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Values and gender roles
American social norms
Conformity in brave new world
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“About Men” by Gretel Ehrlich connects to the theme of conformity. In the essay, Ehrlich challenges the stereotypes that are often placed on American cowboys. She attempts to redefine what it means to be a true American cowboy. By doing this, she offers what it means to be an American male as well. In the essay, Ehrlich argues that a real American cowboy is a mix between what we consider to be masculine (a silent and stoic man) and feminine (a caring and gentle nurturer). Ehrlich takes popular stereotypes of the typical American cowboy and debunks them one by one. In her essay, Ehrlich uses casual analysis, imagery, and tone in an attempt to challenge the stereotypes that are often placed on American cowboys by connecting with the theme of …show more content…
In the essay, Ehrlich uses diction vigorously to persuade readers that cowboys are not just the stereotypical tough men they are portrayed to be. The inclusion of words such as “pilgrimage” and “conquest” help to give a new meaning to the essay. In the essay, “pilgrimage” gives the reader the image of a great expedition, while “conquest” produces the idea of power and victory. Ehrlich also creates visual scenes by utilizing specific details in the essay. An example of this is when Ehrlich describes toughness as “weathered skin, calloused hands, a squint in the eye, and a growl in the voice” (3). Throughout the essay, Ehrlich creates visual imagery by describing the physical terrain by which cowboys carry on their work, as well as the cowboys themselves. The explanations she provides about the physical appearance of the terrain and of the cowboys helps to create a vivid picture of who the cowboys are to the reader. Through these explanations, Ehrlich passes a strong message to the audience about how real cowboys are very different than what society expects. In doing so, Ehrlich states that the American notion of heroism is that a man’s value is measured in how much physical courage he has. This idea, Ehrlich argues, has “perverted manliness” (2). In contrast to this popular American idea, a cowboy’s courage is selfless, thus it is a measure of
The topics that Joe Ehrmann uses as framework for his Building Men for Others program are quite intriguing and make you really question masculinity. The first topic, rejecting false masculinity, can be interpreted a few different ways. In the book, it states: “As young boys, we’re told to be men, or to act like men” soon followed with “we’ve got all these parents say ‘be a man’ to boys that have no concept of what that means. I completely agree with the statement of Joe Ehrmann and often question the definition of ‘being a man’. Many boys and men will reject the idea of a man being anything other than being big and strong or having power. Overall instead of a true definition of a man, kids and even adults interpret it as athletic ability, sexual conquest, and economic success. The second topic Joe speaks about is the relationships that make a real man. In the book it states “the number one complaint I hear from most wives is ‘My husband has no relationships with other men.’ In other words, most
"Relocating the Cowboy: American Privilege in "All the Pretty Horses"" Pepperdine University: Global Tides Seaver Journal of Arts and Sciences. Maia Y. Rodriguez, 2014. Web. 2 May 2016. . The Western typically illustrates the journey of a man, usually a horse riding cowboy, into the Western frontier where he must conquer nature "in the name of civilization or [confiscate] the territorial rights of the original inhabitants... Native Americans" (Newman 150). What this brand of mythology promotes is precisely the values of American culture: rugged individualism, achievement and success, activtity and work, democracy and enterprise, and--most importantly--
Because of the outlaw hero’s definitive elements, society more so identifies with this myth. Ray said, “…the scarcity of mature heroes in American...
Hämäläinen goes on to explain that his purpose is to trace and analyze the contradictions of the Plains Indians’ horse culture, rather than just condemning it as something baleful, which many historians tend to do. Hämäläinen also refutes the common eastern farmer-western nomad manner of analyzing Plains equestrianism, in which there is “a tendency to cast the villagers as cultural reactionaries who failed to embrace the liberating powers of equestrianism and, locked in space and time, were crushed by the double invasion of the aggressive nomads and the encroaching Americans,” (Hämäläinen, 2) and instead proposes that Plains horse culture is understood from a latitudinal --rather than longitudinal-- viewpoint, since horse culture spread from the south, northwards. It is also explained that the latitudinal spread of equestrianism gave rise to the creation of markedly diverse horse cultures, vary...
