‘’the Experience of the Great War Stripped Men of Their Masculinity’’Explore the Ways in Which Barker, Sassoon and Owen Portray This in Their Writing.

The novel Deliverance by James Dickey portrays the essence of middle-aged men experiencing the mid-life crisis through which they must prove to themselves and more importantly every one else that they still possess the strength, bravery, intelligence, and charm believed to be society's ideal of "masculinity." Dickey's four main characters undertake a risky adventure to satisfy their egotistical complexes and prove to the world that they are still the strong young men their wives married. Each character represents a different stereotype of the middle-aged man, and therefore experiences a different type of psychological and physical journey than their peers.

The topic of war is hard to imagine from the perspective of one who hasn't experienced it. Literature makes it accessible for the reader to explore the themes of war. Owen and Remarque both dipcik what war was like for one who has never gone through it. Men in both All Quiet on the Western Front and “Dulce Et Decorum” experience betrayal of youth, horrors of war and feelings of camaraderie.

Penned during two distinctly disparate eras in American military history, both Erich Maria Remarque's bleak account of trench warfare during World War I, All Quiet on the Western Front, and Tim O'Brien's haunting elegy for a generation lost in the jungles of Vietnam, The Man I Killed, present readers with a stark reminder that beneath the veneer of glorious battle lies only suffering and death. Both authors imbue their work with a grim severity, presenting the reality of war as it truly exists. Men inflict grievous injuries on one another, breaking bodies and shattering lives, without ever truly knowing for what or whom they are fighting for. With their contributions to the genre of war literature, both Remarque and O'Brien have sought to lift the veil of vanity which, for so many wartime writers, perverts reality with patriotic fervor. In doing so, the authors manage to convey the true sacrifice of the conscripted soldier, the broken innocence which clouds a man's first kill, and the abandonment of one's identity which becomes necessary in order to kill again.

Even though the soldiers join the war as naive youths, the war rapidly changes them and they develop into young men. Surrounded by death, the boys are bound to foresee the fragility of their own lives and are stripped of the carelessness and brazenness of youth. The dreadful horrors around the boys bound them to consider a world that does not accommodate to their childish and simplistic view. They want to only see a separation between what is right and what is wrong, they instead find moral doubt. Where they had wanted to see order and meaning, they only found senselessness and disorder. Where they wanted to find heroism, they only found the selfish instinct of self-preservation. These realizations destroyed the innocence of the boys, maturing and thrusting them into their manhood.

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

Every person feels lost at least once in his or her lifetime, whether it is physically lost in a crowd or psychologically lost in an abyss of unanswered questions about life. To be able to fit in properly is difficult in this dysfunctional society where conflict and ignorance linger in people’s lives. From the past, World War I emerged from one of these many conflicts and disrupted the lives of many men as they were lured to abandon their lives and fight. This group of men who have difficulty fitting back into the society after war is known as the “lost generation”. Similarly, Eric Maria Remarque’s novel, All Quiet on the Western Front, tells the story of the generation of young men who feel alienated and lost in society after participating in the war. As they begin thinking about their post-war life, the soldiers realize how war transforms their generation into a group of individuals who have no stable life to readjust to when they return; the horrors of war disrupt their lives psychologically and ruin their innocent youth, making it impossible to return to their past lives or build upon their dream life.

In today’s society, masculinity has changed throughout time. Fast forward one hundred years ago, masculinity is defined as being strong and having a good paying job. But as the world is changing so is the representation of manliness. You don’t have to show your dominance over men or women today, but you should support your family nowadays and we have all been brainwashed by the thought of masculinity from our ancestors. As men our reputation is always being valued but now it isn’t so much about our reputation but about caring for one another and especially for our families. Perspective of manhood is also a significant factor in portraying what masculinity is in the eyes of other people. Masculinity has been shown through money, appearance, and providing protection for your family members but as we shift into the modern world, masculinity is not seen as displaying the most discipline but caring for one another by taking out some of your time to help one another. Throughout the paper, I will be writing about my interviews from a broad spectrum of ages from one of my younger sisters to my dad with not friends not at Seb’s in between so I can get what it really means to be a man from all ages.

Essay Question: Discuss the ways in which masculinity is constructed in Gallipoli and / or First Blood? What codes and norms of gender are used to construct masculinity in the film(s)?

