Mirroring Men and Masculinity in Joanne Harris’

Chocolat and The Lollipop Shoes

Project

Submitted to university of Calicut in partial

Fulfilment of the Post Graduation

In

M A English

Submitted by

Basneen Hudha

IV Semester

M A English

Reg No :LFAVMEG004

Little Flower College

Guruvayoor-680 103

2021-2023
 DECLARATION

I, Basneen Hudha, here by declare that project entitled “Mirroring Men and Masculinity in

Joanne Harris’ Chocolat and The Lollipop Shoes” is an authentic work done by me and it has

not previously formed the basis for the award of any degree, diploma, association, fellowship or

other similar title or recognition.

Guruvayoor Basneen Hudha

30-06-2023

IV Semester

M.A English

Little Flower College

Guruvayoor
 CERTIFICATE

This is to certify that this project entitled “Mirroring Men and Masculinity in Joanne

Harris’ Chocolat and The Lollipop Shoes” is a record of the original studies and research

carried out by Basneen Hudha, IV Semester M.A English, under my guidance and supervision and

submitted to university of Calicut partial Fulfilment of the requirements for the Post Graduation in

English.

Signature of supervisor Signature of HOD

Ms.Silpa T.H. Ms. Julie Dominic .A

Assistant professor on contract Head of the Department

Department of Functional English Department of English

Little Flower College Little Flower College

Guruvayoor – 680 103 Guruvayoor – 680 103

 ACKNOWLEDGEMENT

I , here by register my deep sense of gratitude to Rev. Sr. Dr.Valsa M A our principal,

Ms. Julie Dominic .A, Head of the Department of English and all the members of English for

the encouraging received for the completion of the project. I wish to express my sincere

gratitude to Ms. Silpa T.H., my guide, for her proper guidance and valuable comments for my

work from beginning to end. I owe on inexpressible debt to the librarian of our college. I also

extend my thankfulness to the members of my family and all my friends for their prayer and

support. Above all, I am indebted to God Almighty who is the constant source of support and

strength.

Little Flower College Basneen Hudha

Guruvayoor – 680 103

 Contents

Chapters Page.No.

Chapter 1

Introduction 1-6

Chapter 2

Exploring Masculinity 7-17

Chapter 3

Contemporary Portrayal of Masculinity 18-26

Chapter 4

Multiple Masculinities and Influential

27-36
Factors

Chapter 5

Conclusion 37-41

Works Cited 42-45

 H udha 1

Chapter 1

Introduction

“Do what thy manhood bids thee do, from none but self expect applause; He

noblest lives and noblest dies who makes and keeps his self-made laws” ( Richard

Francis Burton).

Manhood is to be perceived more as a privilege or an identity of the men they are

blessed with and not a designation built by others for the men to follow. A man, like

others have the sole right to express themselves, relieving themselves from any type of

barriers, be it physical, cultural or social. In the 1970s and ‘80s, when U.S. women made

major legal victories, the idea of ‘manly’ feminists were gaining too much power and

demasculinizing men again gained popularity. Are men to strictly fall under the term

masculinity, adhering to the strict rules or can men be analysed on the basis of how they

are re-written in literature, for instance by the contemporary writers?

This project is a sincere attempt to instigate on how men are depicted in the

literature, in respect to the two novels chosen and examine what the characters contribute

to their social and cultural milieu, respectively. The project cross-examines as whether it

is a right way to judge men from variant perspectives based on certain traits of

masculinity they portray. Can masculinity be defined and the meaning of manhood

established as interpreted in the literature? If so, to what extent are they close to reality?

Straining such factors are necessary to comprehend the significance of the depiction of

masculinity and the meaning of manhood as portrayed in the chosen texts for the

analysis. The demarcation of such works and the socio-culturally constructed reality is

interpreted and examined closely in the project.

 Hudha 2

The two texts chosen for the study are the Joanne Harris’s works Chocolat and

The Lollipop Shoes. Joanne Mchele Sylvia Harris is an Anglo-French author, whose

works consist of fourteen novels, two cookbooks and many short stories. Her work is

extremely diverse, covering features of magical realism, suspense, historical fiction,

mythology and fantasy. Harris has also penned a DR WHO novella for the BBC, has

scripted guest episodes for the game Zombies,Run!. She is best known for

Chocolat(2000), Christmas University Challenge (2011) and The Worlds of Fantasy

(2008). Her mother was French, which explains why most of her books are set in France.

She was also awarded the MBE (Member of the Order of the British Empire) and the

OBE (Officer of the Order of the British Empire) in the years 2013 and 2022

respectively.

Harris wrote the novel Chocolat as the author had a desire to write a book about

the conflict between indulgence and guilt, with chocolate as the central metaphor. The

novel also explores how the arrival of a single individual can affect the internal politics

of a community. The novel gives a peep into an old-fashioned French fairytale of

chocolate, fantasy, magic and romance on one side, and on the other about the hypocrisy

of a society towards the inferior groups. Chocolat is the first installment of Harris’s

Chocolat book series. Chocolat is followed by The Girl with No Shadow or The Lollipop

Shoes, also taken for the study in this project. The third work in the series is Peaches for

Father Francis. Harris’s daughter was a major influence for writing Chocolat and the

daughter’s personality gleams through one of the main characters in the story.

In 2000, the novel Chocolat was adapted to a movie with the same name starring

Juliette Binoche and Johnny Depp. The novel tells the story of a mysterious Vianne
 Hudha 3

Rocher, who becomes a focal point for resistance for the village priest, Francis Reynaud,

by opening a chocolate shop at the time of Lent. The story follows the success of

Vianne’s chocolate shop La Celeste Praline, flavoured with some magic and the

consequent opposition of the hypocritical priest Francis. With the arrival of Roux,

described in the project as men in the margin, the story of fantasy and magic becomes a

romantic fairytale. The hypocrisy of the high class society is also portrayed in the novel.

The novel Chocolat, with its elements of fantasy and dark humour is celebrated, for its

vivid envisioning of magical realism.

