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Frontmatter
- Clive Baldwin, Open University
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2 - ‘Everything in him had come undone’: Violent Aggression, Courage and Masculine Identity
- Clive Baldwin, Open University
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Summary
This chapter examines the relationship between aggressive and violent behaviour and male identity. Male violence is a significant element in many of the novels discussed in this book.For example, as we have seen in Chapter 1, Giant represents both interpersonal aggression in the clash between Jett Rink and Jordan Benedict, and the history of violence and oppression in Texas. Novels discussed later in the book make connections between sexuality and violence, while others represent violence as a reaction to cultural oppression. In considering such novels and other contemporary discourses that analysed the relationships between masculinity, aggression and courage, what becomes apparent is contestation at the heart of these issues. Differences emerge over whether or not men are naturally aggressive and violent. Writers who expect men to be aggressive maintain that a lack of aggression is explained by constraining cultural influences.
Not surprisingly, much of the focus on male violence and aggression in the period following 1945 was on the performance of American men in the Second World War. Accordingly, the primary focus in this chapter is on two major war novels – Norman Mailer's The Naked and the Dead (1948) and James Jones's From Here to Eternity (1951) – which are discussed in relation to post-war debates in America about the performance of American servicemen and the implications for American national identity. However, the chapter begins with a discussion of Jim Thompson's The Killer Inside Me (1952), whose main character is a murderous psychopath. In an extreme form, Thompson's novel manifests the anxieties about the feminisation of American culture and the related hostility to women that are a recurrent characteristic of the period. The significance of psychiatric explanations of behaviour in the novel connects it with the contemporary discourses about aggression, violent behaviour and courage that are permeated with psychological theory. Furthermore, in its representation of male sexuality, the novel anticipates Chapter 3.
Jim Thompson, The Killer Inside Me
Thompson's The Killer Inside Me (1952) introduces significant connections between sexuality, masculinity and violence. In particular, Lou Ford, the narrator and main character, is a psychopath with a ‘sickness’ that he attempts to repress (J. Thompson [1952] 2006: 6). This characterisation suggests that his murderous impulses are the mark of a dysfunctional masculinity.
Contents
- Clive Baldwin, Open University
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- Anxious Men
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- 18 March 2020, pp v-v
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4 - Identity and Assimilation in Jewish American Fiction
- Clive Baldwin, Open University
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- Anxious Men
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- 18 March 2020, pp 160-195
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Summary
Chapter 4 takes a new perspective, relating the representation of masculinity to issues of race and identity in novels written from Jewish American perspectives. Considering masculinity from this perspective, and then from the point of view of African American writers in the following chapter, emphasises the point that male identity takes multiple forms and that hegemonic masculinity may be open to contestation from different cultural traditions. Jewish American fiction of this period is of intrinsic significance because it gave voice to second-generation East European immigrants whose work became central to American literature. For example, the critic Ruth R. Wisse argues that Saul Bellow demonstrated ‘how a Jewish voice could speak for an integrated America’ (Wisse 205). The four novels considered in this chapter all articulate issues around Jewish American identity in ways that also involve gender. Saul Bellow's third novel, The Adventures of Augie March (1953), opens with the straightforward claim of Augie March: ‘I am an American, Chicago born’. Augie March's maleness is an essential element of his claim to an American identity, but Bellow's novel continues an interrogation of the expectations of men in American society. The other novels, all published earlier, in the 1940s, explore issues of anti-Semitism and assimilation in relation to American culture. Arthur Miller's Focus (1945) deconstructs the logic of anti-Semitic racism and explores how it recruits individuals, but shows that it can be defeated through masculine resistance. Irwin Shaw's The Young Lions (1948) articulates an idealised Jewish American masculinity within the context of American anti-Semitism, Nazism and the Second World War. Jo Sinclair's Wasteland (1946) focuses on close relationships within a Jewish family and the problems of assimilation, while radically challenging gender roles through the presence of a lesbian character.
The context for the emergence of a Jewish American literary voice was a change in legal and cultural circumstances. This change can be explored through the notion of ‘whiteness’, which has been developed as a critical concept through which the ideologies of ‘white’ identity can be interrogated. Like masculinity, whiteness has protean characteristics, constantly being adapted to changing cultural circumstances. As Valerie Babb argues in Whiteness Visible: ‘[W]hiteness is not a term describing an immutable biological content, but rather a term reflecting mutable relationships of social power’ (1998: 13).
Introduction: Anxiety, Conformity and Masculinity
- Clive Baldwin, Open University
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Summary
Chester Himes, If He Hollers Let Him Go, 1945:
All the tightness that had been in my body, making my motions jerky, keeping my muscles taut, left me and I felt relaxed, confident, strong. I felt just like I thought a white boy oughta feel; I had never felt so strong in all my life. (45)
Jim Thompson, The Killer Inside Me, 1952:
I killed Amy Stanton on Saturday night on the fifth of April, 1952, at a few minutes before nine o’clock. […]
She smiled and came towards me with her arms held out. ‘I won't darling. I won't ever say anything like that again. But I want to tell you how much –’
‘Sure,’ I said. ‘You want to pour your heart out to me.’
