Constructing Gender Jealousy - Coursework Example

Constructing gender (socialization & psychoanalysis): jealousy  Name Institution Date Introduction The paper explains to what extent displays of jealousy in men should be accepted as healthy and not patriarchal ways of behavior towards women. An analysis is also done on how men and jealousy are depicted in the film End of the Affair so as to explore the contemporary notion of male masculinity crisis as portrayed in western cultures. Binary alternatives that had once held boundaries regarding gendered sexual orientations have been put to the test. This is because of certain modernity in the past characterizing hegemonic masculinity narratives no longer being convincing (Yates, 2000). Many have argued that contemporary dilemmas related to masculinity and so called feminization in western nations have emotionalized cultures and practices that were formally associated with feminism. This shift has resulted to a number of crisis arguably presenting men as suffering emotional and masculinity crisis (Yates, 2000). This topic entails to create new understanding of the relationship between male jealousy and women. Jealousy has played an important role in shaping the cultural and masculine identities. This explores tension and contradicting moments that women face. Common debates about jealousy revolve around social and psychological issues. Psychologically, male jealousy is related to envy whereas sociology distinguishes among envy and jealousy. Sociologists suggest that envy is what you would want to have but you lack possession of it, on the other hand, jealousy is what you pose and wish not to lose it (Yates, 2000). The paper ideally tends to carve space on which psycho-cultural considerations on heterosexual jealousy signify and its manifestations. This carries the weight of themes such as loss and anxiety. Insecurity among the men, that underpins male jealousy, can be discussed on the basis of alleged male masculinity crisis. Crisis, psychologically and socially, signify reflexive shifts towards positive masculinities (Yates, 2000). Some have suggested that cultural change in contemporary has led to new social and cultural spaces to pave way for the emergence of less defensive and aggressive males. Others argue that changes in contemporary culture have led to provoked defensive responses in the media. Feminized images of men are contributing to a paranoid culture among the feminism and masculinity (Lehman, 2001). The paper applies both social and psychoanalytic theories with respect to culture. For example, debates have engaged the study of masculine jealousy and its representation on films. Such tend to challenge the masculinity theory models as either being positive or negative. Arguments relating to contemporary representations contain both of these elements with deferent positions (Yates, 2000). Understanding these ambiguities reflects on the fears and doubts that relate to loss of male entitlement to new cultural contradictions and traditional definitions aware of masculinity and jealousy. Such interpretations initiate feelings that reflect more on the acceptance of masculinity in a social, cultural and psychological context. Jealousy is important as it explores dilemmas in order to cope with complex emotions affecting wounded narcissism about feeling of loss. Social rule that governs the code of masculine jealousy plays significant roles in emotional aspect of the western or generally male masculinities. Male jealousy has been shaped historically by cultural factors and contexts where they have been expressed or symbolized. In the early twentieth centuries male jealousy was regarded as social and not psychological as a male appropriate defensive respond to his pride and honor (Yates, 2000). Social pride is easily viewed through a career lens where a female counter part has become more successful than the husband. This might just spark jealousy as the husbands social pride is easily affected. The husband feels diminished in front of the wife because he earns a lesser salary. Male jealousy was deemed prerogative in a way to defend themselves against the adultery of women. However this is no longer the case. Rules of possession have changed; male jealousy in studies is being associated as a pathological sickness and a dangerous emotion. Numerous books have implied jealousy as emotional immaturity, the refusal to respect the woman s territorial and private space (Freud, 1922). In similar cases, male jealousy towards their women has been associated with chauvinistic possessiveness hence easily resulting to violence. Modern times have arguably diminished jealousy as iconic anxieties relating to cultural change. It is now possible to view masculinity and jealousy positively represented in the contemporary culture. This is linked to the emotionalisation of male identities through backlashing against feminism. Jealousy is being popularly old fashioned in an increasingly feminized world. Male jealousy in mainstream cinemas depicts and reflects on hegemonic meaning, emotions and contested negotiations made continually (Yates, 2000). Displays of male jealousy on mainstream media Holly wood has dominated the main stream media hence acts as a useful barometer reflecting towards values and attitudes surrounding such emotions. The paper