000			01856nam 22002773n 4500
001			3437
010			_a0304328081 _bbr.
073			_a9780304328086 _bbr.
090			_a3437
099			_tLIVR
100			_a20230104d1994 k||y0frey50 ba
101			_aeng
102			_aGB
105			_ay|||cd||001cy
106			_ar
200			_aMale Impersonators _eMen Performing Masculinity _bTexte imprimé _fMark, Simpson
205			_a[1ère édition]
210			_aLondres _b41/47 Strand, London WC2N 5JE _cCassell _d1994 _eGrande-Bretagne _gMackays of Chatham
215			_a1 vol. (290 p.) _ccouv. ill.
330			_aWhat is the queer connection between Clint Eastwood's Unforgiven and Robert Bly's Iron John? What do football and anal sex have in common? Why is Tom Cruise unable to leave his baseball bat alone in A Few Good Men? And why do Marky Mark's pants keep falling down? In this section of scandalous essays on the representation of men in popular culture, Mark Simpson tosses a firecracker into the men's movement's earnest sweat-lodge and, following on from Freud, argues for the vital centrality of homoeroticism and narcissism in any understanding of the fraught phenomenon of modern masculinity. These 'unmanly' desires are hidden and yet exploited in the portrayal of manliness; Simpson demonstrates how homophobia and misogyny are a consequence of the need to keep this mechanism secret in order to preserve its virile power. From Laurel and Hardy to shaving adverts, rock and roll to war movies, Male Impersonators offers wit and reader-friendly theory in equal measure in a coruscating review of the greatest show on Earth -- the performance of masculinity.
610			_amasculinité
610			_ahomoérotisme
610			_ahomophobie
610			_asexisme/misogynie
700			_4070 _9217 _aSimpson _bMark
801			_aFR _b595126101 _cYYYYMMDD _gAFNOR