By K. Kippola
Exploring the functionality of masculinity off and on the nineteenth-century American degree, this e-book appears on the shift from the passionate muscularity to highbrow restraint as now not a linear trip towards nationwide refinement; but a multitude of masculinities struggling with at the same time for dominance and popularity.
Read Online or Download Acts of Manhood: The Performance of Masculinity on the American Stage, 1828–1865 PDF
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Additional resources for Acts of Manhood: The Performance of Masculinity on the American Stage, 1828–1865
Well pleas’d, the Weight of all her Burdens bear; Dispense all Pleasure, but engross all Care. 51 American audiences saw this selfless devotion to country embodied in their own leader, Washington. ” In the early Republic, Gustavus Vasa became a theatrical fixture that was performed on patriotic occasions and to commemorate the birthday of the country’s champion. Celebrating a self-made manhood that Edwin Forrest’s prize-winning dramas would come to embrace, Scotch clergyman John Home’s Douglas (1756) provided one of the more popular vehicles for young male actors, which served as a proving ground for histrionic ability and masculine sentiment.
28 In contrast to these firmly entrenched traditions, Jackson was a war hero who was known for his temper and willingness to take political and personal action, which included assaulting and dueling men who insulted him. Representing both an average and an ideal, Jackson walked the walk of a self-made manhood that would dominate the second quarter of the nineteenth century, suggesting that strength of Act Like a Man 29 character and singular force of will were sufficient to achieve greatness.
Neither Macready, Garrick, nor Jenny Lind, nor Rachel, nor Gough, nor Clay, nor Choate has done it. 66 Imagine Fowler’s amazement if he had known that this passionate following would continued unabated for another 30 years. Melding dramatic genius, melodious voice, and popular eloquence—not to mention humble economic beginnings and a nonthreatening Gospel of Love—created a seductive masculine attraction. Comparing Beecher’s “star power,” not only to the principal speakers of his time but also to the greatest actors, acknowledges his overpowering charisma in (and as) performance.