aims to server as a link between masculinity, jealousy toward women in this popular frame. As Hollywood continues to be political, commercially and physiologically popular across mass media, many diverse images of masculinity are depicted now more than ever. Films provide a means through which relationships among culture and subjectivity are reflected and affect the society. A viewer’s perspective on how they interpret the meaning of a film depends on their positioning. For example, the viewer is seen as part of the larger social audience and unconscious spectators. Here, social and cultural influences come into play in the meantime shaping textual understanding. We could suggest that films act as meeting points for ideologies myths and fantasies as desires are played out (Yates, 2000). Psychological analysis that theorizes gender and culture was a key site from the pioneering films of Laura Mulvey in the 1970s. Laura made psychoanalytical feminists with her approach. Such cultural studies suggest that Hollywood contributes to routinely test masculinity through which patriarchal traits continue to reveal themselves. Lately research has suggested that male cultural spaces and ambiguity are gradually emerging with the potential of new content for mainstream media. Applying Winnicotts definition of transitional space, cultural forms shift masculine representation to what is being opened up for mainstream audiences. Rigid narratives however differ hitherto much of holly woods characterization. New masculine representations of masculinity have emerged showing modes of masculinity that are less narcissistic (Yates, 2000). Male jealousy representations have contributed to playing central roles in Hollywood films and narratives. Hence, continues to be the case of contemporary films. Many films over past decades have used male jealousy as significant roles in their narratives to depict masculinity crisis towards women, for example, Memento, Basic instant 2, Boogie nights and Lolita films. Focus of jealousy on films has reflected upon the lack trust in traditional masculinity narrative in general. The possessive gaze of jealous love triangles and emotional outcomes are less passive objects of male jealousy though a challenge to the possession of power by the jealous subjects (Yates, 2000). Male jealousy is best shown in the film ‘A perfect Murder’ whereby it stars Michael Douglas, a husband and full of ruthless masculinity. Through his character, he punishes the wife who had an affair. Interestingly he partners with the alleged lover to plan her murder. However the plan goes sour when the wife later discovers the husbands plot. Instead she kills him and by a whisker escapes punishment. This signaled the shift in law as representing patriarchal masculinity (Freud, 1922). This film however is the remake of Hitchcock’s classic ‘Dial M for Murder’. The wife’s desires were given a less narrative and expression as compared to the earlier one in 1998. The wife was presented as a career woman and given a sexual identity which reflected upon the cultural changes that have since occurred since that time (Yates, 2000). A comparison among these two films is the emotionalism expressed of the jealous character in contemporary society within the film. Strong male jealousy depictions can be found in the film ‘Closer’ basing its theme on sexual differences and rivalry (Freud, 1922). Leading characters Clive Owen and Jude law are central in the narrative focused on jealously. When the film begins, Hostility among the men is interwoven within their desires; desires to possess elusive female figures. Such shows how masculinity is greatly portrayed in relation to overwhelming desires. Psychological and social cultural shaping of male jealousy Male jealousy has played major roles in global masculinities. Sexual jealousy has been socially accepted in our cultures as male characters so as to defend men’s integrity. Cultural codes and rules referring to male jealousy are more ambiguous than ever (Lehman, 2001). Psychoanalysis has represented masculinity as an outcome needed to be separated from all pre-Oedipal or association with castrating father figures. From a Lacanian point of view, jealous is stressed as the ability of certain men in possession of imaginative phallus are key to shaping defensive masculinity while negating feminists. The term good enough jealousy is used to describe alternative modes of male jealousy in ways able to tolerate ambivalence, loss and psychological capacity intended to exist with complexity differences (Yates, 2000). Through revisions of good enough concepts such as Oedipus and good enough jealousy, they give rise to potentially positive accounts of male jealousy that are less defensive. These illustrate the complexities and plurality of psychological male precariousness emotional states, where the destructive nature of fear and possession lay hidden (Lacan, 1991). However, suggesting such dilemmas can coexist bridging the difference between physic complexities and related objects. Psychological analysis theories in complex modes evoke the spectator to explore unconscious formations related to jealousy discussions. Masculine jealousy may be conveyed in text form as emotions are easily relied aesthetic properties film text, including the representations of jealous protagonists, who