And I hit her in the guts as hard as I could.
My fist went back against her spine, and the flesh closed around it to the wrist. I jerked back on it, I had to jerk, and she flopped forward from the waist, like she was hinged. (152, 164–5)
Norman Mailer, The Naked and the Dead, 1948:
Their love-making is fantastic for a time:
He must subdue her, absorb her, rip her apart and consume her. […]
I’ll take you apart, I’ll eat you, oh, I’ll make you mine, I’ll make you mine, you bitch. (419)
John Horne Burns, The Gallery, 1947:
I caught on fast, with the lessons she gimme [the corporal said]. These babes know something … She taught me to kiss slow, to take my time. I useta close my eyes an just jab, hoping for the best … Rosetta kisses sleepy like. Sometimes she puts her tongue in my ear. Or just brushes her lips along my throat. Gee … (305)
James Baldwin, Giovanni's Room, 1956:
I was not suggesting for a moment that you jeopardize, even for a moment, that […] immaculate manhood. (33)
J. D. Salinger, The Catcher in the Rye, 1951:
But I’d plug him anyway. Six shots right through his fat, hairy belly. […] Then I’d […] call up Jane and have her come over and bandage up my guts. I pictured her holding a cigarette for me to smoke while I was bleeding and all.
Afterword
- Clive Baldwin, Open University
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Summary
In these final paragraphs I briefly discuss some conclusions to be taken from this study and then reflect on current circumstances in the United States.
Although the novels of the Forties and Fifties represented masculinity as diverse, contradictory, conflicted and contested, they also frequently manifest a concept of gender identity that is deeply rooted in biological difference. R. W. Connell's theorisation of hegemonic masculinity and its derivation from Gramsci's ideas remind us of the ideological nature of such formulations, and of the way they are constructed in culture and then internalised as ‘common sense’. This essentialist notion of gender identity articulated a core set of attributes and behavioural codes to which men and women were expected to conform and which shaped the dominant form of masculinity. Even in novels where contestation, anxiety and complexity are evident, there is frequently a striving for a masculine identity shaped by such cultural expectations. The strength of these expectations may be seen in the way that novels such as Vidal's The City and the Pillar, Jones's From Here to Eternity and Himes's If He Hollers Let Him Go continue to valorise, recirculate and identify with dominant forms of masculinity despite the fact that these forms marginalise and oppress their characters.
Related to this essentialist notion of gender is the problem of articulating alternative ways of being a man. Salinger's The Catcher in the Rye, Bellow's The Adventures of Augie March and Ellison's Invisible Man, from their different perspectives, certainly represent the unsatisfactory aspects of contemporary models of manhood, but none of their novels have leading characters who are comfortable with their male identity in the context of post-war America.
Following the period covered by this book, second-wave feminism developed an extensive and sophisticated analysis of gender, emphasising in particular the constructed nature of identity and challenging biological determinism. Black feminist writers then challenged the singular perspective of some second-wave feminists and established the need to consider race and class in analysis of gender inequalities. Such developments in academic writing, in journalism and in cultural forms combined forces with political campaigning to make progress in removing inequalities.
3 - Representing Sexualities and Gender
- Clive Baldwin, Open University
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Summary
– Just wait, said the pfc with the horn-rimmed glasses, everything we know is going to be swept under.
– But sex is here to stay, the mess sergeant said, chewing on a toothpick.
(Burns, The Gallery [1947] 2004: 156)John Horne Burns's The Gallery, set during the Second World War and published in 1947, articulates parallel visions of the wartime threat to masculine mental and bodily integrity and the vitality of the erotic life force. The geographical centre of the novel is Naples in 1944 and in its representation of the collisions and negotiations of American and Italian culture, the novel offers a critique of American culture and, in particular, male American sexuality. A year later, in 1948, Alfred C. Kinsey published Sexual Behavior in the Human Male, a professedly scientific work that stormed American public consciousness and stimulated a national debate about American sexuality. In American Sexual Character, an analysis of the reception of Kinsey's work, Miriam Reumann shows how it resonated with contemporary concerns about American identity. She argues for a reading of the ‘various crises of American sexuality as responses to post-war worries about the stability and strength of the nation and its population’ (Reumann 2005: 3). In this context, the Kinsey Reports ‘were received not only as collections of statistics but also as important statements about gender difference, social change, and American identity’ (5). In certain respects, such concerns about American national identity in relation to sexuality echo those discussed in the previous chapter in relation to courage and the American male character. The discourses relating to the sexuality of the American male are complex and contradictory. For example, anxieties about male sexuality encompassed both a fear of rampant and immoral behaviour and the perception of a decline in male sexual vitality, ensuing from the supposed feminisation of American culture and the deconstruction of traditional gender roles.
As Reumann's analysis makes clear, the representation of sexual attitudes and behaviour should be regarded as embedded in broader discourses about identity and culture.
