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Community-based development: scaling up the correct use of misoprostol at home births in Afghanistan
Scholars argue that masculinity and war are united because masculinity is best observed through male-dominated arenas, such as the military. Moreover, film can serve as a medium to not only establish what is socially acceptable, but play an active role in the creation of one’s identity. Filmmakers past and present have employed the motif of masculinity in their war films, which put it at the center of the social structure and creates an overall acceptable cultural ideology. These filmmakers have established the overall rules, themes, and methods used as part of the war film genre. These rules, themes, and methods served well for pre-1970 American war cinema, when women were not allowed in the military as soldiers. However, as of 2003, female soldiers have grown to comprise twenty percent of the active soldiers and officers in the military. Studies on masculinity construction are well documented in World War II, Vietnam, and Gulf War-era combat films; however, little has been studied on post-9/11 American war films involving the Iraq and Afghanistan wars. Using literature on masculinity constructs, both inside and outside of film, as well as social construction theory, identity theory, genre theory, and auteur theory, this dissertation textually examines masculinity construction in six post-9/11 American war films. This dissertation finds that the contemporary war genre continues to construct masculinity similar to past eras of war film. Comradery, the warrior image, not showing emotion, having a violent demeanor, and the demonization of women and cowardice were all prevalent in one or more of the films analyzed in this study. However, there were many nontraditional masculine ideals that were implemented, such as women being present and taking an active role as soldiers, as well as women being portrayed in the warrior image. The films analyzed demonstrate that the war film genre is still depicting and therefore socially constructing masculinity in a way that was prevalent in pre-1970 war films. However, the genre is evolving and nontraditional masculinity constructs are starting to present themselves.
After this examination of necessary republican components, I describe the institution of constitutional dictatorship, which I devised based on the ideas of Machiavelli and the legal theorist Carl Schmitt. I then use all the institutions and ideas discussed within the framework of a thought exercise to examine possible recommendations for action by a constitutional dictatorship operating in Afghanistan, which are to bolster the Afghan National Army and neutralize the corrupting influence of Afghanistan’s “gentlemen,” or selfishly-motivated partisan leaders. Although the recommendations attempt to be as close to feasible policy as possible, they are not written with the goal of actual implementation in mind due to their lack of empirical basis.
I conclude by examining possible domestic and strategic implications of these hypothetical recommendations. This portion is also not empirically-based, merely concluding the examination of the thought exercise. An appendix uses visual aids to demonstrate the composition of the resulting Afghan government.