Sequel to the novel Chocolat, The Lollipop Shoes by Joanne Harris was published

in 2007. The plot of the sequel is darker than Chocolat, set in between Halloween and

Christmas. It is more openly mystical than Chocolat. In The Lollipop Shoes, the

protagonist Vianne, now Yanne has settled in the Montmartre quarter of Paris, with the

character’s daughters Anouk and Rosette. The characters life changes with the arrival of

the free-spirited Zozie del’ Alba. It takes great conviction and courage for the protagonist

to bring their lives on to the ground again.

Looking at a text from a feminine perspective, focusing on the female persona in

the works has been done many-a-times. So, why not, now look at a feminine text and

examine it in light of the concept- ‘masculinity’. In recent times, masculinity is been

probed as a theory with its application in literature. “The term ‘masculinity’ refers to the

roles, behaviours and attributes that are considered appropriate for boys and men in a

given society. It is the social expectation of being a man”, as defined in the journal, The

Meaning of Masculinities. The theories of hegemonic, complicit and marginalized

masculinities by R.W. Connel and James W. Messerchmidt are taken for the study on the

select novels of Harris. The masculine characteristics are studied attempting a

 Hudha 4

comparative analysis of the characters in both the novels. As other studies state, the

societal influence on masculinity with respect to culture is done on the novels.

The statement of the theoretician Messrchmidt, regarding the meaning of

hegemonic masculinity is also taken to support the study in examining the trait in the

certain characters in the selected novels. The study examines the outcomes of the

intermingled state of variant types of masculinities in the chosen characters upon

themselves and others. The social and cultural milieu are also studied in the novels in

relation to the construct of the certain types of masculinity in the characters. The

inclusive masculinity theory by Eric Anderson is put forth as a solution, against the

misjudged and forced types of masculinity, socially and culturally constructed and its

following consequences as examined in the project.

As a part of the project, the research papers Configuring masculinity in Theory

and Literary Practice by Stephan Horlacher and Jane Austen’s Men: Masculinity and

Help Seeking by Seth Perkins have been referred. The first one gave the project a

theoretical support on exploring how masculinity as a theory can be applied in literature.

The scope of masculinity is scrutinized affirming gender equality in a social and cultural

construction. The second paper gives an insight into how masculinity has developed

throughout literature, with the passing ages. This particular paper, for instance provides a

theoretical frame on how men has been portrayed in literature passing from hegemonic

masculinity to a heroic masculinity. Now, the literature gap is that in this project, a

comparative analysis of certain selected characters are made probing into their causes and

outcomes of masculinity depicted in the literary texts or novels.

Most studies referred has analysed only a particular type of masculinity in a male

character and that too in texts projecting male characters as the protagonists. But, in this
 Hudha 5

project, one can find masculinity scrutinized in a feminine text, and followed by a cross-

examination of the variant types of masculinities relevant in the chosen characters.

The project ends with the inclusive masculine theory posing a possible limit to the

hazardous effects of hegemonic, complicit, heroic and marginalized masculinities, which

are culturally and socially constructed. Masculinity studies argue that it is the product of

cultural codes, social norms and ideological imperatives which vary across time and

space. It has very little to do with the male biological se or with physical phenotypic

features. Masculinity is multiple and variable as has been examined in chapter four of the

project. The multiplicity of masculine identities was long time hidden by the

homogenizing and reductive terms like ‘patriarchy’ and ‘phallocentrism’.

The scope of masculinity in literature has expanded in recent times. Masculinity

studies emerged in America in the early 1990s, with a goal to map out in detail the

history of a gender that had not received the critical attention necessary to a better

understanding of gender relations, according to Pierre- Antoine Pellerin. Masculinity has

always remained invisible as often it was deemed as a hegemonic and privileged position.

Rereading and interpreting the literary texts, focusing on the comparative analysis of the

major male characters through the prism of masculinities open up new invocations to

identify the role of a male in a society. Masculinities, at first, was the product of the work

of historians, sociologists and psychologists. Later, several publications and book series

have been published on masculinities and more recently, in 2016, the Centre for the

Study of Men and Masculinity Studies was established at Stony Brook University under

Michael Kimmel. It was the first Master’s Degree in Masculinity Studies.

Social relevance of the project is that masculinity studies intends to reduce men’s

perpetration of violence and increase support for gender justice. Representing masculinity

in feminine texts understates the equal role of the genders played in a society. The project
 Hudha 6

further instigates on how humans , socially and culturally dependent have framed their

personalities irrespective of their gender. A man’s masculine traits are socio-culturally

affected and vice-versa, i.e. they are inter-dependent.

The chapters apart from the introduction and conclusion are three. The second

chapter is titled as ‘Exploring Masculinity’, focusing in the theoretical framework on

masculinity. The third chapter – ‘Contemporary Portrayal of Masculinity’, examines how

two main characters in the chosen novel portray masculinity and can be taken as relevant

in a feminine text on scrutiny. The fourth chapter ‘Societal influence on masculinity’

examines how masculinity and the socio-cultural factors are inter-related. The chapter

also envisions how variant traits of masculinities are found inter-mingled in a single

character in the chosen text.

 Hudha 7

Chapter 2

Exploring Masculinity

Masculinity is the set of social practices and cultural representations associated

with being a man. Cultural representation of man vary in accordance with history and

society and in its context , the term ' masculinities' is recognised.This project focuses on

hegemonic masculinity and toxic masculinity in literature as well, on ' societal influence

on masculinity'. According to Raewyn Connel, hegemonic masculinity is on top of

gender hierarchy. It is the culturally dominant idea of masculinity centered around

authority, physical strength, heterosexuality and paid work. 'Masculinity' is constructed

and defined socially, historically and politically rather than being biologically driven. In

western society, traits considered as example of masculinity are strength, courage,

independence, leadership and assertiveness.

