New Ways of Being a Man: “Positive” Hegemonic Masculinity in Meditation-based Communities of Practice

Connell’s concept of hegemonic masculinity is often reduced to a singular construct, consisting of “toxic” traits viewed as detrimental to well-being. However, the concept allows for variation in hegemony, including the possibility of forms more conducive to well-being. Through in-depth interviews with thirty male meditators in the United Kingdom, we explored the social dimensions of meditation practice to examine its potential implications for well-being. Most participants became involved with “communities of practice” centered on meditation that promoted new local hegemonies, and these included ideals experienced as conducive to well-being, like abstinence. However, social processes associated with hegemony, like hierarchy and marginalization, were not overturned. Moreover, participants faced challenges enacting new practices in relation to the broader system of hegemonic masculinity—outside these communities—reporting censure. Our findings are cautionary for professionals seeking to encourage well-being behaviors: that is, there is potential for adaptation in men, yet complex social processes influence this change.

The cultural politics of being a knob

This chapter is a meditation on the popularity of the BBC TV motoring show Top Gear. Contrary to analyses that read Top Gear as a straightforward expression of casual sexism, it argues that the show (and the culture it exemplifies) can alternatively be read as having been modified in important ways by feminist critique. The chapter argues that feminism’s influence has changed the character of the phallus, that symbolic manifestation of masculinist authority, but that it nevertheless survives and is reinvigorated in our contemporary culture by masquerading as a ‘knob’.

‘The voice speaking, desired, awaited’: Jack Lindsay’s 1649, Textual Form and Communist Historiography

This article examines the 1938 historical novel 1649: A Novel of a Year by the Anglo-Australian communist polymath Jack Lindsay in the context of the politics of the Popular Front, and identifies the aesthetic and historiographic debates questions that inform Lindsay’s inventive rendition of the historical novel. The novel may be considered in light of what Lindsay later called his desire ‘to use the novel to revive revolutionary traditions’, as well as his ‘struggle to achieve an understanding of the Novel while writing novels’. Lindsay’s novel figures a reality becoming prosaic: it reproduces contemporary textual sources – tracts, pamphlets, newspapers – as part of its meditation on a nascent print culture whose products circulate in processes that mirror the increasingly conspicuous flow of commodities. In this sense, the novel offers a marxist reflection on its own conditions of possibility in emergent bourgeois culture, as well as intervening in the vexed question of the Civil War as a ‘bourgeois revolution’. The novel however seeks to capture a dialectical method of representing the revolution that acknowledges defeat while rearticulating the utopian content of the defeated radicals, a practice integral to Lindsay’s vision of popular history as a transhistorical dialogue. That utopian content is transmitted through two forms: popular song, which acts to supplement political writing; and the heroic portrayal of the Leveller John Lilburne on trial, whose conduct exemplifies praxis conceived as a unity of word, thought and action.