Many attributes and behaviors that society considers as masculine are typically associated with the idea of power. Overemphasis on power, particularly in the forms of physical and sexual aggression, can be described as hypermasculinity. African-American men have a long history of being subject to emasculation in many aspects, and thus are forced to perform their masculinity in other ways. Overcompensation results from hypermasculinity, and consequently contributes to the perpetuation of black males as more physically and sexually violent than their white male counterparts. In Chester Himes’s novel, If He Hollers, Let Him Go, Himes provides a representation of toxic, internalized masculinity through the main protagonist, Bob Jones. Bob’s experiences …show more content…
Bob works in shipbuilding as a leaderman, and one of his black workers asks him to bring another tacker to help. Bob asks Hank, a white leaderman, for a tacker; Hank goes on to claim that all of them are busy. Even when Bob gestures to “a couple of tackers lounging over at the port rail by the generators, gabbing,” Hank blatantly lies and claims that they are busy as well, and suggests that Bob go ask “another cracker bastard” (15). Bob holds a leadership position, but his authority is not accepted nor respected because he is black. His white coworkers refuse to let him exercise his power. In fact, even when he finally finds Madge, an available tacker, she refuses to work with him, exclaiming, “I ain’t gonna work with no nigger!” Not thinking, Bob retorts, “Screw you then, you cracker bitch!” (16). Bob’s position as a leaderman is stripped from him over this comment, further enforcing the social hierarchy he is forced to live by. Women are typically placed towards the bottom ranks of social hierarchy. In society, they are typically expected to accept whatever they are told, and suffer negative repercussions if they do not. If Madge was to report a white male leader for making sexist remarks, she would most likely be told to ignore him or not take him personally. However, because he is black, society has placed Bob even further from
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.
In a more recent politically and culturally diverse world, many contemporary authors take it upon themselves to create novels exploring our diversity. In Paul Beatty’s The White Boy Shuffle, Beatty decides to critique our society’s strict and confining gender stereotypes and standards. Using irony and symbolism, Beatty crafts interesting characters, scenes, and dialogue to suggest that no one person is one-dimensional, and when society attempts to confine our multi-dimensional selves, many times we suffer from negative consequences. Through characters like Gunnar and Scoby, Beatty challenges the stereotypical masculinity expected of black males and what responses may occur as society attempts to box them in.
Hegemonic (Heg·e·mon·ic/ heɡəˈmänik/ adjective) masculinity is a concept first popularized by sociologist R.W Connell, hegemonic masculinity refers to the dominate role of men, and subservient/subordinate role of women in society (Connell). Hegemonic masculinity reinforces the age old idea that men are meant to be tough, strong, and reckless; whereas women are weak, obedient, and subservient to men. The concept of hegemonic masculinity and its ideals, is enforced by societies that rely on such genders. Such strong reinforcement of toxic masculinity can leave long lasting and harmful effects on individuals. Societal expectations of masculinity directly affects an individual’s relations with the same sex, and can lead to irrationals decisions motivated by: shame,
The rugged frontiersman, the wealthy self-made entrepreneur, the stoic lone wolf; these are classic archetypes, embodiments of an enduring mythos-- American Masculinity. The doctrine of ideal manliness and its many incarnations have occupied a central place in American literature since colonial times. These representations that still exists in countless cultural iterations. The literary periods studied in this course were witness to writers that continually constructed and deconstructed the myths of paternal heroism and ideal masculinity. From Romanticism to Modernism authors, like James’s Fennimore Cooper, and F. Scott Fitzgerald helped to create the lore of American Manhood by investigating cultural notions gender and self that were emblematic of their time.
For centuries, the ideal masculinity has been seen as the provider, the macho man, the cowboy and the emotional rock, but new representations of manliness in the media have been challenging this idea (Watson 2015, p. 270). Within these new depictions, there lies a hierarchy where one form of masculinity is more accepted than the rest (Kluch 2015). Macho masculinity has been seen as being dominant in the hierarchy for generations, however, in recent years, there have been an influx of new representations of masculinity that disrupt traditional hierarchal ideas. The masculinity of the twenty first century includes emotions, sensitivity, discipline, and intelligence. These new aspects of the hierarchy have been introduced by movies such as Brokeback Mountain, 22 Jump Street, The
... E Glenn, and Nancy B Sherrod. The psychology of men and masculinity:Research status and future directions. New York: John Wiley and sons, 2001.