In literature, there are two linked applications of masculinity studies. One in

which it consider the more private realms signifying how the masculine identity may be

formed and performed. The other application involves the isolation and examination of

positive examples of male protagonists. Masculinity is a developing area similar to

feminism. It is simultaneously away from a male chauvinist, it can be compared to any

other process of human behaviour, which is not static. As a concept, the consequence of

advancement in the field of study has given birth to terms like maleness and manhood.

Masculinity is seen as as a performance preferred to a set of rules adhered by a man to

follow.

Now, why is masculinity studies important? When many research papers have

been done on gender, women's and feminine studies, masculinity studies does not stand

as a conservative backlash but a social necessity. Taking for instance, the canonical and
 Hudha 8

established texts such as Malory's Morte D Arthur, Shakespeare's As You Like It, or

Hardy's Jude the Obscure, it is possible to demonstrate that the instability of male gender

is the consequence of historical processes. Representation of masculinity in literature

helps the readers focus more on the explication of their roles in a society.

Probing into the history of masculinity studies, in ancient literature, it dates back

to 3000 BC, when explicit expectation from men were idealized in the form of laws and

implied masculine ideals in the myths of gods and heroes. The society has imposed a

series of ideals of men, asking them not even to open up their emotions and instead have

a firmness in their behaviour. Men are believed to be protective of women from ancient

times, imposing a heavy responsibility upon them. For instance, Tacitus presented the

Germanic warrior Arminius as a masculine her, who even demanded war against the

Roman Empire against the abduction of his wife. The history of masculinity studies looks

back to a European medieval masculinity, essentially Christian and chivalric described by

Jeffrey Richards.

Exploring through the history of literature and portrayal of men, this chapter looks

into works such as Beowulf which cuts men off from women, and other men in the

instance of passion and household. During the Victorian era, masculinity underwent a

transformation from traditional heroism. According to the Scottish Philosopher Thomas

Carlyle “the old ideal of Manhood has grown obsolete, and the new is still invisible to us,

and we grope after it in darkness, one clutching this phantom, another that; Westernism,

Byronism, even Brummelism, each has its day”. (Carlyle 63)

According to R.Gould, a man's economic contribution to the family defines

masculinity as provider role was central to adult men's identities. The construction of

masculinity in the latter part of the 20th century and the early 21st century is through
 Hudha 9

independence, sexual assertiveness, band athletic among other norms of manhood. In

social construction of masculinity, there are gender assumptions which are crucial to

meet the customs of a society. The concept of ' strong sense of masculine pride, the sense

of being "manly" and self- reliant, an exaggerated masculinity is termed as "machismo".

Masculinity and femininity are conceptualized by some social scientists as a

performance.

Looking into social expectation of being a man, masculine performance may even

vary over one's life course, but also from one context to another. For instance, men who

exhibit a tough and aggressive masculinity on the sports field may display contrasting

softer masculinity in familial contexts.

When and how did the birth of men's studies begin? In 1980s, the work on

masculinities asserted the idea of masculinity was natural or essential, and responding to

sex role theory, taken as uniform, stable and normative, to which men may or may not

adhere to. In the book The Myth of Masculinity, the psychologist Joseph Pleck came into

a conclusion that there was no systematic formulation of the male sex role identity

paradigm( MSRI). As Stefan Horlacher discusses in his article, " Concepts of

Masculinity and Masculinity Studies", literature and masculinity go hand - in- hand.

Further intricating into literary analysis of the texts in the twenty-first century, it

constitutes a vital wing of masculinity studies.

There was also a look into the concept of multiplicity of male roles, when it was

explicated in the collection of essays- The Making of Masculinities: The New Men's

Studies(1987). Joseph Pleck assimilated a history of male sex -role identity since 1936,

which was considered as outdated by other authors. In Harry Brod's The Case for Men's
 Hudha 10

Studies, it implies that there is a fallacy in one's understanding of men to have gone

unrecognized.

One of the intriguing topic in the project is marginalized masculinity.

Marginalized masculinity is a form of masculinity unable to follow or derive benefits

from hegemonic masculinity. It might refer to a lack of some of the qualities of

hegemonic masculinity, like being a gypsy in the case of the character taken for analysis

in the third chapter of the project. Probing into societal influence on the character follows

in the fourth chapter of the project. Even in the contemporary era, men are subjugated for

their designation and work. Hence, marginalized masculinity explores how human in

distinct designations are alienated regarding the fields in society including family, work,

the media and school in general. In this project, it analyses how the main male character (

hero) is alienated from the ordinary society, it's set of rules and beliefs. This

exploration, may in fact, intent to convey what it is to be marginalized in the least. The

work also intends to analyse in- depth, how the social elites look down on the

marginalized character in spite of the man's skills and ability to earn a living from it.

The specific part of the project focusing on this type of masculinity concludes by

probing into how it effects the contemporary strata of men in the society. Marginalized

masculinity have its roots in the 1980s, in different countries such as Sweden, the United

Kingdom, Norway, Australia and the United States. Raewyn Connell initiated a

theoretical discussion by introducing both the hegemonic and marginalized masculinity,

on how to frame and comprehend them through the contexts such as gender, sexuality

and identity. Another influence can be seen in the work of Susan Faludi Stiffed: The

Betrayal of the Modern Man (1999). It focused on men in different occupations and

positions, including unemployed and marginalized ones.

 Hudha 11

This particular field tends to analyse marginalized strata of men, taking in the

dissertation, the man of gypsies, for instance. It also focuses on how marginalized men

are restricted access to social, economic and cultural opportunities and resources.

Comprehension of marginalized masculinity as a social context has been through

Connell' s approach to marginalization within a framework of hegemonic masculnity and

the privileging of patriarchy. In this approach, 'marginalized' are often referred as

outcasts- men who have ' disadvantaged unequal membership'.