Index
- Clive Baldwin, Open University
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Works Cited and Consulted
- Clive Baldwin, Open University
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1 - ‘Organization Man’, Domestic Ideology and Manhood
- Clive Baldwin, Open University
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Summary
This chapter focuses on four significant novels published in the postwar period: Sloan Wilson's The Man in the Gray Flannel Suit (1955); J. D. Salinger's The Catcher in the Rye (1951); Jack Kerouac's On the Road (1957); and Edna Ferber's Giant (1952). Analysis of the novels provides a test of how far the representation of masculinity conforms to contemporary perspectives on gender described in the Introduction. The chapter begins with Sloan Wilson's The Man in the Gray Flannel Suit and contemporary sociological interest in the ‘Organization’ and in the suburban family. While the ‘man in the gray flannel suit’ has become an icon of post-war American conformity, the novel opens up the complex demands on men at work in the Organization and at home in the suburbs. The other three novels represent other dimensions of male experience in the period. Jack Kerouac's On the Road represents a resurgent, mobile masculinity in the unconfined space of the ‘Road’. J. D. Salinger's The Catcher in the Rye focuses on adolescent masculinity in the urban spaces of New York, and opens up questions about the nature of modern manhood. Finally, Edna Ferber's Giant is read as a critique of traditional Texan masculinity, which was constructed in relation to the feminine and a racialised Other. In their diverse representations of masculinity, these novels serve to exemplify the complexities and anxieties associated with male identity in the period. In the novels masculinity is expressed, worried over or questioned, in a variety of circumstances.
Sloan Wilson, The Man in the Gray Flannel Suit
Wilson's popular novel, which was turned into a major film starring Gregory Peck and Jennifer Jones in 1956, has generally been seen as fictionalising many of the aspects of corporate life and suburban culture written about by contemporary sociologists. The novel may also be read in relation to May's historical analysis, which identifies historical and cultural factors in post-war America that combined to create a ‘domestic ideology’ (May 1999: xxi). This ideology constructed egalitarian marriage and the nuclear family as the foundation of democracy, with the suburbs idealised as the space in which aspirational middle-class values and the ideology of the nuclear family could be expressed (May 1999: 65).
Anxious Men
- Masculinity in American Fiction of the Mid-Twentieth Century
- Clive Baldwin
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Focusing on a complex and contentious period that was formative in shaping American society and culture in the twentieth century, this book sheds new light on the ways in which fiction engaged with contemporary notions of masculinity.
Acknowledgements
- Clive Baldwin, Open University
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- Anxious Men
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5 - African American Identity and Masculinity
- Clive Baldwin, Open University
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- Anxious Men
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Summary
This chapter explores the relationship between dominant modes of masculinity and the position of African American men, as represented in the novels of several key writers of the period – James Baldwin, Ralph Ellison, Chester Himes and Ann Petry. The chapter relates to Chapter 4, where I discussed ‘whiteness’ and the way in which it had been both a defining category of American citizenship but also a category subject to redefinition in twentieth-century America. While Jewish Americans had become categorised as ‘white’ by mid-century, African Americans remained beyond ‘whiteness’, while the legacy of slavery, the segregationist Jim Crow social and legal structures of the South and institutional racism in the North served to maintain their marginalisation and oppression. The artificial nature of this divide is highlighted by ‘passing’ and is made vividly by Margo Jefferson in her memoir Negroland. Her great uncle Lucious spent his life passing as white, but then ‘resumed his life as a Negro’: ‘We have friends who look as white as Uncle Lucious. But I had always known them as Negroes. […] Who and what are “we Negroes”, when so many of us could be white people? […] Suddenly the fact of racial slippage overwhelmed me’ (2016: 109–10).
The explanatory academic discourses that focused on the state of American society and culture in this period, and which I briefly surveyed in the Introduction, included the position of African Americans. Such analysis encompassed books by African American journalists and academics such as Roi Ottley, E. Franklin Frazier, Horace R. Cayton, St Clair Drake, John Hope Franklin and a variety of authors in the journal Phylon, published from 1940. The Second World War had a significant effect on the state of the debate for both practical and ideological reasons. In practice the United States government had to harness the skills and labour of the African American population in order to fight the war effectively. Segregation in the military and in the workforce strongly militated against this (see for example Franklin (1947) on the military, 559ff).
Cost-effectiveness analyses for mirtazapine and sertraline in dementia: randomised controlled trial
- Renee Romeo, Martin Knapp, Jennifer Hellier, Michael Dewey, Clive Ballard, Robert Baldwin, Peter Bentham, Alistair Burns, Chris Fox, Clive Holmes, Cornelius Katona, Claire Lawton, James Lindesay, Gill Livingston, Niall McCrae, Esme Moniz-Cook, Joanna Murray, Shirley Nurock, John O'Brien, Michaela Poppe, Alan Thomas, Rebecca Walwyn, Kenneth Wilson, Sube Banerjee
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- The British Journal of Psychiatry / Volume 202 / Issue 2 / February 2013
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- 02 January 2018, pp. 121-128
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- February 2013
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Background
Depression is a common and costly comorbidity in dementia. There are very few data on the cost-effectiveness of antidepressants for depression in dementia and their effects on carer outcomes.
