By Josep M. Armengol
Comprising seven assorted chapters, the gathering males in colour makes an attempt to investigate, and revisit, the illustration of ethnic masculinities, either white and non-white, in and during modern U.S. literature and cinema. If many of the latest reports on masculinity and race have headquartered on one particular version of racialized masculinities, males in colour makes an attempt to supply an introductory point of view on diverse racialized masculinities at the same time, together with African American, Asian American, Chicano, Arab American, and likewise white masculinity, that is analyzed as one other ethnic and gendered build, instead of as a paradigm of normalcy and universality. by way of exploring numerous ethnic masculinities with regards to one another, the current quantity goals to focus on either the variations and the similarities among varied styles of masculinity, exhibiting how, whilst gender is inflected through race, sure points or beneficial properties of masculinity stay unchanged around the ethnic board. finally, the amount as a complete illustrates either the altering nature of masculinities in addition to the recurrence of yes stereotypes, comparable to the hypersexualization and/or the feminization of ethnic men, which recur in and throughout numerous ethnicities. The consistent stress and intersection among gender and race is the topic of this e-book, which hopes to give a contribution a few notes and reflections on ethnic masculinities to the even more complicated and bigger dialogue approximately gender and racial identities in our more and more multicultural and globalized 21st-century international.
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Extra resources for Men in Color: Racialized Masculinities in U.S. Literature and Cinema
Example text
He raped the girl, even if he did not like her, because he felt it was his right to do so. Moreover, his grandfather’s “understanding” derives from his own personal experience, as he forced himself upon Máximo’s grandmother in his youth. Interestingly, this scene can be read as a “rite of initiation” into manhood, to validate men’s power over women. The fact that the girl’s brothers physically punished Máximo for raping her but became friends with him afterwards points to the fact that they were avenging their own sense of honor, heralded by the women of the family.
He is a Lebanese man, father of the protagonist of the novel, Jasira, who is a teenager on the verge of having her first period and of discovering sexuality. She goes to live with her father at the beginning of the story, after her mother sends her out of the house because the mother’s boyfriend shows interest in her. At that moment, Rifat has to take care of a daughter that he does not know, and that he feels very uneasy with. He acts as a moralizer, being very traditional and strict when he deals with his daughter, while at the same time he also neglects her and does not pay enough attention to her.
51 Castillo, Sapogonia, 80. , 56. 53 Castillo, Sapogonia, 181-82. , 244. 55 Castillo exposes how men and women are alienated in a heterosexist discourse that regulates people’s sexual practices and bodies. This idea is encapsulated in Pastora’s comments regarding the widespread belief that she is a witch, who enchants and castrates men. Besides, Castillo also dismantles Paz’s ideal of female sexual passivity by asserting that “Pastora always laughed, cynically, when such stories were brought to her attention.