New PDF release: Masculinity in Male-Authored Fiction, 1950-2000: Keeping It

By A. Ferrebe

ISBN-10: 0230502318

ISBN-13: 9780230502314

ISBN-10: 1403945500

ISBN-13: 9781403945501

Tracing the impact of masculinity on fictional shape and topic via an period of dizzying social swap, this well timed new booklet conducts an in depth research of English novels chosen for contrasting definitions of the male gender, from the allegedly offended younger males to the modern confessions of Nick Hornby. The literary interval because 1950 is interpreted as one in every of extreme political and stylistic negotiation by way of male authors with the gendered subject-positions either one of fictional characters and those that examine them.

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Extra resources for Masculinity in Male-Authored Fiction, 1950-2000: Keeping It Up

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Good, clean, rational fun Such codes are becoming familiar to us. Take a Girl Like You is notable, however, for its innovations in the Amisian scheme of selfhood, and the relationship between that selfhood and morality. Written on the brink of the decade which was to redefine sexuality as the foundation of the The Consolations of Conformity 43 authentic self, rather than an embarrassing primal urge to be ignored, the novel attempts to create a sexual morality for the changing social climate around the essentialist creed that ‘What people do doesn’t change their nature’ (316).

What I saw was entirely pleasing. The sooner we reached the cottage the better. Myrtle was modestly tall and very slender. She was wearing grey slacks and a cerise woollen sweater. Her breasts and buttocks were quite small, though her hips were not narrow. She was light-boned, smooth and soft. There was nothing energetic or muscular about her. (25) Fragility, passivity, child-bearing hips – these quintessentially feminine characteristics are firmly designated as ‘entirely pleasing’ before they are 26 Masculinity in Male-Authored Fiction listed.

Kim L. Worthington notes our contemporary conception in the wake of theorists like Derrida and Lacan that subjectivity derives from intersubjectivity: ‘I speak myself, to myself and to others, in the language of others’ (5). The model of the masculine self provided in Lucky Jim flatly denies this intersubjectivity: it assumes a pre-linguistic, ‘finished’ self, the authenticity of which is severely compromised by its expression in ‘the language of others’. Revealingly, though, Jim’s only alternative to the mimicry of his patriarchs is a slight change of tone: ‘No more imitations, they frightened him too much, but he could suggest by his intonation, very subtly of course, what he thought of his subject and the worth of the statements he was making’ (225).

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Masculinity in Male-Authored Fiction, 1950-2000: Keeping It Up by A. Ferrebe

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