AimsTo evaluate the cost-effectiveness of sertraline and mirtazapine compared with placebo for depression in dementia.
MethodA pragmatic, multicentre, randomised placebo-controlled trial with a parallel cost-effectiveness analysis (trial registration: ISRCTN88882979 and EudraCT 2006-000105-38). The primary cost-effectiveness analysis compared differences in treatment costs for patients receiving sertraline, mirtazapine or placebo with differences in effectiveness measured by the primary outcome, total Cornell Scale for Depression in Dementia (CSDD) score, over two time periods: 0–13 weeks and 0–39 weeks. The secondary evaluation was a cost-utility analysis using quality-adjusted life years (QALYs) computed from the Euro-Qual (EQ-5D) and societal weights over those same periods.
ResultsThere were 339 participants randomised and 326 with costs data (111 placebo, 107 sertraline, 108 mirtazapine). For the primary outcome, decrease in depression, mirtazapine and sertraline were not cost-effective compared with placebo. However, examining secondary outcomes, the time spent by unpaid carers caring for participants in the mirtazapine group was almost half that for patients receiving placebo (6.74 v. 12.27 hours per week) or sertraline (6.74 v. 12.32 hours per week). Informal care costs over 39 weeks were £1510 and £1522 less for the mirtazapine group compared with placebo and sertraline respectively.
ConclusionsIn terms of reducing depression, mirtazapine and sertraline were not cost-effective for treating depression in dementia. However, mirtazapine does appear likely to have been cost-effective if costing includes the impact on unpaid carers and with quality of life included in the outcome. Unpaid (family) carer costs were lower with mirtazapine than sertraline or placebo. This may have been mediated via the putative ability of mirtazapine to ameliorate sleep disturbances and anxiety. Given the priority and the potential value of supporting family carers of people with dementia, further research is warranted to investigate the potential of mirtazapine to help with behavioural and psychological symptoms in dementia and in supporting carers.
Contributors
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- By Rose Teteki Abbey, K. C. Abraham, David Tuesday Adamo, LeRoy H. Aden, Efrain Agosto, Victor Aguilan, Gillian T. W. Ahlgren, Charanjit Kaur AjitSingh, Dorothy B E A Akoto, Giuseppe Alberigo, Daniel E. Albrecht, Ruth Albrecht, Daniel O. Aleshire, Urs Altermatt, Anand Amaladass, Michael Amaladoss, James N. Amanze, Lesley G. Anderson, Thomas C. Anderson, Victor Anderson, Hope S. Antone, María Pilar Aquino, Paula Arai, Victorio Araya Guillén, S. Wesley Ariarajah, Ellen T. Armour, Brett Gregory Armstrong, Atsuhiro Asano, Naim Stifan Ateek, Mahmoud Ayoub, John Alembillah Azumah, Mercedes L. García Bachmann, Irena Backus, J. Wayne Baker, Mieke Bal, Lewis V. Baldwin, William Barbieri, António Barbosa da Silva, David Basinger, Bolaji Olukemi Bateye, Oswald Bayer, Daniel H. Bays, Rosalie Beck, Nancy Elizabeth Bedford, Guy-Thomas Bedouelle, Chorbishop Seely Beggiani, Wolfgang Behringer, Christopher M. Bellitto, Byard Bennett, Harold V. Bennett, Teresa Berger, Miguel A. Bernad, Henley Bernard, Alan E. Bernstein, Jon L. Berquist, Johannes Beutler, Ana María Bidegain, Matthew P. Binkewicz, Jennifer Bird, Joseph Blenkinsopp, Dmytro Bondarenko, Paulo Bonfatti, Riet en Pim Bons-Storm, Jessica A. Boon, Marcus J. Borg, Mark Bosco, Peter C. Bouteneff, François Bovon, William D. Bowman, Paul S. Boyer, David Brakke, Richard E. Brantley, Marcus Braybrooke, Ian Breward, Ênio José da Costa Brito, Jewel Spears Brooker, Johannes Brosseder, Nicholas Canfield Read Brown, Robert F. Brown, Pamela K. Brubaker, Walter Brueggemann, Bishop Colin O. Buchanan, Stanley M. Burgess, Amy Nelson Burnett, J. Patout Burns, David B. Burrell, David Buttrick, James P. Byrd, Lavinia Byrne, Gerado