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When I ask my students at the beginning of my Men and Masculinity course about “real men,” I get responses like, “real men aren’t afraid to show affection,” or “real men like to dance,” or “real men can cry in public and not care what anyone else thinks.” My students want to subvert the traditional “sturdy oak” model of masculinity. They mean well. But all they’re doing is swapping one unattainable ideal for another. Just as “real women have curves” delegitimizes countless slim women, “real men aren’t afraid to cry” shames those men who for any number of reasons are awkward about public displays of emotion. The contemporary “real man” ideal presents itself as inclusive, but it’s just another cultural straitjacket.
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Source: hugoschwyzer

  • 2 months ago > hugoschwyzer
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"…the Negro is a sort of seventh son, born with a veil, and gifted with second-sight in this American world. A world which yields him no true self-consciousness, but only lets him see himself through the revelation of the other world. It is a peculiar sensation, this double-consciousness, this sense of always looking at one's self through the eyes of others, of measuring one's soul by the tape of a world that looks on in amused contempt, and pity. One ever feels his twoness, an American, a Negro; two warring souls, two thoughts, two unreconciled strivings; two warring ideals in one dark body, whose dogged strength alone keeps it from being torn asunder. The history of the American Negro is the history of this strife, this longing to attain self-conscious manhood, to merge his double self into a better and truer self."
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