Connecting modern elements of how men has been written and interpreted with

the novel, Chocolat, the qualities of romantic hero is analysed with respect to Roux, a

significant character of the novel. Heroic masculinity is what Roux depicts in a formal

undertone, a character who sacrifices one’s dignity for the welfare of others. The

character of Roux is a reply to the question asked by Sebastian Junger that how does one

become an adult in a society that doesn't ask for sacrifice? How does one become a man

in the world that doesn't require courage?

The ' romantic hero' is a literary archetype, a character that rejects institutional

norms and conventions, has been rejected by society, and exist on their center. Some of

literature's great romantic heroes are: Heathcliff in Wuthering Heights, Mr Rochester in

Jane Eyre and Oliver Mallons in Lady Chaterley's Lovers and the list goes on.

Masculinity has been re-written since the Romantic era by writers like Jane Austen and

Joanne Harris has followed this order. Through the courtship romance genre, Jane Austen

has re-written masculinity in the socially, politically and culturally Romantic era. Austen

with respect to the Romantic desire for urgency, individualism and self- hood of her

heroines, has written about a new vision of masculinity.

 Hudha 12

Similarly, Joanne Harris has re- written masculinity as internalised,

psychologically complex and authentic gender identity - an epitome of manhood that is

led by the ongoing appeal and cultural men of the twenty-first century. In the dissertation,

it explores both challenges and scope for male selfhood, romantic love and how one's

masculine traits deflects within a physical context.

In a theoretical overview, "Raewyn Connell's concept of hegemonic masculinity

serves as an analytical instrument to identify those attitudes and practices among men

that perpetuate gender inequality, involving both men's domination over women and the

power of some men over other ( often minority group of men). The domination, as

analysed taking literary works, it's characters, seems to create both positive and negative

consequence. Positive in the sense, a sense order, though, which may seem to be false at

times and even folly. In negative aspect, it creates a sense of motions, often evoking

violence in an adverse way, especially in the lives of the inferior ones .

There has been debates over the basic idea as to hegemonic masculinity is ' a

culturally idealized form', or ' both a personal and collective project. The hegemonic

masculinity theory is believed to be a set of rules that sets in motion a society or an

institution in order in gender unequal ways. There may be even a play between men's

identity, ideals, interactions, power and patriarchy related to the theory. The hegemonic

definition of manhood is a man in power, a man with power, a man of power.” (Chris and

Thomas 7).

In the fourth chapter, the interplay of hegemonic masculinity at regional and global

level regarding the societal influence is focused. Analysing hegemonic masculinity from a

social context, posing solutions for the gender inequalities are key elements that makes the

project become one to strive for gender democracy. It also thrive for universalization of
 Hudha 13

moderate gender identities among both men and women, irrespective of other socio-

political and cultural borders.

The negative or harmful consequence of hegemonic masculinity may grow to

such an extent, that it is detrimental at socio-political contexts and in- turn result in

outrageous movements such as fascism and the like. Hegemonic masculinity excercised,

may, to it's drawback, lead to unrest and violent commotions in the socio- political array.

Toxic masculinity, is also analysed with regard to the antagonist in the dissertation.

It is “the social pressure to conform to traditional ideals of masculinity, which privilege

aggression, elevated class status and the suppression of emotions”, quotes Ani Katz in The

Gaurdian. This one turn leads to huge crisis in social behaviour of the one associated with

toxic masculinity , oppression of the inferior class and groups. Toxic masculinity is the

notion of "manliness", exhibited through domination, aggression and homophobia. It

necessitate men to behave in a particular stoic manner, when subjected to cultural and social

pressures.

According to some researchers, toxic masculinity comprises of three components:

The first one, toughness is the notion that men should be physically strong, emotionally

callous , and behaviorally aggressive. The second component is anti-femininity. It consist

of the idea that men should reject all that is feminine, such as showing emotion and

accepting help . The third one is power in the premise in which it states that men must

work toward obtaining power and status (social) so they can gain the respect of others.

All these components when analysed, can also been seen as of hegemonic

masculinity, when excercised. Toxic masculinity is when hegemonic masculinity comes

to play with social and cultural pressure. Toxic masculinity also appear to have adverse

affects on both the physical and mental conditioning of men conforming to it specifically.
 Hudha 14

In relation to hegemonic and toxic masculinity, with its intersection with religion

conforming to oppressing practices and its consequences is also analysed in the project.

Gender is also analysed in relation to social milieu that surround them. In reality

of city life, hegemonic or toxic masculine traits such as stoicism and reserved emotions

are dominant in character. On the contrary, the kind nature of men with an understanding

level, quality character of men belonging to inferior group or community is often labelled

as feminine traits.

The reserved quality or the gender as such acts as an influential dimension of

urban identities and an axis of urban inequalities. "Cities are vital arenas in the

embodiment, contestation ,mobilization, subversion and transformation of most aspects

of gender." (Bondi 4). Researchers reviewed that shifting back from traditional views of

masculinity could reduce violence, oppression of inferior groups and result in a more

harmonious order of society. Inclusive masculinity, as an approach is also examined as

opposite to hegemonic masculinity. It has arisen from the increasing societal spaces in

which men no longer need to behave in a hyper masculine way to be accepted. Eric

Anderson published the theory in 2009 and later was elaborated by Mark McCormack in

a 2012 book.

Inclusive masculinity represent a significant shift in the practices of masculinities

and not the notion that gendered behaviours are superficial or fleeting. Inclusive

Masculinity Theory has been open to refinement by others. The standard academis

practice of proposition, debate and refinement has advanced the theory of inclusive

masculinity. Class analysis is an example of the development of the theory.

Earlier studies based on inclusive masculinity were done with little emphasis

given on the middle-class youth. For example, attention was shifted to working-class
 Hudha 15

heterosexual men in the service industry and a softer version of masculinity performed

was found by the studies conducted. This finding was a key element in the changed

attitude towards employment, which were at first considered to be feminine and

incongruent with manliness. It also resulted in changed idealizations in respect of the

division of domestic labour.