As history cascades through an hourglass, the changing, developmental hands of time are shrouded throughout American history. This ever-changing hourglass of time is reflected in the process of maturation undertaken by western America in the late nineteenth century. Change, as defined by Oxford’s Dictionary, is “To make or become different through alteration or modification.” The notion of change is essential when attempting to unwind the economic make-up of Kansas in the 1880’s and 1890’s. Popular culture often reveres the American cowboy, which has led him to become the predominate figure in America’s “westering” experience (Savage, p3). However, by 1880 the cowboy had become a mythical figure rather than a presence in western life. The era of the cowboy roaming the Great Plains had past and farmers now sought to become the culturally dominant figure and force in the American West. Unlike the cowboys, farmers were able to evolved, organizing and establishing the Populist Party. The farmers’ newly formed political organization provided them with a voice, which mandated western reform. Furthermore, the populist ideas spread quickly and dominated western thought in the 1880’s and 1890’s. The period of the 1880’s and 1890’s marked the end of the American cowboy and gave farmers a political stronghold that would forever impact the modernization of the West.
The cowboy hero, The Virginian, as portrayed in Owen Wister’s novel was the first of his kind and today is known as the stereotypical mythic cowboy figure which our view of the western frontier are based from. The Virginian was the first full length western novel apart from the short dime novels which marked the final stage in the evolution of the cowboy hero to a national icon. The Virginian was published in 1902 and at that time was wildly popular because of the settlement of the west. The story of the cowboy who had the skill and courage to take control of the untamed frontier enthralled people. The cowboy hero had a few distinguished qualities, he was a self-appointed vigilante, he had a very strict moral code, he had exceptional perception skills and he had the ability to adapt. Owen Wister’s The Virginian was the first to portray these qualities and really created a deeper cowboy character.
In "The Thematic Paradigm", Robert Ray explains how there are two distinctly different heroes, the outlaw hero and the official hero. The official hero embraces common values and traditional beliefs, while the outlaw has a clear sense of right and wrong but operates above the law (Ray). Ray explains how the role of an outlaw hero has many traits. "The attractiveness of the outlaw hero's childishness and propensity to whims, tantrums, and emotional decisions derived from America's cult of childhood", states Ray. (309) Ray also says, "To the outlaw hero's inconsistence on private standards of right and wrong, the official hero offered the admonition, you cannot take the law into your own hands." (312) The values of these two traditional heroes contrasts clearly. Society favors the outlaw hero because we identify with that character more. We see ourselves more so in the outlaw hero than in the official hero. The outlaw hero has the "childlike" qualities that most of us wish we had as adults. To civilians it may seem that the outlaw hero lives more of a fantasy life that we all wish to have.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
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.
Louise Erdrich’s short story “American horse” is a literary piece written by an author whose works emphasize the American experience for a multitude of different people from a plethora of various ethnic backgrounds. While Erdrich utilizes a full arsenal of literary elements to better convey this particular story to the reader, perhaps the two most prominent are theme and point of view. At first glance this story seems to portray the struggle of a mother who has her son ripped from her arms by government authorities; however, if the reader simply steps back to analyze the larger picture, the theme becomes clear. It is important to understand the backgrounds of both the protagonist and antagonists when analyzing theme of this short story. Albetrine, who is the short story’s protagonist, is a Native American woman who characterizes her son Buddy as “the best thing that has ever happened to me”. The antagonist, are westerners who work on behalf of the United States Government. Given this dynamic, the stage is set for a clash between the two forces. The struggle between these two can be viewed as a microcosm for what has occurred throughout history between Native Americans and Caucasians. With all this in mind, the reader can see that the theme of this piece is the battle of Native Americans to maintain their culture and way of life as their homeland is invaded by Caucasians. In addition to the theme, Erdrich’s usage of the third person limited point of view helps the reader understand the short story from several different perspectives while allowing the story to maintain the ambiguity and mysteriousness that was felt by many Natives Americans as they endured similar struggles. These two literary elements help set an underlying atmos...
