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Long considered a pervasive value of Latino cultures both south and north of the US border, machismo—a hypermasculinity that obliterates any other possible influences on men's attitudes and behavior—is still used to define Latino men and boys in the larger social narrative. Yet a closer look reveals young, educated Latino men who are going beyond machismo to a deeper understanding of women's experiences and a commitment to ending gender oppression. This new Latino manhood is the subject of Beyond Machismo.Applying and expanding the concept of intersectionality developed by Chicana feminists, Aída Hurtado and Mrinal Sinha explain how the influences of race, class, ethnicity, sexuality, and gender shape Latinos' views of manhood, masculinity, and gender issues in Latino communities and their acceptance or rejection of feminism. In particular, the authors show how encountering Chicana feminist writings in college, as well as witnessing the horrors of sexist oppression in the United States and Latin America, propels young Latino men to a feminist consciousness. By focusing on young, high-achieving Latinos, Beyond Machismo elucidates this social group's internal diversity, thereby providing a more nuanced understanding of the processes by which Latino men can overcome structural obstacles, form coalitions across lines of difference, and contribute to movements for social justice.

Long considered a pervasive value of Latino cultures both south and north of the US border, machismo—a hypermasculinity that obliterates any other possible influences on men's attitudes and behavior—is still used to define Latino men and boys in the larger social narrative. Yet a closer look reveals young, educated Latino men who are going beyond machismo to a deeper understanding of women's experiences and a commitment to ending gender oppression. This new Latino manhood is the subject of Beyond Machismo.Applying and expanding the concept of intersectionality developed by Chicana feminists, Aída Hurtado and Mrinal Sinha explain how the influences of race, class, ethnicity, sexuality, and gender shape Latinos' views of manhood, masculinity, and gender issues in Latino communities and their acceptance or rejection of feminism. In particular, the authors show how encountering Chicana feminist writings in college, as well as witnessing the horrors of sexist oppression in the United States and Latin America, propels young Latino men to a feminist consciousness. By focusing on young, high-achieving Latinos, Beyond Machismo elucidates this social group's internal diversity, thereby providing a more nuanced understanding of the processes by which Latino men can overcome structural obstacles, form coalitions across lines of difference, and contribute to movements for social justice.

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This study breaks new ground by examining the profoundly submissive and masochistic posture toward women exhibited by many of Hemingway's heroes, from Jake Barnes in The Sun Also Rises to David Bourne in The Garden of Eden. The discussion draws on the ideas of diverse authors revealing that 'masochistic aesthetic' informs many of the texts.

This study breaks new ground by examining the profoundly submissive and masochistic posture toward women exhibited by many of Hemingway's heroes, from Jake Barnes in The Sun Also Rises to David Bourne in The Garden of Eden. The discussion draws on the ideas of diverse authors revealing that 'masochistic aesthetic' informs many of the texts.

Cuba is the only country in the world that quarantines people who test positive for the HIV virus. In this book, Marvin Leiner analyzes the practice of quarantine in the context of the Cuban Revolution, which has otherwise brought significant advances in social programs, such as free universal education and comprehensive health care for all. He also focuses on efforts by Cuban educators to introduce sex education in the schools and to change sexist and homophobic attitudes, discussing their successes and failures with candor and examining the explicit and implicit linkages between machismo and homophobia.Drawing on interviews, diaries, and techniques of participant observation, Dr. Leiner shows how the HIV sanitorium and earlier oppressive treatment of gays and lesbians serve as a barometer for contemporary Cuban society. Despite the impressive achievements of the Revolution, Cuba remains a society lacking political rights, in particular the right to dissent.

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Errol Flynn brings considerable machismo to the role of the Captain Michael Fabian in Adventures of Captain Fabian, a romantic, swashbuckling adventure filled with intrigue. Set in 1860 New Orleans, Adventures of Captain Fabian tells the story of Lea (Micheline Presle) a French Creole maid who seeks revenge against the Brissac family, monied bluebloods who have wrongfully framed her for murder. Coming to her aid is the handsome and daring Captain Michael Fabian (Errol Flynn), whose personal anim

Lucas Kazan has won a faithful group of fans the world over with his mix of romance, masculinity and a healthy dose of machismo. It's been four long years since the publication of his first photo book "Taste of Italy", but the wait is finally over! Exceptional newcomers like the hot-blooded Alexy Tyler and the tasty Samuel Dolce pose along with Kazan's "older stars" like Roberto Giorgio or Jean Franko. Fans of concentrated sensuality, magnificent locations and opulent colors will again get everything they're bargaining for!

