Dangerous Masculinities: Conrad, Hemingway, and Lawrence by Thomas Strychacz

By Thomas Strychacz

In Dangerous Masculinities, Thomas Strychacz has as his target not anything under to show scholarship on gender and modernism on its head. He specializes in the best way a few early twentieth-century writers painting masculinity as theatrical functionality, and examines why students have in general missed that fact.
Strychacz argues that writers reminiscent of Conrad, Hemingway, and Lawrence--often considered as misogynist--actually represented masculinity of their works when it comes to theatrical and rhetorical performances. they're theatrical within the feel that male characters hold staging themselves in aggressive screens; rhetorical within the experience that those characters, and the very narrative type of the works during which they seem, render masculinity a type of persuasive argument readers can and will debate.
Perhaps best is Strychacz's competition that scholarship has obscured the truth that usually those writers have been really serious of masculinity. Writing with a readability and scope that permits him to either invoke the Schwarzeneggarian "girly guy" and borrow from the theories of Judith Butler and Bertolt Brecht, he models a severe process with which to discover the ways that students gender texts through the very act of interpreting.

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Extra info for Dangerous Masculinities: Conrad, Hemingway, and Lawrence

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In the literary/cultural/theoretical fields with which I am most familiar, the influence of feminism on everything from hiring practices to canon-formation to teaching methodologies to interpretive strategies could hardly be overstated. As a powerfully persuasive critical charter, feminism has had a transformative impact on the discourses and practices of higher education. It is in this context of disciplinary change that Boone’s and Lurie’s claim for the subversive properties of intellectual work makes most sense.

But in its tacit acknowledgment that a strategically powerful rhetorical move is being made. Here, the emphasis lies on the proposed act of rewriting. That move can be understood quite readily in terms of feminist praxis, which advocates a conscious and determined urge toward revisionist modes of inquiry. Yet the rhetorical dimension to Boone’s argument exceeds these requirements. His phrasing asks: what purchase on new interpretive grounds would become available if we were to rewrite feminist fears about “men in feminism” as a “strictly heterosexual gesture of appropriation”?

An essay I examine in part because Boone’s analysis of the 32 Dangerous Masculinities: Conrad, Hemingway, and Lawrence gender of modernism is so influential and in part because it is one of the best attempts to move male feminism beyond the frustrating impasse of Men in Feminism. ”36 His answer challenges the entrenched dualisms of Men in Feminism but does so, importantly, on the basis of a reconstructive and diversifying vision of masculinity. The problem, according to Boone, is that questions about masculinity have been posed too often in the “language of the ‘straight, white academic’” (19).

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