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

By Thomas Strychacz

ISBN-10: 0813031613

ISBN-13: 9780813031613

In Dangerous Masculinities, Thomas Strychacz has as his objective not anything lower than to show scholarship on gender and modernism on its head. He makes a speciality of the way in which a few early twentieth-century writers painting masculinity as theatrical functionality, and examines why students have more often than not ignored that fact.
Strychacz argues that writers similar to Conrad, Hemingway, and Lawrence--often seen as misogynist--actually represented masculinity of their works when it comes to theatrical and rhetorical performances. they're theatrical within the experience that male characters maintain staging themselves in aggressive screens; rhetorical within the experience that those characters, and the very narrative type of the works within which they seem, render masculinity one of those persuasive argument readers can and may debate.
Perhaps best is Strychacz's competition that scholarship has obscured the truth that frequently those writers have been particularly 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 technique with which to discover the ways that students gender texts by means of the very act of studying.

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

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Boone’s “Of (Me)n and Feminism” offers a precisely analogous example. ”53 Yet Boone’s essay in fact everywhere speaks its privilege: it employs the authoritative, complex style of the professional critic; it demonstrates a sure grasp of the history and theories of feminist thought, and advances the debate; it speaks of his work in print and at conferences; it has appeared in at least two books. Boone’s essay, far from establishing a “counter network of exchange,” and far from subverting “traditional masculine networks of power,” participates boldly in an economy of symbolic capital.

19 However, Brecht argued, “Not all gests are social gests”: “The attitude of chasing away a fly is not yet a social gest, though the attitude of chasing away a dog may be one, for instance if it comes to represent a badly dressed man’s continual battle against watchdogs. ”21 If human beings are constructed within particular social realities, the tendency to universalize empties human life of the richness and plenitude of its social being. The attempt to keep one’s balance on a slippery slope should not be misread as a metaphor for the human condition.

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. Deborah F. Jacobs arrives at a similar stance in her critique of feminist interpretations of modernism when she argues that “I don’t believe that . . ”49 Jacobs is correct. But her solution—Cultural Studies—perfectly captures the dilemma faced by all professional scholars involved in progressive politics.

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