Caetano, Marcos Caldas, Alkiviadis Calivas, William J. Callahan, Salvatore Calomino, Euan K. Cameron, William S. Campbell, Marcelo Ayres Camurça, Daniel F. Caner, Paul E. Capetz, Carlos F. Cardoza-Orlandi, Patrick W. Carey, Barbara Carvill, Hal Cauthron, Subhadra Mitra Channa, Mark D. Chapman, James H. Charlesworth, Kenneth R. Chase, Chen Zemin, Luciano Chianeque, Philip Chia Phin Yin, Francisca H. Chimhanda, Daniel Chiquete, John T. Chirban, Soobin Choi, Robert Choquette, Mita Choudhury, Gerald Christianson, John Chryssavgis, Sejong Chun, Esther Chung-Kim, Charles M. A. Clark, Elizabeth A. Clark, Sathianathan Clarke, Fred Cloud, John B. Cobb, W. Owen Cole, John A Coleman, John J. Collins, Sylvia Collins-Mayo, Paul K. Conkin, Beth A. Conklin, Sean Connolly, Demetrios J. Constantelos, Michael A. Conway, Paula M. Cooey, Austin Cooper, Michael L. Cooper-White, Pamela Cooper-White, L. William Countryman, Sérgio Coutinho, Pamela Couture, Shannon Craigo-Snell, James L. Crenshaw, David Crowner, Humberto Horacio Cucchetti, Lawrence S. Cunningham, Elizabeth Mason Currier, Emmanuel Cutrone, Mary L. Daniel, David D. Daniels, Robert Darden, Rolf Darge, Isaiah Dau, Jeffry C. Davis, Jane Dawson, Valentin Dedji, John W. de Gruchy, Paul DeHart, Wendy J. Deichmann Edwards, Miguel A. De La Torre, George E. Demacopoulos, Thomas de Mayo, Leah DeVun, Beatriz de Vasconcellos Dias, Dennis C. Dickerson, John M. Dillon, Luis Miguel Donatello, Igor Dorfmann-Lazarev, Susanna Drake, Jonathan A. Draper, N. Dreher Martin, Otto Dreydoppel, Angelyn Dries, A. J. Droge, Francis X. D'Sa, Marilyn Dunn, Nicole Wilkinson Duran, Rifaat Ebied, Mark J. Edwards, William H. Edwards, Leonard H. Ehrlich, Nancy L. Eiesland, Martin Elbel, J. Harold Ellens, Stephen Ellingson, Marvin M. Ellison, Robert Ellsberg, Jean Bethke Elshtain, Eldon Jay Epp, Peter C. Erb, Tassilo Erhardt, Maria Erling, Noel Leo Erskine, Gillian R. Evans, Virginia Fabella, Michael A. Fahey, Edward Farley, Margaret A. Farley, Wendy Farley, Robert Fastiggi, Seena Fazel, Duncan S. Ferguson, Helwar Figueroa, Paul Corby Finney, Kyriaki Karidoyanes FitzGerald, Thomas E. FitzGerald, John R. Fitzmier, Marie Therese Flanagan, Sabina Flanagan, Claude Flipo, Ronald B. Flowers, Carole Fontaine, David Ford, Mary Ford, Stephanie A. Ford, Jim Forest, William Franke, Robert M. Franklin, Ruth Franzén, Edward H. Friedman, Samuel Frouisou, Lorelei F. Fuchs, Jojo M. Fung, Inger Furseth, Richard R. Gaillardetz, Brandon Gallaher, China Galland, Mark Galli, Ismael García, Tharscisse Gatwa, Jean-Marie Gaudeul, Luis María Gavilanes del Castillo, Pavel L. Gavrilyuk, Volney P. Gay, Metropolitan Athanasios Geevargis, Kondothra M. George, Mary Gerhart, Simon Gikandi, Maurice Gilbert, Michael J. Gillgannon, Verónica Giménez Beliveau, Terryl Givens, Beth Glazier-McDonald, Philip Gleason, Menghun Goh, Brian Golding, Bishop Hilario M. Gomez, Michelle A. Gonzalez, Donald K. Gorrell, Roy Gottfried, Tamara Grdzelidze, Joel B. Green, Niels Henrik Gregersen, Cristina Grenholm, Herbert Griffiths, Eric W. Gritsch, Erich S. Gruen, Christoffer H. Grundmann, Paul H. Gundani, Jon P. Gunnemann, Petre Guran, Vidar L. Haanes, Jeremiah M. Hackett, Getatchew Haile, Douglas John Hall, Nicholas Hammond, Daphne Hampson, Jehu J. Hanciles, Barry Hankins, Jennifer Haraguchi, Stanley S. Harakas, Anthony John Harding, Conrad L. Harkins, J. William Harmless, Marjory Harper, Amir Harrak, Joel F. Harrington, Mark W. Harris, Susan Ashbrook Harvey, Van A. Harvey, R. Chris Hassel, Jione Havea, Daniel Hawk, Diana L. Hayes, Leslie Hayes, Priscilla Hayner, S. Mark Heim, Simo Heininen, Richard P. Heitzenrater, Eila Helander, David Hempton, Scott H. Hendrix, Jan-Olav Henriksen, Gina Hens-Piazza, Carter Heyward, Nicholas J. Higham, David Hilliard, Norman A. Hjelm, Peter C. Hodgson, Arthur Holder, M. Jan Holton, Dwight N. Hopkins, Ronnie Po-chia Hsia, Po-Ho Huang, James Hudnut-Beumler, Jennifer