early 1960s; a “soft” phase with a more liberal, “human face” made possible by a change of course in politics, spanning the 1960s and the 1970s; and another reversal of the trend, this time toward national Communism, terminated by the 1989 uprising that
Children’s Literature in Communist Romania
1980s Boyhood in British Cinema, 2005–2010
, represents the last bastion of traditional masculinity. These 1980s-set films 1 indicate that contemporary men have considerable difficulty reconciling the decade’s socio-political and cultural ambiguities. Films such as Is Anybody There? (2008) and The
Emma Celeste Bedor
of apathy, cynicism, and malaise as they relate to media exposure overwhelmingly examine these questions as they relate to political figures, their campaigns, and news coverage (Ansolabehere and Iyengar 1995 ; Bennett et al. 1999 ; Cappella and
with increasing skepticism to the political events following World War I. Conversely, movements such as Cubism and Abstract Expressionism were marked by an increased attention to formalism and abstraction and a resistance to art that was expressly
On a 1st Anniversary
Jonathan A. Allan, Chris Haywood, and Frank G. Karioris
Joseph Biden. I [Frank] am reminded of a similar note I wrote in an article for the Sexual Violence Research Initiative's “16 Days of Activism” series in early December: “We write this post amidst political protests that have shaken Kyrgyzstan, with the
Analysis of British Expatriate Masculinity in Yusuf Dawood's One Life Too Many
Antony Mukasa Mate
main protagonist. Walker takes advantage of the British colonial domination and sojourns around several colonies under the Empire before settling in Kenya. There, Walker is immediately absorbed by the minority but economic and politically dominant
Jonathan A. Allan
Crises of masculinity and wars on boys often deploy the suicides of young males as a rhetorical strategy in raising awareness for a political cause, that is to say a declaration of war, a war that remains dubious at best. Who, for instance, declared “war” on “boys”? This paper argues that theorists of gender, particularly masculinity, must think carefully and critically about suicide as a rhetorical strategy. In particular, this paper seeks to explain why men’s rights activists and scholars prefer the term “boys” to “young men” or “adolescents,” and subsequently aims to work through ideas of temporality, futurity, and slow death to understand the deployment of suicide as strategy.
This article explores the construction of boyhood in short fiction written by Patrick Pearse, the Irish nationalist and political activist executed for his leading role in the abortive Easter Rising of 1916. Pearse’s focus on the spiritual dimension of boyhood in his first collection of Irish-language stories, Íosagán agus Sgéalta Eile [Iosagan and Other Stories] (1907), simultaneously undermines and endorses imperialist and patriarchal assumptions about gender differentiation. In later stories published in An Mháthair agus sgéalta eile [The Mother and Other Stories] (1916), Pearse moved from advocacy of boyish spirituality to a more physical and militant representation of boyhood. This changing representation of Irish boyhood illustrates how Pearse’s increasing militarism reflected his ongoing construction of national identity.
Boys, Masculinity and Historical Memory in War Comics 1945–1995
This article maintains that as a genre war comics are a valuable and neglected source for understanding constructions of ideal masculinity in the post-war West. While its main focus is the depiction of heroic manliness in one of the most commercially successful American war comics, G.I. Joe, comparisons are made with Britain’s Commando Comics and the German pictorial war magazine Landser, which concentrated mainly on the Second World War and also enjoyed wide popularity. The article suggests that while mainly addressing an adolescent readership, over time these comics came to direct their political and moral messages not only to boys but also to increasing numbers of older men who had started reading these comics when they were boys themselves. In particular, it argues that war comics strategically deployed notions of “boyishness” in their story lines, exploiting both the negative and positive connotations of the word to make readers question the egotism and immorality of contemporary society.
The Challenge of Constructing and Communicating Acceptable Boyhood
This paper describes a digital interactive book targeted at 10-14 year old boys which aims to educate about how the voice develops during puberty. The contents are based on a conventional print book for adults. The D-book has an advocacy as well as educative role—it attempts to argue in a “boy friendly” language that singing is part of a rounded and fulsome boyhood. It has had to consider carefully how this might be communicated to a potentially skeptical young audience. “Boy friendly” literature has been condemned by the critics of right wing recuperative masculinity politics. The paper therefore critiques the picture of boyhood that has been conveyed and discusses the justifications for the compromises that have been reached.