Analysis of Wimps, Whiners, and Weekend Warriors - Essay Example

An analysis of the Excerpt ‘’Wimps, whiners and Weekend Warriors’’ The below piece of writing is a critical and an exhaustive evaluation of the apparently glaring crisis of masculinity in the co temporal American societal set up.The short story is anchored on a masculine supremacy visa viz feminine egotism thesis. This presents the writers centrality in augmenting his theme as illustrated by Kemmel’s conceptualization of pride and maleness are interwoven and inseparable by his claim of the decade between 1980 and 1990 as a decade of pride for the American man.

In the movie review, Kimmel purports that leaving a kid with males as the mother goes out to fend for them is holistically out of order. He objects to gender parity since he perceives that it is done by reducing the maleness in American man. He cements his claim by pointing at the mythical hero in of ‘true men’ exemplified in Rambo, Wayne and Superman. He furthers his point of reason by George Bush’s sentiments in 1984 debate in which he said that he kicked had a little ass the previous night.

Lastly, he postulates that, the males apparent wild tendencies is more than mere feelings but it is also a fervent such for the “would be” lost boyhood.In the above discos, kimmel’s argument is a farce because it satirizes boyhood. For example, he alludes to bullying in his schools, assenting to a specified dietary detail for a true man and giving import to Bush’s retrogressive sentiments which taint rather than build a descent image of males. Finally, from the movies such as close encounters and full metal jack he draws a conclusion that men leave their families in the desperate search of their lost inner childhood man.

In conclusion the excerpt is ridicule on perception of male chauvinism an endeavors to liberate the male dominant society by asserting the relevance of feminism while he defangs the critical crisis masculinity per se.Works CitedKimmel, Michael. Manhood in America: A cultural history. First New York: Simon and Schuster, 1997. Print. (291-329)