8:00a-9:15a TR (30) 3 cr

In the final scenes of American Beauty, Lester Burnham turns to a picture of his family, an idyllic trinity of husband, wife, and child. As his smile widens, he murmurs softly to himself, "Man oh man. Man oh man oh man." Since its opening, the film has been touted by critics and crowds as a "true expression of the American male" and a "serious exploration of masculinity today." But it arrives on the scene amidst an onslaught of products--films, television series, books, magazines, etc.--that make similar claims. The last few years have seen a proliferation of discourses surrounding the concept of masculinity that forces us to consider carefully the specific claims of each. In this course, we will focus our attention on recent fiction and films that offer to construct, champion, or critique the terms of masculine identity. More specifically, we will explore how these writings serve to inscribe masculinity in relation to feminism, nationalism, race, and consumerism. Be aware, though: this course will not serve as anyone's celebration or lament. You should be prepared for a rigorous exploration of recent debates and discourses concerning gender, the body, and phenomenology.

Fiction to be considered will most likely include work by Cormac McCarthy, Thom Jones, Charles Johnson, Paul Beatty, Nick Hornby, Chuck Palahniuk, and Jim Crace. Films include Fight Club, Swingers, The Big Lebowski, Eyes Wide Shut, In the Company of Men, and Ghost Dog. Criticism by Klaus Theweliet, Elizabeth Grosz, Susan Faludi, Laura Mulvey, and others.

This is a discussion-based course, so both attendance and participation are mandatory. You will be assigned frequent written responses to the readings and three formal papers.