The Romantic Male

Paper Summary:

This paper discusses the concept of the romantic male from various perspectives. It presents different definitions and descriptions of male personality and behavior, in terms of their masculinity and romanticism. However, more than just looking into romanticism and masculinity as concepts relevant to the concept of the romantic male, this paper also assesses romantic males as portrayed and interpreted in films.

From the Paper:

"The second typology is the "hero" or "warrior" male, most popularly depicted in films and literary texts. The warrior/hero is the male individual who is "physically and socially competent." The warrior/hero is physically tall, muscular, handsome, strong, large, tanned, masculine, and energetic, while socially, he is "sexually bold, calm, confident, and intelligent...no hero was described as being a gentle, sensitive fellow (except with respect to his feelings for and actions toward the heroine)" (Salmon and Symons, 2004). The warrior/hero is considered the romantic male because he is able to "transform" or shift his characteristics in accordance to the person he relates to: he becomes strong and brave when antagonism or conflict is present, and becomes sensitive and gentle when faced with a female individual (Jones, 2006). This character shift makes the female feel special, thus connoting the male's intention to ensure relational longevity between him and the female."

Sample of Sources Used:

• Bogg, R. and J. Ray. (2002). "Byronic heroes in American popular culture: might they adversely affect mate choices?" Deviant Behavior, Vol. 23, Issue 3.
• Jones, J. (2006). "It's a fine line between pleasure and pain: representations of masculinity in "Gladiator."" Screen Education, Issue 43.
• Salmon, C. and D. Symons. (2004). "Slash fiction and human mating psychology." Journal of Sex Research, Vol. 41, Issue 1.
• Santaul, M. I. (2003). "He comes back badder and bigger than ever!': Readapting the masculine and negotiating the feminine in treasure-hunting adventure fiction." Journal of Gender Studies, Vol. 12, Issue 3.

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