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As cultural practice, the early modern duel both indicated and shaped the gender assumptions of wealthy young men; it served, in fact, as a nexus for different, often competing, notions of masculinity. As Jennifer Low illustrates by examining the aggression inherent in single combat, masculinity could be understood in spatial terms, social terms, or developmental terms. Low considers each category, developing a corrective to recent analyses of gender in early modern culture by scrutinizing the relationship between social rank and the understanding of masculinity. Reading a variety of documents, including fencing manuals and anti-dueling tracts as well as plays by Shakespeare, Jonson, Middleton, and other dramatists, Low demonstrates the interaction between the duel as practice, as stage-device, and as locus of early modern cultural debate.
As cultural practice, the early modern duel both indicated and shaped the gender assumptions of wealthy young men; it served, in fact, as a nexus for different, often competing, notions of masculinity. As Jennifer Low illustrates by examining the aggression inherent in single combat, masculinity could be understood in spatial terms, social terms, or developmental terms. Low considers each category, developing a corrective to recent analyses of gender in early modern culture by scrutinizing the relationship between social rank and the understanding of masculinity. Reading a variety of documents, including fencing manuals and anti-dueling tracts as well as plays by Shakespeare, Jonson, Middleton, and other dramatists, Low demonstrates the interaction between the duel as practice, as stage-device, and as locus of early modern cultural debate.
The book reads Tudor-Stuart comedies in order to illuminate the problems and promises of achieving manhood because comedies permit public scrutiny of what might seem inhibitingly painful or irresoluble and of nuances that might go unregistered by the data and contemporary documents employed in social and gender histories.".
This is the first book-length study of masculinity in Imperial Russia. By looking at official and unofficial life at universities across the Russian empire, this project offers a picture of the complex processes through which gender ideologies were forged and negotiated in the Nineteenth Century. Masculinity, Autocracy and the Russian University, 1804-1863 demonstrates how gender was critical to political life in a European monarchy.
Offering new readings of works by Shakespeare, Spenser, and their contemporaries, this study examines the profound impact of the cultural shift in the English aristocracy from feudal warriors to emotionally expressive courtiers or gentlemen on all kinds of men in early modern English literature. Jennifer Vaught traces the gradual emergence of men of feeling during the sixteenth and seventeenth centuries, to the blossoming of this literary version of manhood during the eighteenth century.
Sex and Drugs Before the Rock ’n’ Rollis a fascinating volume that presents an engaging overview of what it was like to be young and male in the Dutch Golden Age. Here, well-known cohorts of Rembrandt are examined for the ways in which they expressed themselves by defying conservative values and norms. This study reveals how these young men rebelled, breaking from previous generations: letting their hair grow long, wearing colorful clothing, drinking excessively, challenging city guards, being promiscuous, smoking, and singing lewd songs. Cogently argued, this study paints a compelling portrait of the youth culture of the Dutch Golden Age, at a time when the rising popularity of print made dissemination of new cultural ideas possible, while rising incomes and liberal attitudes created a generation of men behaving badly.
This book provides a short and accessible introduction to the field of gender history, one that has vastly expanded in scope and substance since the mid 1970s. Paying close attention to both classic texts in the field and the latest literature, the author examines the origins and development of the field and elucidates current debates and controversies. She highlights the significance of race, class and ethnicity for how gender affects society, culture and politics as well as delving into histories of masculinity. The author discusses in a clear and straightforward manner the various methods and approaches used by gender historians. Consideration is given to how the study of gender illuminates the histories of revolution, war and nationalism, industrialization and labor relations, politics and citizenship, colonialism and imperialism using as examples research dealing with the histories of a number of areas across the globe. Written by one of the leading scholars in this vibrant field, What is Gender History? will be the ideal introduction for students of all levels.
A struggle between narcissistic and masochistic modes of manhood defined Hollywood masculinity in the period between the presidencies of George H. W. Bush and George W. Bush. David Greven's contention is that a profound shift in representation occurred during the early 1990s when Hollywood was transformed by an explosion of films that foregrounded non-normative gendered identity and sexualities. In the years that have followed, popular cinema has either emulated or evaded the representational strategies of this era, especially in terms of gender and sexuality. One major focus of this study is that, in a great deal of the criticism in both the fields of film theory and queer theory, masochism has been positively cast as a form of male sexuality that resists the structures of normative power, while narcissism has been negatively cast as either a regressive sexuality or the bastion of white male privilege. Greven argues that narcissism is a potentially radical mode of male sexuality that can defy normative codes and categories of gender, whereas masochism, far from being radical, has emerged as the default mode of a traditional normative masculinity. This study combines approaches from a variety of disciplines—psychoanalysis, queer theory, American studies, men's studies, and film theory—as it offers fresh readings of several important films of the past twenty years, including Casualties of War, The Silence of the Lambs, Fight Club, The Passion of the Christ, Auto Focus, and Brokeback Mountain.
In Ministers and Masters Charity R. Carney presents a thorough account of the way in which Methodist preachers constructed their own concept of masculinity within -- and at times in defiance of -- the constraints of southern honor culture of the early nineteenth century. By focusing on this unique subgroup of southern men, the book explores often-debated concepts like southern honor and patriarchy in a new way. Carney analyzes Methodist preachers both involved with and separate from mainstream southern society, and notes whether they served as itinerants -- venturing into rural towns -- or remained in city churches to witness to an urban population. Either way, they looked, spoke, and acted like outsiders, refusing to drink, swear, dance, duel, or even dress like other white southern men. Creating a separate space in which to minister to southern men, women, and children, oftentimes converting a dancehall floor into a pulpit, they raised the ire of non- Methodists around them. Carney shows how understanding these distinct and often defiant stances provides an invaluable window into antebellum society and also the variety of masculinity standards within that culture. In Ministers and Masters, Carney uses ministers' stories to elucidate notions of secular sinfulness and heroic Methodist leadership, explores contradictory ideas of spiritual equality and racial hierarchy, and builds a complex narrative that shows how numerous ministers both rejected and adopted concepts of southern mastery. Torn between convention and conviction, Methodist preachers created one of the many "Souths" that existed in the nineteenth century and added another dimension to the well-documented culture of antebellum society.
This book explores the construction of male sexuality in nineteenth-century American literature and comes up with some startling findings. Far from desiring heterosexual sex and wishing to bond with other men through fraternity, the male protagonists of classic American literature mainly want to be left alone. Greven makes the claim that American men, eschewing both marriage and male friendship, strive to remain emotionally and sexually inviolate. Examining the work of traditional authors - Hawthorne, Poe, Melville, Cooper, Irving, Stowe - Greven discovers highly untraditional and transgressive representations of desire and sexuality. Objects of desire from both women and other men, the inviolate males discussed in this study overturn established gendered and sexual categories, just as this study overturns archetypal assumptions about American manhood and American literature.