Complicit masculinity is also explored in the project with both its merits and

demerits on the characters exhibiting it and on the society related to the characters. The

term ‘complicit masculinity’ was developed by R.W.Connel to describe men who

belonged to the classification of hegemonic masculinity passively. Men falling under

complicit masculinity are neither able to nor willing to fill every roll of normative or

hegemonic masculinity. The existing literature convicts that there is much more to

gender identity than the biological aspects of maleness contrary to the ideology that

masculinity is defined by being a male. Historically, an ascription of sex onto the

understandings of how gender exist, in turn, has created rigid gender binaries of male and

female. One’s experience of masculinity is constructed regardless of gender identity,

according to the notions created by narratives of how one should act. The malleability of

masculinity is reflected in this project by examining variant types of masculinity relevant

in the characters of the chosen texts.

The myriad ways of how men construct their masculinity are to be analysed in the

project, especially from the socio-cultural milieu. The existing literature on masculinity is

useful in examining how men have constructed their masculinity. Masculinity, is found to

be complex and dynamic, based on earlier studies referred. Depending on man’s

interactions and cultural environment, masculinity is viewed as a social process. The

examination related to social constructions perceive men as social beings like any other

gender and analyse how they participate in the social context prevailing in the chosen
 Hudha 16

texts. The social world is also considered as an element that shapes the gender identity of

a man.

In the project, the focus on how masculinity is defined seems to shift to the

analysis of how masculinity works differently across time and culture. Culture in a city

life is different from the one that prevails in the rural area. This, in turn, shapes

masculinity and men’s behavior associated with their manliness. In literature studies, one

of the adjectives used in relation with masculinity is ‘toxic’. According to the earlier

studies, it is not masculinity that is toxic, but patriarchy. But does patriarchy come into

existence without any other influences? The answer is no, since the power element

associated with masculinity is a social construct, when other groups of men or genders

allow the hegemonic masculine groups to take control of them. “Patriarchy is a social,

hierarchical arrangement that privileges men, but men could (and should) detox

masculinity to liberate themselves from the repressive patriarchal regime” (Martin and

Santaularia 1).

The concept of homohysteria is not to be confused or taken as parallel with the

less dominant complicit or inclusive masculinity. Homohysteria is to consider one as

homosexual considering their behavior as gender atypical. The research paper carried out

by Eric Anderson, titled as Inclusive Masculinity Theory: overview, reflection and

refinement particularly states not to define inclusive masculinity as homohysterical.

Inclusive masculinity theory is a more flexible theory and a new approach to theorizing

contemporary masculinities. In the present times, fears about homohysteria have been

declining around men. This enabled men to develop softer, more expressive and tactile

forms of masculinity.
 Hudha 17

Earlier, hegemonic masculinity dominated, but later on with time, cultural

homohysteria diminished and more inclusive forms of masculinity emerged alongside.

According to the studies conducted on masculinity, multiple masculinities proliferate

without hierarchy and hegemony, and an accepted expansion of hetero-masculine

behavior is permitted among men.

 Hudha 18

Chapter 3

Contemporary Portrayal of Masculinity

In this chapter, the main characters- the hero and antagonist are explored in-depth

through the lens of ‘masculinity’ concept. The chapter also excruciates how their

portrayal of masculine traits affect those around them, both belonging to close and distant

milieu. The antagonist- Francis Reynaud, a village priest embodies the characteristics of

hegemonic masculinity. The priest with his maleness or manliness and domination

strategy is famous for the novel Chocolat. Linking traits of hegemonic masculinity with

the character of Reynaud , the character’s hostile nature towards people based on their

class, religion and culture is analysed in the dissertation.

The village priest Francis Reynaud, amputated the domination of the barbarous –

so called gypsies over the ideologies of common man in Lansquenet-Sans-Tous and their

settlement in the area. This hypocritical belief stemmed as consequence of the priest’s

hegemonic beliefs associated with culture and religious norms. The hegemonic

masculinity traits steered the priest towards the thoughts which oppress other inferior

societal groups and suppression of one’s own cordial attitude towards the gypsies and

other wanderers. The stoic nature of priest imposed on oneself kept the warm gifts of life

such as ‘chocolate’ on the harbor and the charcter’s stern life routines can be interpreted

as part of hypocritical practice of religion.

The hypocritical practice of religion in relation with one’s cultural norms and

hegemonic masculinity traits go together. The priest’s attitude towards the inferior groups

and the resulting condemn can be seen in the lines following, quoted from the novel
 Hudha 19

Chocolat: “I can do nothing but maintain a dignified silence and pray for her downfall.

But she makes my task so much harder!” ( Harris 134). The priest’s condemn and malice

against the protagonist Vianne Rocher has the roots in one’s societal status and position.

Vianne Rocher’s lineage is somehow calculate by the obsessive priest and one can see the

character trying to turn the society against Vianne, making Vianne seem less fit in the

society.

The hypocrisy of the village priest could be observed from the lens of hegemonic

masculinity and cross examining the concept, attributed to toxic masculinity. The

character of the priest seems to be analysed as one who causes harm to oneself as a

consequence one’ thoughts, ideologies and actions. The vengeance in the priest has arisen

out of the priest’s negative notions on the inferior groups such as gypsies, who look for a

better life along the developing masses. The prospects of the minor groups is downcast

from a dominative perspective. As an end result, the dissertation comes to the point that

the ‘malice’ attributed to the protagonist,in fact, is depicted by the village priest through

the stoic character of the priest. The priest underscored Rocher’s act to settle in life as a

heinous crime with respect to the false ideologies , held by the character. This false

ideology had been imposed by what is called ‘toxic masculinity’ – by which one adhere

to strict rules imposed on to oneself by the self or the society upon the masculine

personality redeemed as a concept of masculinity.

These negative propaganda imposed upon the masculine often leads to

sociopolitical, physical and mental harm of one , subjected to the concept of toxic

masculinity. The charcter, hence analysed in the chapter, could be seen intermingling the

character’s negative attitude towards the female protagonist even with religious, social

and cultural aspects of the village, Lansquenet-Sans-Tous from the following lines: “I see

it all now. Her malice her damnable malice. She must have planned it from the start, this
 Hudha 20

chocolate festival, planned it to coincide with the most holy of the Church’s ceremonies”

( Harris 135).

