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Risk, health and manliness
Juliette Pattinson, Arthur McIvor and Linsey Robb

industrial work and the ways in which bodies were exposed to heightened risk and danger in wartime are made evident in this recollection of Leith docker Bobby Rodger. By associating workplace injuries and deaths with ‘casualties’ Rodger positioned himself in relation to dominant discourses about wartime loss of life, and in the process affirmed his masculinity in his reserved occupation. Because of the prevailing patriarchal sexual division of labour men monopolised the most dangerous work, and much of this in wartime was reserved, including most jobs in the mines, iron

in Men in reserve
Generic hybridity and gender crisis in British horror of the new millennium
Linnie Blake

themselves. Operating within a culture which, in Andrew Spicer’s words, is itself: decentred and heterogeneous, no longer recognising clear national, ethical or sexual boundaries, where forms of masculinity are becoming increasingly hybrid and audiences delight in the knowingness and self-reflexivity of popular culture9 such heroes are self-reflexively comprised of a range of archetypally British cinematic variations on the masculinity theme (from stoical everyman to Byronic romantic lead to stiff-lipped action hero). And as such, they allow for an exploration of the ways

in The wounds of nations
Reactions to reserved status, masculinity and the military
Juliette Pattinson, Arthur McIvor and Linsey Robb

95 v 3 v ‘Making a contribution to the war effort’: reactions to reserved status, masculinity and the military In 1939 Sid Archer was nineteen, working as an engineer in Gainsborough’s agricultural machinery manufacturer Marshall, Sons & Co. Sixty years later he was interviewed by BBC Lincolnshire for the British Library’s Millennium Memory Bank, an initiative to record the testimonies of ordinary people on the eve of the new century. Towards the end of the interview he reflected, unprompted, upon his wartime experiences: One of my regrets is that I was in a

in Men in reserve
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Emma Vickers

Like the storeman described by Weekes, ‘Cynthia’ was admired for his strength, fitness and overall physical appearance, features which in themselves are desirable markers of masculinity. In addition, however, Cynthia possessed other characteristics that made him a welcome member of the crew at the balloon station, namely individuality, humour and an anti-­authoritarian approach to military discipline. In Sutcliffe’s words, Cynthia was both ‘one of the lads’ and a ‘one off’. This is a curious, almost oppositional compliment. To be classed as ‘one of the lads’ implies

in Queen and country
Queering ethnicity and British Muslim masculinities in Sally El Hosaini’s My Brother the Devil (2012)
Alberto Fernández Carbajal

multicultural London. In this chapter’s exploration of My Brother the Devil (henceforth My Brother ), I suggest that the racially pitted gangs of Kureishi’s depiction of Thatcherite Britain have evolved into multiethnic gangs organised around London’s postcodes, which involves a sometimes problematic distancing from the values of first-generation migrants, as well as a queering of masculinity which disorientates nationalist and diasporic normativity. However, far from undertaking a stringent critique of Islam, El Hosaini enacts micropolitical disorientations, for instance

in Queer Muslim diasporas in contemporary literature and film
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Heather Streets

the British Empire’s fiercest, most manly soldiers. I argue that the connections contemporaries saw between these three groups demonstrate the historical instability of conceptions of ‘race’ as well as the political uses and contradictory purposes to which such conceptions could be put. I also argue that the savage representations of masculinity that lay at the heart of martial race ideology were a

in Martial races
Jason Statham as postmodern hero
Robert Shail

Noon (1952). An additional characteristic that Dyer attributes to the Tough Guy is a specific ability to reflect wider societal anxieties especially in relation to masculinity and violence. These can come to the surface at particular historical moments of collective stress, such as the depression of the 1930s or the political turmoil of 1970s America at the time of the Vietnam

in Crank it up
Dolores Tierney

director so closely allied to the Revolution, Fernández’ own, high voice was in some way incommensurate not just with his public persona but also with the redefinition of masculinity in the post-Revolution era. However, apart from these two observations, the question of Fernández’ voice is something which does not arise in traditional auteurist accounts of his work (although everything else about his life and being does). This

in Emilio Fernández
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Melanie Tebbutt

only had a ‘generation of men’ been lost, but a surplus of women of childbearing age meant that by 1927 there were two million more women than men.6 Whereas the roles and expectations of young men remained largely within traditional roles and expectations, the changes in young women’s lives challenged pre-war masculinities at many levels, and contributed to the common inter-war belief that the ‘sexes were converging’, with the blurring of boundaries between masculine and feminine.7 Appalling death rates, shell shock, injury and mental breakdown introduced a

in Being boys
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The problem of exemplary shame
Mary C. Flannery

importance of practising shamefastness, and to cultivate in them a hypervigilance concerning the possibility of disgrace. 6 Here, however, the implicit invitation to ponder what might have happened to Virginia and Lucretia, had they lived, also raises the question of why death and dishonour are the only options for honourable women faced with the possibility of sexual shame in these texts. I will argue that the key to the issue lies in how medieval literature depicts the relationship between ‘hardy’ masculinity (reflected

in Practising shame