Shane and the Language of Men

<p>Jane Tompkins has argued that a deeply conflicted relationship exists between men and language in the Western. Deploying too much language emasculates Western heroes, men who privilege action over talk. For support, Tompkins turns to a number of moments in <em>Shane</em>, the 19...

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التفاصيل البيبلوغرافية
المؤلف الرئيسي: Jesse Gerlach Ulmer (14586792) (author)
منشور في: 2018
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author Jesse Gerlach Ulmer (14586792)
author_facet Jesse Gerlach Ulmer (14586792)
author_role author
dc.creator.none.fl_str_mv Jesse Gerlach Ulmer (14586792)
dc.date.none.fl_str_mv 2018-06-05T00:00:00Z
dc.identifier.none.fl_str_mv 10.1515/arcadia-2018-0005
dc.relation.none.fl_str_mv https://figshare.com/articles/journal_contribution/Shane_and_the_Language_of_Men/22047923
dc.rights.none.fl_str_mv CC BY 4.0
info:eu-repo/semantics/openAccess
dc.subject.none.fl_str_mv Language, communication and culture
Literary studies
masculine studies
Jack Schaefer
Shane
literary studies
adaptation
dc.title.none.fl_str_mv Shane and the Language of Men
dc.type.none.fl_str_mv Text
Journal contribution
info:eu-repo/semantics/publishedVersion
text
contribution to journal
description <p>Jane Tompkins has argued that a deeply conflicted relationship exists between men and language in the Western. Deploying too much language emasculates Western heroes, men who privilege action over talk. For support, Tompkins turns to a number of moments in <em>Shane</em>, the 1953 film adaptation of the 1949 novel of the same title by Jack Schaefer. Tompkins argues that the film constructs a model of masculinity that wholly rejects language, a move that is destructive and exploitative to self and others. However, a close reexamination of the novel reveals a model of masculinity that is more positive and flexible towards language and gender than Tompkins’s views on the Western suggest. A close rereading of the novel shows that men in Westerns do not always use talk and silence to subjugate women and others, and that the valuing of language over action does not always end in violence or exploitation. Furthermore, the film adaptation of the novel will be examined, a work that occupies a more cherished place in American culture than the novel, a situation that is the reverse of traditional cultural hierarchies in which the literary source material is privileged over the film adaptation. Ultimately, the novel and film are engaging in different ways, yet Schaefer’s novel, rather than being relegated to middle school literature classrooms, rewards serious critical and scholarly attention, particularly in the context of the film adaptation and critical discourse on the representation of masculinity in the Western. </p> <h2>Other information</h2> <p>Published in: arcadia<br> License: <a href="http://creativecommons.org/licenses/by/4.0" target="_blank">http://creativecommons.org/licenses/by/4.0</a><br> See article on publisher's website: <a href="http://dx.doi.org/10.1515/arcadia-2018-0005" target="_blank">http://dx.doi.org/10.1515/arcadia-2018-0005</a> </p>
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spelling Shane and the Language of MenJesse Gerlach Ulmer (14586792)Language, communication and cultureLiterary studiesmasculine studiesJack SchaeferShaneliterary studiesadaptation<p>Jane Tompkins has argued that a deeply conflicted relationship exists between men and language in the Western. Deploying too much language emasculates Western heroes, men who privilege action over talk. For support, Tompkins turns to a number of moments in <em>Shane</em>, the 1953 film adaptation of the 1949 novel of the same title by Jack Schaefer. Tompkins argues that the film constructs a model of masculinity that wholly rejects language, a move that is destructive and exploitative to self and others. However, a close reexamination of the novel reveals a model of masculinity that is more positive and flexible towards language and gender than Tompkins’s views on the Western suggest. A close rereading of the novel shows that men in Westerns do not always use talk and silence to subjugate women and others, and that the valuing of language over action does not always end in violence or exploitation. Furthermore, the film adaptation of the novel will be examined, a work that occupies a more cherished place in American culture than the novel, a situation that is the reverse of traditional cultural hierarchies in which the literary source material is privileged over the film adaptation. Ultimately, the novel and film are engaging in different ways, yet Schaefer’s novel, rather than being relegated to middle school literature classrooms, rewards serious critical and scholarly attention, particularly in the context of the film adaptation and critical discourse on the representation of masculinity in the Western. </p> <h2>Other information</h2> <p>Published in: arcadia<br> License: <a href="http://creativecommons.org/licenses/by/4.0" target="_blank">http://creativecommons.org/licenses/by/4.0</a><br> See article on publisher's website: <a href="http://dx.doi.org/10.1515/arcadia-2018-0005" target="_blank">http://dx.doi.org/10.1515/arcadia-2018-0005</a> </p>2018-06-05T00:00:00ZTextJournal contributioninfo:eu-repo/semantics/publishedVersiontextcontribution to journal10.1515/arcadia-2018-0005https://figshare.com/articles/journal_contribution/Shane_and_the_Language_of_Men/22047923CC BY 4.0info:eu-repo/semantics/openAccessoai:figshare.com:article/220479232018-06-05T00:00:00Z
spellingShingle Shane and the Language of Men
Jesse Gerlach Ulmer (14586792)
Language, communication and culture
Literary studies
masculine studies
Jack Schaefer
Shane
literary studies
adaptation
status_str publishedVersion
title Shane and the Language of Men
title_full Shane and the Language of Men
title_fullStr Shane and the Language of Men
title_full_unstemmed Shane and the Language of Men
title_short Shane and the Language of Men
title_sort Shane and the Language of Men
topic Language, communication and culture
Literary studies
masculine studies
Jack Schaefer
Shane
literary studies
adaptation