Probing into the quoted lines above, one can see how a single mother’s conviction

to settle in life with a daughter is interpreted as a malicious act. The priest in his vicious

lens misinterpreted the protagonist’s intention in its toxic sense. The priest’s negative

ideology and hypocritical perspective reversed the reality, constructing the scenario of a

threatened village on the arrival of the protagonist , who belong to a minor category.

The stereotypical notion can be enlisted as one that developed due to fostered

hegemonic and toxic masculine traits in the character of the priest. The priest, for

instance, even takes a child’s playful attitude as a sin, stating it around the name of

guidance. “All I want is to guide them, mon pere, to free them from their sin” (Harris 23).

There is a satirical tone in his addressing of ‘mon pere’ itself, for he observes everyone

around him through a skeptical lens. Exploring each chapter of the novel, one can

understand that the priest has committed a sin in the past and the hypocritical attitude of

the character is followed in the fear of disclosing his actions before others. It is evident of

both the priest’s hegemonic and toxic masculine traits that alarm the character about the

domination of minor groups over the village.

Using the name of the Lord and religion to evacuate the minor groups from the

village, the malice, of the toxic masculine traits is reflected as counter effect of social

stigma borne out of the priest. Society and contextual drives are two elements responsible

for defining one’s character and personality according to the valuation of the life of the

characters. The society and individual are interdependent on each other and their effects

are too mutually inclusive within each other.

The priest has an oppressive attitude towards women. For instance, the priest

refers to women as sheep, who are sly, occasionally vicious, pathologically stupid. The
 Hudha 21

venom within the priest is reflected through the atrocious comments made on women by

him. Excruciating the character of priest, one may notice the submission of the character,

of being not completely lenient. The ridiculous statements of the priest over others makes

his personality seem as one. The deep rooted toxicity in the character of the priest ask the

readers to side with the feminine ones, the minor ones.

Probing into different shades of hegemonic and toxic masculinity, one might be

able to content and muster the relevance of feminine traits in the novel. For instance, the

vivid ideology and embodiment of the inferior, feminine characters are revered keeping

hegemonic masculine traits on the front against them. With respect to the character of

the priest, the vitality of the female protagonist to cite is also conveyed through the

study. Likewise, the character of Roux in the novel Chocolat is also explicated as a

significant one referring and analyzing it as against the hegemonic and toxic character of

the priest. Roux is at times, offended by others for his temporary jobs engaged and the

uncertain status of the character.

In allusion to the character of the priest, power is another factor leading to

oppression of the minor groups. The novel Chocolat, is hence written to disrupt the

societal constructs of hegemonic masculinities, which leads to toxic masculinity,

subsequently. All the division that arises among the people are outcomes of the power

relation and hegemonic factor is one among them. Power relations such as hegemonic

masculinity give on to discrimination and consequently societal exploits, especially

among the depicted minor groups in the novel.

Now, there are masculine concepts to explore from a positive light such as

‘heroic masculinity’ and ‘marginalized masculinity’ with regards to the character of Roux

from the novel Chocolat. ‘Roux’ is an epitome of heroic qualities such as bravery,

conviction, courage, honesty and moral integrity. Due to these qualities , the characters
 Hudha 22

such as of the priest subordinated the character of Roux as inferior to the settled, often

upper class against their hegemonic masculine traits. The honest and helpful attitude of

Roux fueled envy to co-exist with the prejudiced notions of the priest towards other

classes such as gypsies as to which Roux belongs. Hence, one shall be able to explore the

defining traits of hegemonic and heroic masculine traits co-existing in the novel with

contradicting consequences in the novel. A struggle of cultures, ideologies, motives and

fueled results are followed with the mentioned two traits of masculinity on the front.

Roux stands as an allusion to the concept of ‘heroic masculinity’ as defined by

the critic Jeffrey Hammer in the work Comic Book Masculinity and the New Book

Superhero. ‘Masculinity’has often been underscored as femininity as a carefully

orchestrated performance or as a masquerade. One shall be able to concord that no traits

limit a masculine character restricted to in the study define their whole community. One’s

personality, is openly subjected to their societal influences and other physical factors such

as a mass belonging to a particular strata of the society with regards to their topographic

and social constructions. It is in-depth explored crucially in the following chapter of the

project.

The conviction and moral integrity of Roux is responsible for the silence the

character exhibits in the adverse contexts pulled in by the antagonist. The humour and

compassion the character of Roux depicts towards the little girl Anouk in the novel

Chocolat are in fact, elements of bravery. These qualities of men re-written in the novels

of the modern times are of vital significance, as one could trace the traverse the portrayal

of men in ‘literature’. The concept of re-writing men began in the early modern times by

the female authors such as Emily Bronte and Jane Eyre. Joanne Harris follows their suit,

and has lead to the commotion followed by the portrayal of her opposing masculine

characters. The hard and stern, often ironical portraits of men has been re-written and
 Hudha 23

deconstructed analyzing the recent works in literature. Apart from re-writing masculinity,

great efforts are also made in exploring femininity. This context makes it necessary for

the studies to concentrate for detailed analysis of the masculine characters , specially in a

feminine text concentrating on their respective traits and its end results on the society.

On delving into the character of Roux, one might find the hesitancy in the

character to access help from others, his overly polite attitude. For instance , the

following lines gives an insight to the characters’ hesitant and unduly polite demeanor:

“He can make a single syllable sound very meaningful. This was polite incredulity,

suspicion. He looked like a nervous cat about to strike” (Harris 212). His suspicion on

one side is reflective of the dominance that the upper class, particularly the hegemonic

masculine figures exercise over Roux and other minor groups. The controversial attitude

of both the classes based on their social status is also relevant in the motif developed

through the characters and the tension followed. Thus, examining the particular traits of

masculinity in the novel, one could conclude that the so called masculine qualities

observed and the societal influences are inter-related. But at the same time, this study

focuses on emphasizing that a character, here a man, must not fall into the stereotypes,

adhering them to particular masculine traits. Under no notions, a man is said to act as a

symbol of power and aggression, but they can also show compassion, love and help the

needy like the character of Roux in the novel ‘Chocolat’. It may be the underscored

feminine traits that made the antagonist label Roux as inferior.