S. Hughes, Leonard M. Hummel, Mary E. Hunt, Laennec Hurbon, Mark Hutchinson, Susan E. Hylen, Mary Beth Ingham, H. Larry Ingle, Dale T. Irvin, Jon Isaak, Paul John Isaak, Ada María Isasi-Díaz, Hans Raun Iversen, Margaret C. Jacob, Arthur James, Maria Jansdotter-Samuelsson, David Jasper, Werner G. Jeanrond, Renée Jeffery, David Lyle Jeffrey, Theodore W. Jennings, David H. Jensen, Robin Margaret Jensen, David Jobling, Dale A. Johnson, Elizabeth A. Johnson, Maxwell E. Johnson, Sarah Johnson, Mark D. Johnston, F. Stanley Jones, James William Jones, John R. Jones, Alissa Jones Nelson, Inge Jonsson, Jan Joosten, Elizabeth Judd, Mulambya Peggy Kabonde, Robert Kaggwa, Sylvester Kahakwa, Isaac Kalimi, Ogbu U. Kalu, Eunice Kamaara, Wayne C. Kannaday, Musimbi Kanyoro, Veli-Matti Kärkkäinen, Frank Kaufmann, Léon Nguapitshi Kayongo, Richard Kearney, Alice A. Keefe, Ralph Keen, Catherine Keller, Anthony J. Kelly, Karen Kennelly, Kathi Lynn Kern, Fergus Kerr, Edward Kessler, George Kilcourse, Heup Young Kim, Kim Sung-Hae, Kim Yong-Bock, Kim Yung Suk, Richard King, Thomas M. King, Robert M. Kingdon, Ross Kinsler, Hans G. Kippenberg, Cheryl A. Kirk-Duggan, Clifton Kirkpatrick, Leonid Kishkovsky, Nadieszda Kizenko, Jeffrey Klaiber, Hans-Josef Klauck, Sidney Knight, Samuel Kobia, Robert Kolb, Karla Ann Koll, Heikki Kotila, Donald Kraybill, Philip D. W. Krey, Yves Krumenacker, Jeffrey Kah-Jin Kuan, Simanga R. Kumalo, Peter Kuzmic, Simon Shui-Man Kwan, Kwok Pui-lan, André LaCocque, Stephen E. Lahey, John Tsz Pang Lai, Emiel Lamberts, Armando Lampe, Craig Lampe, Beverly J. Lanzetta, Eve LaPlante, Lizette Larson-Miller, Ariel Bybee Laughton, Leonard Lawlor, Bentley Layton, Robin A. Leaver, Karen Lebacqz, Archie Chi Chung Lee, Marilyn J. Legge, Hervé LeGrand, D. L. LeMahieu, Raymond Lemieux, Bill J. Leonard, Ellen M. Leonard, Outi Leppä, Jean Lesaulnier, Nantawan Boonprasat Lewis, Henrietta Leyser, Alexei Lidov, Bernard Lightman, Paul Chang-Ha Lim, Carter Lindberg, Mark R. Lindsay, James R. Linville, James C. Livingston, Ann Loades, David Loades, Jean-Claude Loba-Mkole, Lo Lung Kwong, Wati Longchar, Eleazar López, David W. Lotz, Andrew Louth, Robin W. Lovin, William Luis, Frank D. Macchia, Diarmaid N. J. MacCulloch, Kirk R. MacGregor, Marjory A. MacLean, Donald MacLeod, Tomas S. Maddela, Inge Mager, Laurenti Magesa, David G. Maillu, Fortunato Mallimaci, Philip Mamalakis, Kä Mana, Ukachukwu Chris Manus, Herbert Robinson Marbury, Reuel Norman Marigza, Jacqueline Mariña, Antti Marjanen, Luiz C. L. Marques, Madipoane Masenya (ngwan'a Mphahlele), Caleb J. D. Maskell, Steve Mason, Thomas Massaro, Fernando Matamoros Ponce, András Máté-Tóth, Odair Pedroso Mateus, Dinis Matsolo, Fumitaka Matsuoka, John D'Arcy May, Yelena Mazour-Matusevich, Theodore Mbazumutima, John S. McClure, Christian McConnell, Lee Martin McDonald, Gary B. McGee, Thomas McGowan, Alister E. McGrath, Richard J. McGregor, John A. McGuckin, Maud Burnett McInerney, Elsie Anne McKee, Mary B. McKinley, James F. McMillan, Ernan McMullin, Kathleen E. McVey, M. Douglas Meeks, Monica Jyotsna Melanchthon, Ilie Melniciuc-Puica, Everett Mendoza, Raymond A. Mentzer, William W. Menzies, Ina Merdjanova, Franziska Metzger, Constant J. Mews, Marvin Meyer, Carol Meyers, Vasile Mihoc, Gunner Bjerg Mikkelsen, Maria Inêz de Castro Millen, Clyde Lee Miller, Bonnie J. Miller-McLemore, Alexander Mirkovic, Paul Misner, Nozomu Miyahira, R. W. L. Moberly, Gerald Moede, Aloo Osotsi Mojola, Sunanda Mongia, Rebeca Montemayor, James Moore, Roger E. Moore, Craig E. Morrison O.Carm, Jeffry H. Morrison, Keith Morrison, Wilson J. Moses, Tefetso Henry Mothibe, Mokgethi Motlhabi, Fulata Moyo, Henry Mugabe, Jesse Ndwiga Kanyua Mugambi, Peggy Mulambya-Kabonde, Robert Bruce Mullin, Pamela Mullins Reaves, Saskia Murk Jansen, Heleen L. Murre-Van den Berg, Augustine Musopole, Isaac M. T. Mwase, Philomena Mwaura, Cecilia Nahnfeldt, Anne Nasimiyu Wasike, Carmiña Navia