**THIS IS A FINAL PAPER. PLEASE READ EVERYTHING VERY CAREFULLY**
In Baldwin’s Giovanni’s Room, David lives a life of poor decisions and misery, mainly as it pertains to his “immaculate manhood.” What has he done—what reasons can we metatextualize—that inevitably result in David being alone as the novel concludes? One might argue that he has violated several historically imposed American social standards, regulations, and judicial mandates that “society,” even today, continues to resist. If so, what are they, and why do they result in the disturbing end for the book’s troubled main character?
Is David ultimately responsible for the events that unfold, or is he a victim?
Furthermore, looking at the life David feels forced to live in Paris, discuss what exactly prevents him from being able to embrace what Emerson references as “whole,” and Baldwin describes as “Freedom.”
Look closely at Baldwin’s Giovanni and infuse within your argument why his death is the inevitable result of rejecting those who make the rules. Does Giovanni pay the price for being a non-conformist?
Additionally, looking at the idea of masculinity, what is the true definition? Is it inevitably toxic? Looking at the two articles by Williams (The Gift That Keeps on Giving & Bill Cosby), do movements like #MeToo and Time’s Up signal a shift in the global power structure that has historically been centered on male supremacy? Are “being a man” and outwardly demonstrating “masculinity” concepts that inevitably endanger women? How does Newsom’s documentary (The Mask We Live In Documentary 2016) speak to the need for change? What does Newsom’s film reveal about how difficult the call to “Be a man!” actually is? Contrastingly, how do the essays and films we have reviewed fit the gay male into these prescribed boxes of maleness and manhood?
Add Fight Club 1999 & ( https://youtu.be/ZAJnlCrJ3cM ) to this argument: What does maleness have to do with fighting? And why must men, according to the film, fight? In that same regard, how does the Emersonian notion of being “whole” play into this? How do those interviewed in Newsom’s documentary speak to the issues that Fight Club and Emerson bring to light? At the same time, blend into the argument the pain expressed by the males—sons, fathers, lovers—seeking answers in Claudine 1974. Why is their struggle the same as the other films and essays—yet distinctly different?
How do all the materials we’ve examined around “being a man” speak to the world we live in today? Has anything changed? Are things better? Worse? Is the idea of “man” changing? Or is everyone just afraid of being “canceled” and, as such, the history that has formed maleness and manhood will continue as it always has?
Make sure to include:
Throughout your essay’s argument, look at how the female characters are portrayed in the films, articles, and the novel. What roles do they perform in how males view manhood? Do they aid them or distract them? Are they friends or foes? Consider the herd mentality/deindividuation and intersectionality: how do these sociological lenses alter the way we conceptualize the social call to “Be a man”?
Throughout your essay, determine what commentary the books and films, and music make on manhood, and in what ways do these artistic interpretations define, alter, or shape the lives of the characters who are portrayed as irrevocably damaged.
James Baldwin’s “The Man” – https://youtu.be/WWwOi17WHpE
James Baldwin’s “I Am Not Your Negro” – https://youtu.be/3y6xwH88kpg
James Baldwin’s “Pin Drop Speech” – https://youtu.be/NUBh9GqFU3A
- The paper should weave source discussions that we have uncovered while researching these texts and films, including any laws, cultural considerations, statistics, and sociological/psychological/philosophical principles discussed
- Throughout the work, feel free to introduce any films or literature or music we have examined this semester that will support your argument
- Secondary sources—sources assigned/viewed this summer but not listed above—are required (at least six)
- The paper must have quotes documented and cited throughout that support your argument
- Do not forget that the paper must conform to MLA’s or APA’s documentation style
- This paper cannot be less than six FULL pages or more than ten (this does not include a title page or Works Cited/References page).
Please NOTE:
The design and development, the order and weight of YOUR argument, is up to you, the literary critic. Said differently, everything listed above must be included, but the development and presentation of the material is YOUR choice.
- As a writer, decide what the main focus will be for your paper. If, for example, Emerson or Fight Club or Claudine or toxic masculinity or religion or language or feminism or conformity is what you feel should be primary, just shift the perspective. Ultimately, everything must be addressed, but you decide what the essay will concentrate on—what the thesis will use as its primary source
- Do not attempt to simply answer the questions. The paper must introduce, defend, and conclude. There are a lot of questions above, but they will not and should not receive the same weight for our paper development. Our papers must develop an essay that has an introduction, a controlling thesis, defending body paragraphs with transition, and a conclusion
- The questions above are NOT equal. As such, the degree of answering the questions should be determined by your essay’s focus.
Be aware:
Any paper suspected of plagiarism will result in an automatic F and be forwarded to the Division Dean
- Unless the paper is well-documented and has appropriate citations throughout, any Safe Assign above 50% should not be submitted (unless you have a lot of quotes and have included in-text citations)
- However, if you quote heavily, do not lose your voice as the writer. Remember, quotes work for you, not the other way around
If considering using book or film reviews in place of your own reading and viewing, please don’t risk it.