Now, this superiority complex seen in relation to hegemonic masculinity led to

another type of masculinity, called ‘marginalized masculinity.’ It’s a great achievement

of the author having depicted the same character as belonging to two sort of masculine

classification. Another relevant instance in the novel, to be acknowledged regarding the

 Hudha 24

masculine theory is that, though the heroic character falls into the category of

marginalized masculinity, his attributes are not pitied but praised by the readers.

Such representation of the minor groups by the dominant ones. For instance, one

may notice the silence harnessed by the priest due to the obsession of the character’s

hegemonic traits when Roux’s boat was attacked. There was also defiance on the side of

Roux to fight against the possible convict and it can be analysed that men like Roux, in a

way lead the way to their so-called marginalization. The defiance may be noted in the

following lines: “He looked dour and unresponsive, eyes reddened by the smoke, refusing

to answer when I addressed him” (Harris 181). His defiance can be probed from two

perspectives. One, which act as a silent resignation in the context of marginalized

masculinity, but the other in which one may contain his silence as an act of bravery in the

face of his heroic masculinity, repressing the hegemonic characters. The hostile attitude

of the society towards the inferior groups makes the lives of the marginalized ones

harder. Their hopes of settling down in an arena are shattered, followed by the

scrutinizing attitude of the dominant settled ones. The protagonist of the novel feels the

same masses following them across the world as the lines follow:

“The flat, hostile stare of the official. The curious look of the peasant. The dull

unsurprised faces of the tourists… as if these people were secretly following from

one town to another, changing clothes and faces but remaining unchanged, going

about their dull business with half an eye slyly cocked at us, the intruders.”

(Harris 192)

The patriarchal norms about masculinity, hence is re-written by the author, which

can be brought into the front on detailed analysis. This was made possible by featuring

the two opposing traits of masculinity and effects of societal influences inter-related. In

the contemporary literature, studies on masculinity are creating a reflexive moment. This
 Hudha 25

chapter of the project comes to a conclusion that a pre-notion about men in the margin is

been established in recent times in literature. The character of Francis Reynaud and Roux

are citations for the above statement in the novel Chocolat by Joanne Harris. Social

isolation and the position of the marginalized are characteristic of each other and this

aspect is also analysed in the chapter. One’s position in the social world is often depicted

by characterizing their experiences sensitive to their personality. Most often workingclass

boys and men are considered to be in the margin, locked out of hegemonic and complicit

masculinity.

Apart from the concept of heroic masculinity, exhibited by the character of Roux,

there is often a chance for violence to render as an outcome of marginalized masculinity

imbibed on the character. This outcome can, in fact be analysed to study the

contemporary men. Accordingly, this chapter directs a reader to compare the

contemporary portrayal of masculinity in literature with that present outside the arena of

literature, the real world. Harris’ novel Chocolat stands as one that follows the style in

which men has been rewritten. On detailed analysis, one could use it as a citation to

comprehend the contemporary portrayal of men in literature

. The unequal social stratification of men in society can be theorized by the

inclusive masculinity theory. Hegemonic masculinity theory is inadequate to explain

changes in men in the recent years. Inclusive masculinity theory, proposed by Eric

Anderson therefore gives a better understanding of the men, as they are free to act

irrespective of the social norms. In the 20th century, studies on men were exclusively

based on their privileged strata in the society. It least focused on the repressed emotions

and the oppression experienced by men. The marginalized group of men were also

excluded from the studies on men earlier. In Anderson’s argument, men’s gender came to
 Hudha 26

be founded upon emotional openness, increased peer tactility, softening gender codes in

the absence of homophobia.

Inclusive Masculinity theory contributes to the masculinity studies in which men’s

gendered behaviors with the social trend of decreasing homophobia , explaining variance

between cultures and generations. The shifts in gendered behavior have occurred

primarily among young men. The theory is followed by new spaces for other theories of

masculinity to exist. Hence, the stratifications of men become less hierarchichal, and

more diverse forms of masculinity become more evenly esteemed.

 Hudha 27

Chapter 4

Multiple Masculinities and Influential Factors

The plot of the novel The Lollipop Shoes is set in Paris five years after the event

of Chocolat. Vianne, now under the pseudonym Yanne finds the character in a context of

dilemma consisting of Roux, a gypsy and Thierry le Tresset, a businessman, as to choose

between whom. A series of events follows the plot line, until finally Yanne or Vianne

unites with her true love, Roux, the character picturized as ideal as a part of masculinity.

The chapter probes into the pros and cons of such a characterization and its outcomes on

social and cultural milieu. The characters are also analysed from the influences seen

relevant as a part of topographic features associated to them.

Societal influences play a significant role in defining one’s personality trait and

masculine traits aren’t excluded from it. This chapter is a detailed analysis of how society

as a factor has influenced the culmination of a certain masculinities and their co-effects

on the society as a whole. The chapter also looks into how certain factors within a society

is found responsible in molding masculinities of the same type, but differently. A

comparison is made regarding hegemony and complicit masculinities as portrayed by the

characters of Thierry le Tresset and Roux in the novel The Lollipop Shoes by Joanne

Harris. The actions followed by the masculinity traits receding in the character and the

outcomes they implant on other characters are the key factors for the study.

