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Gender adaptations in modern war films
Jeffrey Walsh

widely discussed by a range of female scholars, making it likely that women warriors will not, as in films representing Vietnam, again go ‘missing in action’. 12 ‘I didn’t mean to sound so tough’: masculinity at war Representations of masculinity in war films are endlessly fluid and adaptable, such negotiations and generic inflections being related to the ways in which commercial

in Gender and warfare in the twentieth century
Fighting masculinity on the Russian punk scene
Hilary Pilkington

-1‘If you want to live, you better know how to fight’: fighting masculinity on the Russian punk scene -Hilary Pilkington- The discussion of masculinity and femininity on punk scenes is a relatively recent phenomenon.1 The emphasis in published work to date has been on reclaiming young women’s experience and practice; driven, in part, by their increasing visibility thanks to the emergence of the Riot Grrrl scene in the 1990s. The broad consensus reached might be encapsulated in LeBlanc’s conclusion that ‘gender is problematic for punk girls in a way that it is

in Fight back
Mairtin Mac an Ghaill and Chris Haywood

masculinities within a British context of local and global change. Different generations of Irish men going to Britain include those of the Famine, the post-Second World War, the 1980s ‘Ryanair’ migrants and the current post-Celtic Tiger, transnational generation of Skype/Facebook users.2 The second section explores changing self-representations, social practices and cultural journeys among Irish men. We draw upon narratives of different generations that we have collected across different cities that include stories about workplace identities, friendship, cultural belonging

in Are the Irish different?
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Gothic conspiracy and the eyes of Lara Means
Julia M. Wright

Hellenic “powers-that-be,” draws on the gothic trope of conspiracy in its final two, breakneck-speed episodes by revealing that a secret society of supernatural entities, “The Circle of the Black Thorn,” has been controlling commerce, politics, and other social engines. As these series unravel masculinity and patriarchy, their arc narratives turn to the old gothic trope of religious conspiracy and the

in Men with stakes
Abstract only
Alannah Tomkins

besetting disinterested and manly professionals in a smoothly functioning polity. This research offers a fine-grained analysis of the challenges to medical careers based on multiple case studies featuring a measure of ‘failure’ and the questions this also raises about the nature and construction of medical masculinity. Retrieving these cases has swept up over 1,800 men who encountered one or multiple difficulties. The majority of these practitioners – over 1,000 – were identified in the context of financial hardship, but large cohorts were also uncovered among men thought

in Medical misadventure in an age of professionalisation, 1780–1890
Populism, New Humour and the male clerk in Marsh’s Sam Briggs adventures
Mackenzie Bartlett

and peculiar’, while an obituary in the Athenaeum commended the late author’s ‘sense of social comedy’.2 Even his Gothic tales were admired for their use of humour, with many critics acknowledging Marsh’s flair for genre bending.3 Marsh frequently used slapstick, satire, parody and farce to interrogate some of the most pressing issues of his day, including the ‘Woman Question’ and the changing conceptions of manhood and masculinity, the expansion of London and the effects of suburban sprawl, the contentious debates about evolution and degeneration, the rise of

in Richard Marsh, popular fiction and literary culture, 1890–1915
The Elephant Man, the Hysteric, the Indian and the Doctor
Andrew Smith

, but later considers that it is masculinity which is in some way to blame. This idea of a ‘dangerous’ masculinity, which Treves had seen in the case of Merrick, is here moved from the apparent margins of biological anomaly to the centre of institutionalised masculine culture, as represented both by the medical profession and the duties of the wife. These Gothic images of imprisonment are translated

in Victorian demons
Post-subcultural pop
Steve Redhead

is no such “place” to start with’.23 The ‘street’ in Britain, or the ‘boxcar’ or the ‘road’ in the United States of America, are mythical constructs of popular cultural practices. For youth culture, too, such myths have frequently been highly gendered: in other words, the ‘street’ has often been seen as a male domain, the ‘bedroom’ a female one –​though Morrissey’s claims to have lived a hermit’s existence could also be taken to reflect the desires and tentative masculinities of thousands of his contemporaries. 57  58 The end-of-the-century party Nevertheless

in The end-of-the-century party
The Datchet Diamonds
Victoria Margree

driven by chance events, and in which an imagery of gambling is omnipresent. In this way, the novel explores the fears and aspirations of its young and somewhat precariously middle-class characters as they seek to establish for themselves a place 87 Richard Marsh, masculinity and money in an uncertain world. It also poses questions about value: about what is valuable and about how value is to be measured in a society in which market forces threaten ceaselessly to transform people, objects and relationships into mere instances of economic rationality. This chapter will

in Richard Marsh, popular fiction and literary culture, 1890–1915
Nicole Vitellone

relationship to identity construction, many cultural commentators share a number of theoretical assumptions regarding the body, gender and sexuality post-AIDS. This commonality concerns an assumption that the visual field, particularly vis-à-vis eroticised images of safer sex, works to break down and/or transgress a stable heterosexual masculine identity, to the extent that for many social and cultural theorists such images have been assumed to incite a crisis of the male body and a crisis of heterosexual masculinity. In making this assumption explicit this chapter aims to

in Object matters