What is the best way of explaining football hooliganism? “Serious sport has nothing to do with fair play. It is bound up with hatred‚ jealousy‚ boastfulness‚ disregard of all rules and sadistic pleasure in witnessing violence. In other words: it is war minus the shooting." (Oswell‚ 1945) The best way to explain football hooliganism is to perceive it in the same context as war. Like war‚ football hooliganism has different factors that all contribute to the overall goal. Although the
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known as the American definition of manhood‚ although it did have a rough start. Some of these principles changed through out time‚ but some remained the same. The major changes in this archetype were shown in the play The Contrast that Kimmel talks about. He shows three different types of manhood. The Genteel Patriarch was a powerful ideal through the early part of the nineteenth century. It was inherited from Europe. It “represents a dignified aristocratic manhood‚ committed to the British upper-class
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Reform movements including religion‚ temperance‚ abolition‚ and women’s rights sought to expand democratic ideals in the years 1825 to 1850. However‚ certain movements‚ such as nativism and utopias‚ failed to show the American emphasis on a democratic society. The reform movements were spurred by the Second Great Awakening‚ which began in New England in the late 1790’s‚ and would eventually spread throughout the country. The Second Great Awakening differed from the First in that people were now believed
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Good and bad: there always seems to be a choice and an extensive gap between them‚ as if there is no grey area whatsoever. In literature and film‚ this frequently leaves two distinct and defining characters within them: the “good guy”‚ the protagonist‚ and the “bad guy”‚ the antagonist. Contradictive of the prior point‚ is the reality of life and people’s ability to choose right over wrong. Given the choice‚ most tend to do wrong for the simplest reasoning of having the ability to do so‚ or the fact
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Conceived in the play Macbeth are three symbolic views that are all recurring and Act 4 scene 2 presents all of these views. These three views are manhood‚ flight‚ and betrayal. The first begins in the beginning of the play‚ but is recognized in Act 4 scene 2 just like the rest of these symbolic views. To many this scene is seen as one of the most crucial parts of the play. Drawing on the major scenes of the play Macbeth it pushes for action and ultimate conclusion. Numerous times irony is displayed
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lot of courage to do so. Henry Fleming displays courage because he has an inner fear of not being able to be a true hero. He is afraid of his reactions to the battles during that point in time. He feels that he cannot be a real man without first proving his valor. Finally‚ Henry overcomes his fear‚ and fights with the confidence that he has never felt before. • Duty- The young‚ Civil War soldier‚ Henry Fleming‚ struggles between his duty to himself and the duty to his cause. The duty to himself
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Gwendolyn Brooks’ poem "We Real Cool" identifies the struggle that Black American youths went through to define themselves in the late fifties and early sixties‚ in a society that was predominately trying to keep them oppressed. The poem portrays a group of young Black boys who hang out in a pool hall and conduct illegal activity instead of going to school with the rest of their peers. The boys are insecure about their role in society; they talk big so that they can hide behind their facade of being
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The Gentlemen and the Roughs: Violence‚ Honor‚ and Manhood in the Union Army by Lorien Foote In the year 1861‚ the Civil War erupted throughout the United States. After four long gruesome years‚ the Union Army enlisted a total number of 2‚893‚304 northern soldiers. In The Gentlemen and the Roughs‚ Lorien Foote sheds light on northern conceptions of violence‚ honor‚ and manhood. Foote argues that the Union army originated by dividing class and social status‚ fighting a war for
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perilous world where boys become men. Michael Loebig 11/28/11 Guyland can be defined as the world in which young men live (Kimmel 2008‚ pg. 4). It’s a stage these young men go through from the time they hit adolescence to the time they enter manhood (from about 15 to 26). It’s a world where guys just act as guys‚ untouched by the adult life of parents‚ jobs‚ kids‚ girlfriends‚ etc. Kimmel (2008) describes it as a “Peter-Pan mindset”‚ where these kids live in a realm of fun and freedom and never
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in popularity that they forget individuality. The play “Glengarry Glen Ross” by David Mamet‚ holds many symbols that make the audience believe the salesmen aren’t really the men they say to be. Manhood to them must be earned with hard work; they do not see it as a word that is just given to them. Manhood is earned not given‚ “A man’s his job.” The men in this play are not real men at all. Levene tells Williamson how “a man’s his job” and implies that since Williamson takes orders from Mitch and
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