Velasco, Thulani Ndlazi, Alexander Negrov, James B. Nelson, David G. Newcombe, Carol Newsom, Helen J. Nicholson, George W. E. Nickelsburg, Tatyana Nikolskaya, Damayanthi M. A. Niles, Bertil Nilsson, Nyambura Njoroge, Fidelis Nkomazana, Mary Beth Norton, Christian Nottmeier, Sonene Nyawo, Anthère Nzabatsinda, Edward T. Oakes, Gerald O'Collins, Daniel O'Connell, David W. Odell-Scott, Mercy Amba Oduyoye, Kathleen O'Grady, Oyeronke Olajubu, Thomas O'Loughlin, Dennis T. Olson, J. Steven O'Malley, Cephas N. Omenyo, Muriel Orevillo-Montenegro, César Augusto Ornellas Ramos, Agbonkhianmeghe E. Orobator, Kenan B. Osborne, Carolyn Osiek, Javier Otaola Montagne, Douglas F. Ottati, Anna May Say Pa, Irina Paert, Jerry G. Pankhurst, Aristotle Papanikolaou, Samuele F. Pardini, Stefano Parenti, Peter Paris, Sung Bae Park, Cristián G. Parker, Raquel Pastor, Joseph Pathrapankal, Daniel Patte, W. Brown Patterson, Clive Pearson, Keith F. Pecklers, Nancy Cardoso Pereira, David Horace Perkins, Pheme Perkins, Edward N. Peters, Rebecca Todd Peters, Bishop Yeznik Petrossian, Raymond Pfister, Peter C. Phan, Isabel Apawo Phiri, William S. F. Pickering, Derrick G. Pitard, William Elvis Plata, Zlatko Plese, John Plummer, James Newton Poling, Ronald Popivchak, Andrew Porter, Ute Possekel, James M. Powell, Enos Das Pradhan, Devadasan Premnath, Jaime Adrían Prieto Valladares, Anne Primavesi, Randall Prior, María Alicia Puente Lutteroth, Eduardo Guzmão Quadros, Albert Rabil, Laurent William Ramambason, Apolonio M. Ranche, Vololona Randriamanantena Andriamitandrina, Lawrence R. Rast, Paul L. Redditt, Adele Reinhartz, Rolf Rendtorff, Pål Repstad, James N. Rhodes, John K. Riches, Joerg Rieger, Sharon H. Ringe, Sandra Rios, Tyler Roberts, David M. Robinson, James M. Robinson, Joanne Maguire Robinson, Richard A. H. Robinson, Roy R. Robson, Jack B. Rogers, Maria Roginska, Sidney Rooy, Rev. Garnett Roper, Maria José Fontelas Rosado-Nunes, Andrew C. Ross, Stefan Rossbach, François Rossier, John D. Roth, John K. Roth, Phillip Rothwell, Richard E. Rubenstein, Rosemary Radford Ruether, Markku Ruotsila, John E. Rybolt, Risto Saarinen, John Saillant, Juan Sanchez, Wagner Lopes Sanchez, Hugo N. Santos, Gerhard Sauter, Gloria L. Schaab, Sandra M. Schneiders, Quentin J. Schultze, Fernando F. Segovia, Turid Karlsen Seim, Carsten Selch Jensen, Alan P. F. Sell, Frank C. Senn, Kent Davis Sensenig, Damían Setton, Bal Krishna Sharma, Carolyn J. Sharp, Thomas Sheehan, N. Gerald Shenk, Christian Sheppard, Charles Sherlock, Tabona Shoko, Walter B. Shurden, Marguerite Shuster, B. Mark Sietsema, Batara Sihombing, Neil Silberman, Clodomiro Siller, Samuel Silva-Gotay, Heikki Silvet, John K. Simmons, Hagith Sivan, James C. Skedros, Abraham Smith, Ashley A. Smith, Ted A. Smith, Daud Soesilo, Pia Søltoft, Choan-Seng (C. S.) Song, Kathryn Spink, Bryan Spinks, Eric O. Springsted, Nicolas Standaert, Brian Stanley, Glen H. Stassen, Karel Steenbrink, Stephen J. Stein, Andrea Sterk, Gregory E. Sterling, Columba Stewart, Jacques Stewart, Robert B. Stewart, Cynthia Stokes Brown, Ken Stone, Anne Stott, Elizabeth Stuart, Monya Stubbs, Marjorie Hewitt Suchocki, David Kwang-sun Suh, Scott W. Sunquist, Keith Suter, Douglas Sweeney, Charles H. Talbert, Shawqi N. Talia, Elsa Tamez, Joseph B. Tamney, Jonathan Y. Tan, Yak-Hwee Tan, Kathryn Tanner, Feiya Tao, Elizabeth S. Tapia, Aquiline Tarimo, Claire Taylor, Mark Lewis Taylor, Bishop Abba Samuel Wolde Tekestebirhan, Eugene TeSelle, M. Thomas Thangaraj, David R. Thomas, Andrew Thornley, Scott Thumma, Marcelo Timotheo da Costa, George E. “Tink” Tinker, Ola Tjørhom, Karen Jo Torjesen, Iain R. Torrance, Fernando Torres-Londoño, Archbishop Demetrios [Trakatellis], Marit Trelstad, Christine Trevett, Phyllis Trible, Johannes Tromp, Paul Turner, Robert G. Tuttle, Archbishop Desmond Tutu, Peter Tyler, Anders Tyrberg, Justin Ukpong, Javier Ulloa, Camillus Umoh, Kristi Upson-Saia, Martina Urban, Monica