influence the spectator. Jealousy is a visceral emotion that is full of pain and talked about in everyday life. Such emotions are depicted in physical form (Lacan, 1991). Through witnessing jealousy, similar feelings such as disgust and embarrassment may be induced by the spectators in real life. Jealousy arises from the threat of loss of possession, invoking shameful anxieties reflecting upon pre-Oedipal periods of loss. Romance In End of the Affair, there is a childish oedipal portrayal about Fiennes professing his love to Sarah. In one scene of the film, after they had made love, we see him dressing Sarah and saying that he was jealous of her stockings (Lehman, 2001). This gave light to his romantic feelings for her. To such extent this is good enough jealous towards women and not in a patriarchal way. Such compliments are inspirational to a spectator as it fosters emotional feelings of love. Women often have erotic possessions and are often the basis of narratives where the hero saves the girl from a rival. In the movies mission impossible two, Tom cruise fights his evil counterpart Dougry Scott in order to rescue both women and the word from obliteration by the deadly chemical virus. In Taxi Driver, Robert De Niro attempts to save both prostitutes from the evil vice. The actors do so even though different boundaries surrounding the male jealousy norm normally overlap. The terms male jealousy and masculine jealousies are interchangeable used. However masculine jealousy is generally preferred as it illustrates the relationship between masculine and jealousy. This relationship between the two demonstrates the psychological and sociocultural changes over time periods. Theoretical models found in the paper are psycho cultural as it interrelates among social, physical spheres, cultural analysis and the unconscious forces of the spectators. The different approaches to culture and subjectivity are discussed further (Lehman, 2001). Psycho-analytic Theory Psychological analysis theory of jealousy approach gives rich information on how to explore the complexities of gender subjects and respective relationships to culture. This provides space to allow contradictions which arise relating to the different theories of culture ignoring psychic processes (Lacan, 1991). From a psychoanalytical aspect, psychic forces decentralize the shaping of gender protagonists unconsciously. Unconscious workings can be traced back to the earlier days, shaping relationships internally and externally in our relation to objects. The acquirement of gender identities has played key central roles in the process of psychic entry by subjects into the symbolic realism of sexual differences and relations of culture, hence; a gendered identity. Psychic forces underpin the cultural construction and femininity gender becoming cultures of masculinity. Such explanations relate to the anxieties and defensive processes while shaping masculinity and jealousy (Yates, 2000). The term good enough The term acknowledges the complexities and potential ambiguities regarding masculinity, thus using the term to portray a non-idealizing concept of jealousy and masculinity. However, limits are encountered in the face of curtail change and uncertainty. It is a less defensive term when referring to masculinity, suggesting possibilities in accepting complexities of triangular dilemmas and social relations of jealousy in view of respective fantasies (Yates, 2000). Psychic forces shaping masculinity tend to have both cultural and social dimensions; subjects are not fixed rather prone to gendered contentions and change. They occur in psychological, complex interrelation of social forces that are historically specific to cultural discourses. Patriarchal masculinity developed by R.W. Connell suggests that gender is always in process as it constitutes the site of struggle and subjected to change within unconscious and conscious experience levels (Yates, 2000). Conclusion Jealous displays in men that are considered healthy or rather termed as good enough can be illustrated in the above text complex situation where romance is involved, for example heroic acts by lovers against rivals. Jealousy is the fear to lose what you already possess. However, ambiguity occurs where an individual plots to kills his wife after realizing she was in an affair with another man. Is he not afraid of losing her? Such ambiguity and complexities are broken down in relation to psychological, social and cultural models disusing masculinity and jealousy. Therefore, Male jealousy representations have contributed to playing central roles in films, narratives and the global society as a whole. References Freud, S .1922. ‘Some neurotic mechanisms in jealousy, paranoia and homosexuality' in The standard edition of the complete psychological works of Sigmund Freud: tr. J. Strachey, in collaboration with Anna Freud. London: Hogarth Press, [1962-75] volume. Lacan, J .1991. The Four Fundamental Concepts Of Psycho-Analysis, Penguin Books, London. Lebeau, V. 2001.Psychoanalysis and Cinema, The Play of Shadows, Wallflower Press, London. Lehman, P. 2001.Masculinity; Bodies, Movies, Culture, Routledge, London. Lupton, D. 1998. The Emotional Self, Sage, London. Yates, C. 2000. "Masculinity and Good Enough Jealousy ', Psychoanalytic Studies, Vol. 2, No.1, 77-88, Read More

