There is a specific stereotype or image that is associated with what a proper man should be and strive for. It is the image of the in-control, manly, and always-dominant workingman that is constantly demanded by mainstream society. Reputation is an important factor that lays into how men carry themselves and act as people. Throughout history and literature, a very respectable reputation and a prominent status are two of the goals that men work toward. From the Puritan Era, the Victorian Age, and the 1920s, men constantly seek to maintain their “manliness” as most demonstrated through the efforts of John Proctor, Texas Ranger LaBouef, and Jay Gatsby.
A method of forcing one’s masculinity is controlling women and others. John Proctor, from Arthur Miller’s The Crucible, uses a domineering tone to further assure his control over women such as his wife when he says “let you look to your own improvement before you go to judge your husband any more” (Miller 52). As his wife attempted to reason with Proctor, he immediately became defensive. He needed to regain control and to prevent Elizabeth from taking any of his power. Peter N. Stearns, a professor who served as Dean of the Dietrich College of Humanities and Social Sciences, states in Girls, Boys, and Emotions: Redefinitions and Historical Change, “the channeling of male anger” into “aggressive behavior” (Stearns 37) was justified by tradition and custom. It was common to have men be aggressive towards others, especially women. The aggressiveness was practically demanded, to always be in command and never allow someone, mainly a woman, be superior. Proctor pressures a young girl, Mary Warren, to testify for him, when she disobeys him he quickly yells “Mary, God damns all liar...
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...e you can!” (Fitzgerald 110). It describes his fatal flaw, he died for Daisy, a woman who would have never loved him the way he loved her. LaBouef is the one who redeems himself. He becomes the one true man, one of loyalty and honor. LaBouef rescued Mattie and in doing that, proved himself to be a true Texas Ranger, and a true human being.
Works Cited
Fitzgerald, F. Scott. The Great Gatsby. New York, NY: Scribner, 1925. Print.
McGill, Jr. William J. "The Crucible of History: Arthur Miller's John Proctor." The New England Quarterly 54.2 (1981): 258-64. JSTOR. Web. 3 Apr. 2014.
Miller, Arthur. The Crucible. New York, NY: Penguin, 2003. Print.
Portis, Charles. True Grit. City: Publisher, Year. Print.
Stearns, Peter N. "Girls, Boys, and Emotions: Redefinitions and Historical Change." The Journal of American History 80.1 (1993): 36-74. JSTOR. Web. 26 Mar. 2014.
In the essay, “The High Cost of Manliness,” writer Robert Jensen discusses the harmful effects of having male specific characteristics, such as masculinity. Jensen realizes that men’s actions and ways of living are judged based upon the characteristic of being manly. He argues that there is no valid reason to have characteristics associated with being male. Society has created the notion that masculinity is the characteristic that defines males as males.
Masculinity Gone Awry: Hemingway’s Robert Cohn in The Sun Also Rises From the beginning, Robert Cohn’s name defines himself－he is essentially a conehead in a society where concealing insecurities and projecting masculinity is paramount. Although he tries in vain to act stereotypically male, Cohn’s submissive attitude and romantic beliefs ultimately do little to cover up the pitiful truth; he is nothing more than a degenerate shadow of masculinity, doomed for isolation by society. In the incriminating eyes of people around him, Cohn is a picture-perfect representation of a failure as a man. Through Cohn, Hemingway delineates not only the complications of attaining virility, but also the reveal of another “lost” generation within the Lost Generation:
Over time, the United States has experienced dramatic social and cultural changes. As the culture of the United States has transformed, so have the members of the American society. Film, as with all other forms of cultural expression, oftentimes reflects and provides commentary on the society in which it is produced. David Fincher’s 1999 film Fight Club examines the effects of postmodernity on masculinity. To examine and explicate these effects, the film presents an unnamed narrator, an everyman, whose alter-ego—in the dissociative sense—is Tyler Durden. Durden represents the narrators—thus every man’s—deep-seated desire to break free from the mind-numbing, emasculating world that is postmodern, post-industrial America.
In Kimmel’s essay “’Bros Before Hos’: The Guy Code” he argues that the influence of society on masculinity is equal to or greater than biological influences on masculinity. In the essay, Kimmel uses various surveys and interviews to validate his argument. He points to peers, coaches, and family members as the people most likely to influence the development of a man’s masculinity. When a man has his manliness questioned, he immediately makes the decision never to say or do whatever caused him to be called a wimp, or unmanly. Kimmel’s argument is somewhat effective because the readers get firsthand accounts from the interviewees but the author does not provide any statistics to support his argument.
In Gail Bederman’s Manliness and Civilization, she aims to describe the concepts of manliness and masculinity at the turn of the century. Bederman explains that the concept of what it means to be a man is ever changing as a result of the ideology of the time as well as the material actions of the men. During the Progressive Era, many forces were at work that put pressure on the supremacy of white, middle class men. Some of these forces included the growing move toward empowered women, the unionization of the working class, and the move from self-employment to big, corporate business. She delves into the way that both racism and sexism were used to build up the concept of masculinity and the turn of the century discourse on civilization.
Mosse, L George. The Image of Man: The Creation of Modern Masculinity. New York: Macmillan publishers, 1996.