The image of biologically male people dancing while dressed in the traditional, colorful attire of Zapotec, Juchiteca, females stands in sharp contrast to the prevailing view of Mexico as the land of charros, machismo, and unbridled ranchero masculinity. These indigenous people are called los muxes, and they are neither man nor woman, but rather a hybrid third gender. After seeing a video of a muxe vela, or festival, sociologist Alfredo Mirandé was intrigued by the contradiction between Mexico’s patriarchal reputation and its warm acceptance of los muxes. Seeking to get past traditional Mexican masculinity, he presents us with Behind the Mask, which combines historical analysis, ethnographic field research, and interviews conducted with los muxes of Juchitán over a period of seven years. Mirandé observed community events, attended muxe velas, and interviewed both muxes and other Juchitán residents. Prefaced by an overview of the study methods and sample, the book challenges the ideology of a male-dominated Mexican society driven by the cult of machismo, featuring photos alongside four appendixes. Delving into many aspects of their lives and culture, the author discusses how the muxes are perceived by others, how the muxes perceive themselves, and the acceptance of a third gender status among various North American indigenous groups. Mirandé compares traditional Mexicano/Latino conceptions of gender and sexuality to modern or Western object choice configurations. He concludes by proposing a new hybrid model for rethinking these seemingly contradictory and conflicting gender systems.

La Chicana is the story of a marginal group in society, neither fully Mexican or fully American, who suffer under triple oppression: as women, as members of a colonized culture, and as victims of a cultural heritage dominated by the cult of machismo. Tracing the role of Chicanas from pre-Columbian society to the present, the authors reveal the antecedents and roots of contemporary cultural expectations in Aztec, colonial, and revolutionary Mexican historical periods. A discussion of the contribution of modern Chicanas to their community and to feminism and a look at literary stereotypes and the emergence of Chicana literature to counter them round out this perceptive and sympathetic analysis.

A dark-skinned Puerto Rican hung up between the white world and the black, trapped by the brutal code of machismo -- a mainliner, an armed robber, a man in hell, tells all -- how he grew up in a Harlem barrio, and how he got out.

A half-hour animated comedy about a gay white rapper fresh out of prison. Armed with a new message, Chozen is on a quest for redemption and to claim his rightful position as the worlds top rap artist. His music and lyrics take aim at the stereotypes of machismo and misogyny that are synonymous with rap music. And his new world view has been shaped by his time in prison.

At last, a book that accurately depicts the mono-mania, elusive machismo, and marathon-dance mentality of whitewater paddling. In a unique blend of satire and cartoon art, William Nealy (author of best selling Whitewater Home Companion) opens up with both barrels on the sport and people which turns picturesque streams into jungle gyms.

In this scintillating collection of stories Puerto Rican writer Ana Lydia Vega exposes machismo, Caribbean style. With deft pastiches of genre fiction - the thriller, the historical romance, the bodice ripper - she turns the traditions of Latin American fiction on their heads and produces a work that critically reflects the influence of US culture. Though her stories appear in many anthologies, this is the first collection of Ana Lydia Vega's work to be published in English. It showcases one of the provocative 'post-feminist' voices of the continent.

No se lo digas a nadie narra la trayectoria personal de un retono de la mas acomodada burguesia limena, el cual descubre, en un contexto familiar donde el mas brutal machismo y clasismo coexisten con la mojigateria, su propia identidad homoerotica, que le lleva, no sin algun episodio de ocasional heterosexualidad, a la espiral de la drogadiccion, en el ambito de los «coqueros» y al borde mismo de la prostitucion masculina urbana. Sin embargo, el protagonista no es devorado por el mundo de la marginalidad, y, al aceptarse a si mismo, convierte su conflictiva ruta, alejada ya de la droga, en una afirmacion serena de la condicion que le define.

Start with a comely, courageous but none too bright heroine, add a hero whose machismo occasionally veers toward sadism, toss in sheer stupidity as a catalyst and you've got Martin's ( Dueling Hearts ) latest romance set in the 1840s. Master of a South Carolina plantation, Julian Summerfield has sent Nathan, his illegitimate son by one of his slaves, to be educated in the North. But when Julian dies suddenly, his embittered widow forces the young man into slavery. Glory, Julian's legitimate white daughter, decides to help her half-brother escape to the North, talking her way onto a merchant ship owned by her father's friend, Nicholas Blackwell. Shipwrecked during a storm, Glory and Nicholas are stranded alone on an island, and the captain, tired of her Southern belle ways, decides to trim her sails: "He'd hate to bed her against her will, but . . . she deserved whatever she got." Unable to resist such charm, Glory finds herself seduced and abandoned; although eventually rescued from the island by Nicholas's crew, she is left to face life as an unwed mother and social outcast--until Nicholas learns the truth of her situation and realizes there's more to Glory than mere beauty. Copyright 1990 Reed Business Information, Inc.

A dark-skinned Puerto Rican hung up between the white world and the black, trapped by the brutal code of machismo -- a mainliner, an armed robber, a man in hell, tells all -- how he grew up in a Harlem barrio, and how he got out.

Joaquâin struggles with traditional values, his father's machismo, his addiction to cocaine, and his homosexual tendencies in Lima, Peru.