Wann Ist Der Mann Ein Mann? 1997
DOI: 10.1007/978-3-476-03664-3_16
|View full text |Cite
|
Sign up to set email alerts
|

Männlichkeit, Mythos, Gemeinschaft — Nachruf auf den Western-Helden

Help me understand this report

Search citation statements

Order By: Relevance

Paper Sections

Select...
1

Citation Types

0
1
0

Year Published

2005
2005
2017
2017

Publication Types

Select...
2
1

Relationship

0
3

Authors

Journals

citations
Cited by 3 publications
(1 citation statement)
references
References 3 publications
0
1
0
Order By: Relevance
“…11 In this connection cf. Walter Erhart (1997), who emphasizes that the Western is a genre in which masculinity is not only subject to glorification but also to constant threat by deviant, that is to say effeminate, 'masculinities,' and especially by tempting femininity seeking to throw the hero off his 'male' course. This happens, for example, to Ringo Kid in Stagecoach (Tohn Ford, 1939) and Will Kane in High Noon (Fred Zinneman, 1952 Brought to you by | New York University Bobst Library Technical S Authenticated Download Date | 6/3/15 12:01 AM characterized as "clinging," "overprotective," "hyperpossessive," "domineering" or even "castrating."…”
Section: IImentioning
confidence: 99%
“…11 In this connection cf. Walter Erhart (1997), who emphasizes that the Western is a genre in which masculinity is not only subject to glorification but also to constant threat by deviant, that is to say effeminate, 'masculinities,' and especially by tempting femininity seeking to throw the hero off his 'male' course. This happens, for example, to Ringo Kid in Stagecoach (Tohn Ford, 1939) and Will Kane in High Noon (Fred Zinneman, 1952 Brought to you by | New York University Bobst Library Technical S Authenticated Download Date | 6/3/15 12:01 AM characterized as "clinging," "overprotective," "hyperpossessive," "domineering" or even "castrating."…”
Section: IImentioning
confidence: 99%