rodolfo into his arms and dipped him as he forces Rodolfo to kiss him, only to drop him on the ground when he is

It becomes obvious that the narrator has changed his theme of masculinity at least three times throughout the text. These changes in his identity surface as a direct result from his pursuit of hegemonic masculinity.

Tall, dark, and handsome has long been the standard of a desirable man. There is undoubtedly something about a “man’s man” that is intriguing and beguiling. However, there must be a point where too much masculinity becomes a problem. As society continues to praise men with the biggest muscles, the nicest cars, and the most women, it is becoming increasingly hard to draw the line between healthy masculinity and toxic masculinity. In Tennessee Williams’ A Streetcar Named Desire, toxic ideas about what it means to be masculine ultimately ruins several characters, but most overtly Stanley, Stella, and Blanche, showing that toxic masculinity is a threat to everyone’s well-being, both male and

Also, Catherine's affection for Rodolfo highlights how she likes things that Eddie doesn't like, making him realise that he is more out of touch with her than he realises. This scares him, and makes him recognize that he cannot control or know what she truly feels in her heart and mind. In the last act, Eddie can't help but let manly pride override his common sense. He demands an apology from Marco, even though he knows that he himself is in the wrong, 'tell them what a liar you are C'mon, liar, you know what you done'.

Masculinity is needed for Eddie to show his power over everyone, his need to do this leads to him trying to teach Rodolpho how to box. Eddie knows that Rodolpho isn’t a fighter, but makes him box to show that he is more masculine than him. Rodolpho grazes Eddie’s chin, and Eddie says ‘attaboy’ because he is happy that Rodolpho is a bit more confident to try and fight. Eddie uses this as an excuse for him to land ‘with his right’ and make Rodolpho ‘slightly stagger’. Miller explores how Eddie’s masculinity leads him to pretend to teach Rodolpho how to box, just in order for him to hit Rodolpho and prove his superiority.

Eddie is a longshoreman and earns his living on the New York docks and he is the plays protagonist but also as a famous Greek philosopher called Aristotle said " The tragic hero is one who is neither villainous nor exceptionally virtuous, moving from happiness to misery through some frailty or error in judgement. " And this is exactly what Eddie Carbone is, a tragic hero. The plot is based around Eddie agreeing to shelter Marco and Rodolfo (his wife, Beatrice's illegally immigrated cousins) while they seek refuge in the Sicilian community of Redhook. As his wife's niece Catherine whom he has unconditional love for as a daughter begins to take a liking to Rodolfo, Eddies love begins to transform into jealousy and hate of Rodolfo and as a consequence Eddie commits an unjustifiable and indefensible act of hatred which in the Sicilian community would be classed as a 'crime' against everybody around him including his family by revealing Marco and Rodolfo to the immigration bureau.

Marco’s reaction to the event leads to dramatic reconfiguration of the relationships in the play.  Miller foreshadows the events that lie ahead with Marco.  This can be shown when Marco challenges Eddie to raise a chair. Eddie fails to complete the challenge, as shown in the quote, “He tries again, and again fails“.  The scene was originally in control of Eddie, when he was teaching Rodolfo how to do boxing, but the control suddenly is in the hands of Marco, as he is confident enough to challenge the person with control.  Marco gains more control, when he lifts the chair, as shown

At the beginning of the play, Eddie is portrayed as a sensible and smart character. Eddie and the girls (Catherine and Beatrice) all have a requited respect for each other – Beatrice: “Mmm! You’re an angel! God’ll bless you” – and there are no problems as such, even when the immigrants first come. He is also respected by the community – Alfieri: “He was good a man as he had to be in life that was.” But this dominant respect that he gains is what he is very used to and the slight changes where Catherine finds another man in her life and Beatrice also looks after the two immigrants (Rodolpho and Marco) effects Eddie hugely. The respect that he becomes used to is now shared by the women in his life between the men in his house and he craves for more attention. This can be considered one of his flaws that lead to his downfall. He is also shown caring for Catherine in the beginning of the play. He can be seen as a normal uncle or father – Beatrice: “She’s got a job.” Eddie: “What job? She’s gonna finish school.” He is also very proud of Catherine – “Sure she’s the best… You look like a