For many Americans, the image of the cowboy evokes pleasant nostalgia of a time gone by, when cowboys roamed free. The Cowboy is, to many Americans, the ideal American, who was quick to the draw, well skilled in his profession, and yet minded his own business. Regardless of whether the mental picture that the word cowboy evokes is a correct or incorrect view of the vocation, one seldom views cowboys as being black. The first cowboy I met was from Texas and was black. After he told me that he was a cowboy, I told him that he had to be kidding. Unfortunately, I was not totally to blame for my inability to recognize that color has nothing to do with the cowboy profession; most if not all popular famous images of cowboys are white. In general, even today, blacks are excluded from the popular depiction of famous Westerners. Black cowboys were unheard of for almost a century after they made their mark on the cattle herding trade, not because they were insignificant, but because history fell victim to prejudice, and forgot peoples of color in popular depictions of the West and Western history.
When one thinks of the United States of America, they probably consider our history, our culture, our media, our impressive cities and the extremely wide variety of beautiful wildernesses that we are lucky enough to still enjoy. We are lucky enough to have a melting pot of cultures in this country, and many different kinds of people. However, when thinking of an original, all-American figure, cowboys come to mind for many people. Our history and the settlement of the U.S. was unlike any other country, and the development of the country in the more western states came with the unique and fascinating time period referred to now as “The Old West”. The Old West was a crucial time in American history, and though it was a simpler time it also came with its share of excitement. Some of the most memorable details about the Old West were the characters that came with it, and some extremely interesting ones were the least conforming- the outlaws. Jesse Woodson James was one of the most notorious outlaws in American history. His name would go down in history as one belonging to a tough as nails and fearless bank robber who led a group of outlaws across the mid-west robbing banks and trains, and even murdering people. When we look at the big picture of what the U.S. has become today, The Old West certainly has had a large impact on our culture, and Jesse James certainly had a large impact on the Old West. Though most would argue that he was not a decent or moral person, one cannot argue that he was still a very interesting and unique icon of the west. So how did Jesse Woodson James change and leave his mark on the United St...
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.
The cowboys of the frontier have long captured the imagination of the American public. Americans, faced with the reality of an increasingly industrialized society, love the image of a man living out in the wilderness fending for himself against the dangers of the unknown. By the end of the 19th century there were few renegade Indians left in the country and the vast expanse of open land to the west of the Mississippi was rapidly filling with settlers.
Few Hollywood film makers have captured America’s Wild West history as depicted in the movies, Rio Bravo and El Dorado. Most Western movies had fairly simple but very similar plots, including personal conflicts, land rights, crimes and of course, failed romances that typically led to drinking more alcoholic beverages than could respectfully be consumed by any one person, as they attempted to drown their sorrows away. The 1958 Rio Bravo and 1967 El Dorado Western movies directed by Howard Hawks, and starring John Wayne have a similar theme and plot. They tell the story of a sheriff and three of his deputies, as they stand alone against adversity in the name of the law. Western movies like these two have forever left a memorable and lasting impressions in the memory of every viewer, with its gunfighters, action filled saloons and sardonic showdowns all in the name of masculinity, revenge and unlawful aggressive behavior. Featuring some of the most famous backdrops in the world ranging from the rustic Red Rock Mountains of Monument Valley in Utah, to the jagged snow capped Mountain tops of the Teton Range in Wyoming, gun-slinging cowboys out in search of mischief and most often at their own misfortune traveled far and wide, seeking one dangerous encounter after another, and unfortunately, ending in their own demise.