Sohn, Anne-Marie. "Between the Wars in France and England." A History of Women in the West, Volume V Toward a Cultural Identity in the Twentieth Century (History of Women in the West). By Georges Duby. Vol. 5. New York: Belkn

‘No doubt they’ll soon get well; the shock and the strain / have caused their stammering, disconnected talk,’ writes Siegfried Sassoon in the poem Survivors (1917). Sassoon’s irony in these lines condense a prevalent view of non-combatants during the First World War that the soldiers would recover from their physical injuries and mental illness after the phase of shock had concluded. In the short story Speed the Plough (1923), Mary Butts articulates scepticism towards the idea that Shell Shock will simply pass. Instead of employing the habitual indicators of war, the story showcases Butts’s fixation in avoiding them. Modernist writers, such as Butts, were interested in innovation and experimentation with language to create new forms of expression. The following analysis will explore how the modernist aesthetics shape this passage in order to express the experience of war but avoid recurring to the same language that explicitly evokes it.

An overarching social paradox is inherent in the way Canadian citizens internalize the notion of civic duty; while violent participation in the Great War is lauded as personal and national achievement, post-traumatic stress disorder resulting from significant trauma, physical or social, is also recognized as an integral part of the military consciousness. Veterans experience grief as a result of the expected ownership of this psychological binary, and the ability to communicate grief among groups of veterans becomes problematic due to other binaries existing as part of the Great War experience, namely notions of male camaraderie. Groups of males, particularly soldiers, are forged and cultivated based on pre-existing masculine values, and the analysis of the ramifications of imposed masculinity in relation to group dynamics and individualism is as significant as the depictions of violence in the narrative of war. If the Great War alters conceptions of pre-war and post-war male groups due to trauma, then the war period offers an effective analysis for the deconstruction of pastoral male camaraderie prevalent before the devastating physical and social violence that ensues. Eve Sedgwick’s text, “Between Men” (1985), defines homosociality as the “social bonds between persons of the same sex … it is applied to such activities as ‘male

World War I constrained the idea of what is manly. In the pre war, soldiers had little significance in the setting of merciless trench fighting that described the war. Soldiers were forced to sit crouched together as the death came over them. Survival depended much more upon luck than upon boldness and skill. Conventional ideas of what it is intended to be a man were undermined by the aftermath of the war. Jake embodies these social changes. The war renders his masculinity after he is injured in his private area permanently . He conveys the weight of feeling that he is to a lesser degree of a man than he was before World War 1. He can't get away from an annoying feeling of unmanliness, which is just aggravated by Brett's refusal to get into

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.

In this essay, I will discuss how Tim O’Brien’s works “The Things They Carried” and “If I Die in a Combat Zone” reveal the individual human stories that are lost in war. In “The Things They Carried” O’Brien reveals the war stories of Alpha Company and shows how human each soldier is. In “If I Die in a Combat Zone” O’Brien tells his story with clarity, little of the dreamlike quality of “Things They Carried” is in this earlier work, which uses more blunt language that doesn’t hold back. In “If I Die” O’Brien reveals his own personal journey through war and what he experienced. O’Brien’s works prove a point that men, humans fight wars, not ideas. Phil Klay’s novel “Redeployment” is another novel that attempts to humanize soldiers in war. “Redeployment” is an anthology series, each chapter attempts to let us in the head of a new character – set in Afghanistan or in the United States – that is struggling with the current troubles of war. With the help of Phil Klay’s novel I will show how O’Brien’s works illustrate and highlight each story that make a war.

T.S. Eliot’s The Waste Land explores modernism, specifically focusing on the troubling of binaries and the breakdown of the traditional. The boundaries between life and death, wet and dry, male and female, and more are called into question in Eliot’s conception of modernity and the waste land. The blurring of gender boundaries—significantly through Tiresias and the hooded figure scene in “What the Thunder Said”— in the poem lends itself to Eliot’s suggestion that traditional masculinity breaks down and decays in the waste land. Traditional masculinity is further challenged through Eliot’s criticism of hyper-masculinity and heterosexual relations in the modern era through allusions to the myth of Philomela and the “young man carbuncular” scene in “The Fire Sermon.” Along with this, Eliot stages scenes charged with homoeroticism to further challenge ideas of traditional masculinity. Homoerotic scenes such as the “hyacinth girl” scene in “The Burial of the Dead” and the Mr. Eugenides scene in “The Fire Sermon” suggest an intensity and enticement towards male-male relations, while also offering a different depiction of masculinity than is laid out in the heterosexual romance scenes. Through scenes depicting queer desire and homosexual behavior, Eliot suggests that masculinity in the modern era does not need to be marked by aggression and