William Pollack, in his article “Inside the World of Boys: Behind the Mask of Masculinity”, discusses on how boy tries to hide behind the mask and the stereotypical of masculinity. He demonstrates how boy hide their deepest though and feelings and real self. Pollack open the essay with “a fourteen-year-old boy, he is doing badly in school and he might fail algebra, but when teacher or his parent ask about it, he said everything is just fine. He hide his true identity behind the mask, and let no one see his true self.” After read the story, I think the story is really useful source to write an essay about how boy become men and they are emotionless.
According to Kimmel, the earliest embodiments of American manhood were landowners, independent artisans, shopkeepers, and farmers. During the first decade of the nineteenth century, the industrial revolution started to influence the way, American men thought of themselves. Manhood was now defined as through the man’s economic success. This was the origin of the “Self-Made Man” ideology and the new concept of manhood that was more exciting, and potentially more rewarding for men themselves. The image of the Self-Made Man has far reaching effects on the notion of masculinity in America. Thus, the emergence of the Self-Made Man put men under pressure. As Kimmel states,
It is always shocking when someone that was generally well loved and respected is ruined. Because such people usually have few enemies, often times, the cause of their hardship is out of control hubris. Excessive pride can ruin even the most morally upright person by motivating them to do things they would never do unless they stand to lo. In Arthur Miller’s play, The Crucible, Miller utilizes the prideful nature of John Proctor and Mary Warren to demonstrate how arrogance can lead to the downfall of any kind of person, whether they are a moral person or a social climber.
John, the protagonist's husband, is a round character in Gilman's story who represents the prototype of manhood in the Victorian era. In a review of Michael Kimmel's book, "Manhood in America: A Cultural History," the author explores Kimmel's social and historical analysis of masculinity in the nineteenth century (Furumota). He identifies what Kimmel calls the Self-Made Man: a masculine ideal who originated out of a capitalist economic system and became the dominant ideal in that period. His identity derives, among other factors, from accumulated wealth and status, which defines the Self-Made Man as the personification of economic autonomy. According to Kimmel, his "success had to be earned and manhood had to be proved without end" (qtd. in Furumota). As a consequence, men competed among themselves in a society considered a white man's world. The Self-Made Man would do anything to protect his supremacy and to proof his manhood to other...
Over time, the image of men has changed. This is due mostly to the relaxation of rigid stereotypical roles of the two genders. In different pieces of literature, however, men have been presented as the traditional dominate figure, the provider and rule maker or non-traditional figure that is almost useless and unimportant unless needed for sexual intercourse. This dramatic difference can either perpetuate the already existing stereotype or challenge it. Regardless of the differences, both seem to put men into a negative connotation.
In the views of Micheal Kimmel “hegemonic masculinity” is a socially constructed process where men are pressured by social norms of masculine ideals to perform behaviors of a “true man” and its influence on young male’s growth. It is the ideology that being a man with power and expressing control over women is a dominant factor of being a biological male. The structure of masculinity was developed within the 18th to 19th century, as men who owned property and provided for his family with strength related work environments was the perfect example of being a generic “American man.” Kimmel introduces Marketplace Manhood and its relation to American men. He states, “Marketplace Masculinity describes the normative definition of American masculinity.
We’re all familiar with the stereotypes and myths about what it means to “be a man.” The victorious leader gets what he wants using aggression and does not accept failure; he is smooth with the ladies, and he is often good with a gun. He is usually rich and in control, especially in control of women, like a father who loves his daughter dearly but will be damned if she’s going to go out dressed like that. The list could go on and on with the stereotypes. But the Coen Brothers’ cult-classic film, The Big Lebowsk (1998), with its hero “The Dude,” contradicts these notions of masculinity. The Coen brothers offer several familiar stereotypes of masculinity (the Vietnam vet, the successful capitalist, an oversexed bowler, some aggressive German nihilists), yet it is these characters that throughout the film are shown to be absurd, insecure, and even impotent. It is these stereotype men that the Coen brothers criticize. “Sometimes there’s a man,” says the narrator over and over again, pointing out the Dude’s non-stereotypical masculinity as the true representation of what it means to be a man. The brothers then illustrate that the men who give no thought to their identity, who ignore the pressure to conform to cultural expectations, are to be regarded as “real men.”
At times, women can take action to either preserve the reputation or emphasize the importance of some well-regarded man. In other situations, it is the actions of a man towards a woman that helps preserve or increase the influence that he has. Even symbolically, women have importance in defining the standing of man, as they highlight what made a man of value to the community. Neither the Greek nor Anglo-Saxon depictions of women are too positive; nevertheless, they are accurate depictions of the times these societies lived in and of a time when women were considered to be inferior to
The Portrayal of Women in American Literature Throughout American Literature, women have been depicted in many different ways. The portrayal of women in American Literature is often influenced by an author's personal experience or a frequent societal stereotype of women and their position. Often times, male authors interpret society’s views of women in a completely different way than a female author would. While F. Scott Fitzgerald may have represented his main female character as a victim in the 1920’s, Zora Neale Hurston portrays her as a strong, free-spirited, and independent woman only a decade later in the 1930’s. In F. Scott Fitzgerald's, The Great Gatsby, the main female character, Daisy Buchanan, is portrayed by, Nick, the narrator, only by her superficial qualities.