Arguments relating to contemporary representations contain both of these elements with deferent positions (Yates, 2000). Understanding these ambiguities reflects on the fears and doubts that relate to loss of male entitlement to new cultural contradictions and traditional definitions aware of masculinity and jealousy. Such interpretations initiate feelings that reflect more on the acceptance of masculinity in a social, cultural and psychological context. Jealousy is important as it explores dilemmas in order to cope with complex emotions affecting wounded narcissism about feeling of loss.

Social rule that governs the code of masculine jealousy plays significant roles in emotional aspect of the western or generally male masculinities. Male jealousy has been shaped historically by cultural factors and contexts where they have been expressed or symbolized. In the early twentieth centuries male jealousy was regarded as social and not psychological as a male appropriate defensive respond to his pride and honor (Yates, 2000). Social pride is easily viewed through a career lens where a female counter part has become more successful than the husband.

This might just spark jealousy as the husbands social pride is easily affected. The husband feels diminished in front of the wife because he earns a lesser salary. Male jealousy was deemed prerogative in a way to defend themselves against the adultery of women. However this is no longer the case. Rules of possession have changed; male jealousy in studies is being associated as a pathological sickness and a dangerous emotion. Numerous books have implied jealousy as emotional immaturity, the refusal to respect the woman s territorial and private space (Freud, 1922).

In similar cases, male jealousy towards their women has been associated with chauvinistic possessiveness hence easily resulting to violence. Modern times have arguably diminished jealousy as iconic anxieties relating to cultural change. It is now possible to view masculinity and jealousy positively represented in the contemporary culture. This is linked to the emotionalisation of male identities through backlashing against feminism. Jealousy is being popularly old fashioned in an increasingly feminized world.

Male jealousy in mainstream cinemas depicts and reflects on hegemonic meaning, emotions and contested negotiations made continually (Yates, 2000). Displays of male jealousy on mainstream media Holly wood has dominated the main stream media hence acts as a useful barometer reflecting towards values and attitudes surrounding such emotions. The paper aims to server as a link between masculinity, jealousy toward women in this popular frame. As Hollywood continues to be political, commercially and physiologically popular across mass media, many diverse images of masculinity are depicted now more than ever.

Films provide a means through which relationships among culture and subjectivity are reflected and affect the society. A viewer’s perspective on how they interpret the meaning of a film depends on their positioning. For example, the viewer is seen as part of the larger social audience and unconscious spectators. Here, social and cultural influences come into play in the meantime shaping textual understanding. We could suggest that films act as meeting points for ideologies myths and fantasies as desires are played out (Yates, 2000).

Psychological analysis that theorizes gender and culture was a key site from the pioneering films of Laura Mulvey in the 1970s. Laura made psychoanalytical feminists with her approach. Such cultural studies suggest that Hollywood contributes to routinely test masculinity through which patriarchal traits continue to reveal themselves. Lately research has suggested that male cultural spaces and ambiguity are gradually emerging with the potential of new content for mainstream media. Applying Winnicotts definition of transitional space, cultural forms shift masculine representation to what is being opened up for mainstream audiences.

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