Uribe, Elochukwu Eugene Uzukwu, Richard Vaggione, Gabriel Vahanian, Paul Valliere, T. J. Van Bavel, Steven Vanderputten, Peter Van der Veer, Huub Van de Sandt, Louis Van Tongeren, Luke A. Veronis, Noel Villalba, Ramón Vinke, Tim Vivian, David Voas, Elena Volkova, Katharina von Kellenbach, Elina Vuola, Timothy Wadkins, Elaine M. Wainwright, Randi Jones Walker, Dewey D. Wallace, Jerry Walls, Michael J. Walsh, Philip Walters, Janet Walton, Jonathan L. Walton, Wang Xiaochao, Patricia A. Ward, David Harrington Watt, Herold D. Weiss, Laurence L. Welborn, Sharon D. Welch, Timothy Wengert, Traci C. West, Merold Westphal, David Wetherell, Barbara Wheeler, Carolinne White, Jean-Paul Wiest, Frans Wijsen, Terry L. Wilder, Felix Wilfred, Rebecca Wilkin, Daniel H. Williams, D. Newell Williams, Michael A. Williams, Vincent L. Wimbush, Gabriele Winkler, Anders Winroth, Lauri Emílio Wirth, James A. Wiseman, Ebba Witt-Brattström, Teofil Wojciechowski, John Wolffe, Kenman L. Wong, Wong Wai Ching, Linda Woodhead, Wendy M. Wright, Rose Wu, Keith E. Yandell, Gale A. Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- Book:
- The Cambridge Dictionary of Christianity
- Published online:
- 05 August 2012
- Print publication:
- 20 September 2010, pp xi-xliv
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7 - Group Rights
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- By Clive Baldwin, Head of Advocacy MRG, Cynthia Morel, Legal Cases Officer MRG
- Edited by Malcolm Evans, University of Bristol, Rachel Murray, University of Bristol
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- Book:
- The African Charter on Human and Peoples' Rights
- Published online:
- 01 July 2009
- Print publication:
- 22 May 2008, pp 244-288
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Summary
Introduction
Though major human rights instruments such as the International Covenant on Civil and Political Rights have recognised ‘peoples’, in no other instrument have the rights of peoples been afforded more concrete scope than in the African Charter on Human and Peoples' Rights. Indeed, peoples' rights figure prominently within the Charter, with six operative paragraphs dedicated specifically to this area of law. This unique feature of the Charter reflects the values of African societies, where ‘a person is not regarded as an isolated and abstract individual, but an integral member of a community’.
The Charter's commitment to both individual and collective rights reaffirms the interdependence of all human rights. In its Preamble, the Charter recognises the rights of peoples as constituting a condition sine qua non of the realisation and guarantee of individual rights. Group rights not only facilitate the realisation of other human rights, but many rights have both individual and collective dimensions.
This chapter examines the evolution of group rights under the African Charter on the basis of jurisprudence developed by the African Commission on Human and Peoples' Rights, as well as resolutions and reports adopted by this regional body.
Peoples as rights-holders under the Charter
Although the African Charter devotes six Articles to peoples' rights – ranging from the rights of equality, self-determination and protection of existence, to the right of peoples to national resources, development, peace, and to a general satisfactory environment – there is no definition of the term ‘peoples’ in the Charter.
Ethics, Law and Aging Review, Volume 8: Issues in Conducting Research With and About Older Adults. Marshall B. Kapp (Ed.). New York: Springer Publishing Company, 2002, 184 pp., $US 39.95 (hardcover).
- Clive Baldwin
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- Journal:
- International Psychogeriatrics / Volume 15 / Issue 3 / September 2003
- Published online by Cambridge University Press:
- 10 January 2005, pp. 313-314
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