‘Man(ne)’s world’: explaining the paradoxical nature of attitudes towards women in combat

Q1 Arts and Humanities

Critical Military Studies Pub Date : 2021-10-14 DOI:10.1080/23337486.2021.1985756

B. Greener

引用次数: 0

Abstract

ABSTRACT Enduring resistance to women joining combat roles, ostensibly to protect those women, is paradoxical when juxtaposed against the everyday dangers that women face. This paper draws attention to such sites of contradiction, summarizing the literature that investigates these before bringing Kate Manne’s ‘logic of misogyny’ into the conversation. Manne’s characterization of misogyny as a ‘hostile forcefield’, and her assertion that women are essentialised as givers, not takers, provide additional traction for understanding why women in combat roles are subject to an array of impossible inconsistencies, whilst the notion of ‘regendering’ provides some promise for beginning to unravel these contradictions.

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“男人的世界”：解释战斗中对女性态度的矛盾本质

摘要：表面上是为了保护女性，对女性加入战斗角色的持久抵制，与女性每天面临的危险相比，是自相矛盾的。在将凯特·曼恩的“厌女逻辑”引入对话之前，本文对这些矛盾点进行了关注，并对调查这些矛盾点的文献进行了总结。曼恩将厌女症描述为一个“敌对的力量场”，并断言女性被本质化为给予者，而不是索取者，这为理解为什么处于战斗角色的女性会遇到一系列不可能的矛盾提供了额外的动力，而“再生”的概念为开始解开这些矛盾提供了一些希望。

本文章由计算机程序翻译，如有差异，请以英文原文为准。

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来源期刊

Critical Military Studies Arts and Humanities-History

CiteScore

1.90

自引率

0.00%

发文量

期刊介绍： Critical Military Studies provides a rigorous, innovative platform for interdisciplinary debate on the operation of military power. It encourages the interrogation and destabilization of often taken-for-granted categories related to the military, militarism and militarization. It especially welcomes original thinking on contradictions and tensions central to the ways in which military institutions and military power work, how such tensions are reproduced within different societies and geopolitical arenas, and within and beyond academic discourse. Contributions on experiences of militarization among groups and individuals, and in hitherto underexplored, perhaps even seemingly ‘non-military’ settings are also encouraged. All submitted manuscripts are subject to initial appraisal by the Editor, and, if found suitable for further consideration, to double-blind peer review by independent, anonymous expert referees. The Journal also includes a non-peer reviewed section, Encounters, showcasing multidisciplinary forms of critique such as film and photography, and engaging with policy debates and activism.