Although neither take a significant role in the novel, Jack and Leon Tallis are critical starting points to understanding the expectations of masculinity. Beginning with Jack Tallis, we are not told outright, but it seems masculinity includes being the provider for the family, even if that means long nights away from the home. Emily has come to expect the “phone call from the department to say that Mr. Tallis had to work late and had to stay up in town” (96). But, this also implies Jack Tallis is having an affair, suggesting being involved with multiple women and sexual superiority is a right of those claiming masculinity. From the example set forth by Leon, readers can also assume the “gift of avoiding responsibility” and the ability to “float free” is also bestowed upon men if they so desire it as an option (96). From this limited view of masculinity readers are shown both freedom and power as key
Social forces tell the American male hat he live in a way that rejects everything seen as feminine. As outlined in In Social Inequality: Forms, Causes, and Consequences, Hurst asserts that media often portrays American women as emotional and affectionate (Hurst, p. 126-127). Thus, men who show emotion and affection often receive both physical and verbal attacks from other men due to not rejecting these feminine actions. These conceptions of masculinity damage American males because they repress emotion and simultaneously bolster aggression. The Representation Project is combating this damaging narrative by calling on society to change the overarching stereotypes. In their documentary The Mask You Live In, the Representation Project shows American males engaging in conversations about emotions and harmful masculinity in order to peel away the dangerous mask that harms all persons. Overall, The Representation Project strives to “re-humanize” men by drawing society away from the current
...hough he is tall and strong, Julien’s masculinity is policed aggressively and violently by his peers. When the rumor spreads that Julien is gay, his fellow officers, beat and intimidate him. Despite his stature, Julien quietly submits to their threats and intimidation. Quite literally, Julien’s masculinity is “policed” by his fellow police officers. Much like Patricia Hill Collins’ assertion about controlling images and that representations of black women as mammies and matriarchs work as “powerful ideological justifications” for “intersecting oppressions of race, class, gender and sexuality” (p. 69) the same can be applied to the controlling images of black male masculinity, “the “faggot and the queen”. Controlling images function to justify various oppressions by distorting reality through reducing the stereotyped subjected black body to a controllable object.
The way in which the ideal man, in terms of the male gender role, is portrayed is as hyper-masculine. The hyper masculine man is very muscular, violent, powerful, and has good self-control. While the ideal man is hyper masculine not all men feel as though they fit into that category. To counteract this a subgroup of men have formed a slightly different form of masculinity called Metrosexual. Metrosexuality is expressed differently than hyper masculinity but still holds the same core ideas. Modern masculinity "cling[s] ever more tenaciously to old ideals" (Kimmel 218) of masculinity, men being the breadwinners, and men being the leaders of the household . The old ideal of men, this being white men, being the breadwinners and being in control of the family is challenged as women and minorities make social gains and enter previously male exclusive circles of life, especially the workforce. Stresses related to social life and financial situations cause white men to feel insecure about their masculinity. In turn, men cope with this insecurity by viewing women and minorities as 'others, ' and they "just lash out at 'them, ' 'others, ' who now occupy the positions that once belonged to native-born middle-class white men" (Kimmel 220). In viewing women and minorities as 'others ' men create a dichotomy of 'us verses them. ' Hyper-masculinity promotes men to view women as others, which
and their daily lives. This presentation of masculinity can alter how men respect women in the
“The Other Wes Moore” By Wes Moore, reveals how two men can develop differently in the same social environment, and yet and have different intrapersonal views. The two men grew up in the same impoverished city, yet both have different experiences and views of what it means to be a man. The other Wes Moore, living his whole life in a poverty-stricken society, believes that being a man means to be powerful and unforgiving. The author, Wes Moore, living in two different worlds, views himself as a man when he becomes an exceptional leader and responsible for others lives. These concepts both tie into the constructs of masculinity in the United States where men are supposed to be protectors of society. The two Wes’ notions of manhood derive from
Men are allegedly competitive, aggressive, dominant, and strong and if these attributes are not acquired a man is not a man. When other men recognize a man failing in those four areas of “manliness” they compare him to a female with negative connotation as expressed in the following quote, “The worst insult one man can hurl at another-whether its boys on the playground or CEOs in the boardroom-is the accusation that a man is like a woman.” These actions create perceptions that women are unworthy and pitiful. Jensen mentions that because of masculinity men are thought to seek control over women resulting in an increase of physical violence towards women. However, masculinity has harsh effects on men as well. Men are constantly trying to prove their dominance to each other, while competing against one another for ultimate dominance. This creates a never ending cycle of competition and unease for
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.
He gives little credibility to the "not all men statement, addressing that while informative on an oppositional attitude, it does not do anything to address the sometimes toxic aspect of growing up as a man. The two stories are alike in the sense that people agree men can be, and sometimes are, violent. There are certain expectations placed upon a man as he grows and strives to be masculine. However, the stories diverge on a course of action.