Thierry le Tresset, is a simple, cheery and an enthusiastic man from the initial

perspective, portraying the features of complicit masculinity. Yet, under other

circumstances complied on the character of Thierry, masculinity traits of hegemony are

also perceived. Roux is a more flexible character, composed between hegemony and

complicit masculinities with regard to the context the character is subjected to. Apart
 Hudha 28

from hegemonic and complicit masculinities, Roux is also a man in the margin, outcast

and living on the fringes of a society. The traits of marginalized masculinity inter-

mingled with hegemony traits in Roux pulls the female protagonist away from the

character. The obsessive inferior ego is often the end result of the traits receding in the

character. It is a key element in preserving the tension prevalent throughout the story of

the novel The Lollipop Shoes by Joanne Harris.

Hegemonic masculinity alienates the characters or persons exhibiting it from

other groups of masculinity. It has no meaning outside its relationship to emphasized

femininity and non-hegemonic masculinity according to Messerschmidt (86). The

theoretician explains that the dominance reveled by hegemonic masculinity is the

consequence of the absence of its relation with other forms of masculinities. The stern

notions about masculinity by the society impressed upon men are the root cause of

hegemonic masculinity. It, in turn legitimizes the dominant patriarchal role in the society.

Hegemonic masculinity traits oppress not only femininity, but other masculine groups

too. The other forms of masculinities, existing in discord with hegemonic masculinity, are

found to interact with each other.

Examining the focused characters’s milieu in the novel The Lollipop Shoes,

hegemonic masculinity as a trait is determined as a conformed one. It represses and

restrains the characters from most benefits out of their socio-cultural milieu. Hegemonic

masculinity as a concept, according to studies and research on the topic, has granted men

wrong notions revolving around their personality. Hegemonic masculinity, out of power,

often ends men in misogynistic attitude towards other inferior beings as considered by

them.
 Hudha 29

Differing from hegemonic masculinity out of power, there exist characteristics of

hegemonic masculinity such as stubbornness and honesty, out of one’s reputation.

According to the study conducted, the patronizing and slightly misogynistic attitude of

Thierry pulls the character apart from the female protagonist of the novel. Whereas, the

hegemonic masculine traits has both pros and cons in the life of the character Roux. The

stubbornness restrains the character from belonging into the society while honesty brings

in results on the basis of varying contexts. Both the characters often find their personality

complicated due to hegemonic masculinity when trying to pursue the flow of their

respective lives.

In the case of Thierry, his less masculine features too encompassed the weakness

or the flaw in the character. It made the character to be observed as caring to more than

an extent, with a negative effect on other characters such as Anouk, the daughter of the

female protagonist of the novel The Lollipop Shoes. Anouk does not value the soft side of

Thierry’s complicit masculinity for the character’s love of freedom and Roux as the

guardian, in place of Thierry. In the novel, The Lollipop Shoes, Thierry’s ‘the cure-all

property of money, distinguishes the character from others and becomes the reason for

the female protagonist to disdain from confiding into the character as from the quoted

lines: “Perhaps that’s why I have never confided in Thierry. Kind, dependable, solid

Thierry, my good friend, with his slow smile and his cheery voice and his touching belief

in the cure-all properties of money. (Harris 52)

As with allusion to earlier mentioned ‘relation between forms of masculinity’, one

may assume the alienation of hegemonic masculinity from other forms. Yet according to

the study conducted for this project, a mingling of various forms of masculinity in one

sole character is reflected depending on the varying milieu they are placed in. For

instance, the earlier quoted lines from the selected novel for study mirrors Thierry’s
 Hudha 30

establishment of both hegemonic and complicit masculinities. Kind and dependable,

featuring traits of complicit masculinity while solid and materialistic exhibiting traits of

hegemonic masculinity. Thierry’s touching belief in the cure-all properties of money,

designates his position in regard to the social class and hierarchy. It has both positive and

negative effects on other characters.

For justification of the statement regarding effects of Thierry’s materialistic

attitude on others, the character’s financial possession is helpful for a living on one hand.

But, on the other hand, Thierry’s financial status and attitude makes the characters such

as Roux and Anouk frown as well as dislike the character. The frailty of feminine

character of Vianne is also being mirrored through the analysis made here. Thus one

could come to a point that by exploring one particular traits of a character, the features of

other characters in the opposite strand are unraveled in the course of study conducted.

The hegemonic behavior of men reflects the inferior stand taken by other forms of both

masculine and feminine groups.

Hegemonic masculinity is linked to power and the resulting oppression of the

other groups. Literature, in a way, is the other side of determined portrayal of the world.

It is a mirror working on critical analysis of the contexts and lives of the masses based on

subjective perceptions and excoriation. Through the lens focusing on the literary works of

the twentieth and twenty-first century novels, the Chocolat and The Lollipop Shoes, one

could format the significance played by both genders in their lives socially and culturally,

intermingling. According to the project, a man subjected to socio-cultural milieu, portrays

Complicit masculinity is a less dominant form of masculinity. Yet, the concept

too has its contribution of negative effects on the man portraying the traits. Analysing the

character of Thierry, with respect to complicit masculinity, the project finds that the
 Hudha 31

features follows the characters to fall into segregation by its helpless state offered due to

duly compassion and generosity of the less masculine form. For instance, the female

protagonist and the false hero finds them locked in a complicated array of false emotions

due to excessive characteristic features of complicit masculinity as complied by Thierry.

This is the state of many in our society, to compel in fake relationships due to inordinate

behavior of one towards the other. The weak compliancy of complicit masculinity hence

establishes a compulsory order of behavior between the characters.

The compassion and generosity conveyed by Thierry assimilate in a helpless,

dependent state of Yanne or Vianne and others in the novel. It in fact stands as a

haphazard knot in the flow of the plot of the novel. Even for Thierry, the complicit

masculine trait tangles the character in fake emotions of attraction and love towards the

female protagonist Vianne or Yanne in the novel The Lollipop Shoes. Out of the above

interpretations, one may confer on the fact that men are evaluated from a limited frame

and constricted to certain masculine characters. This project subsist that man as an

ordinary human being need all the freedom to convict themselves their true aspects. It

refrains men from becoming victim to any serious psychological anguish or remain as a

mystery to others like Bronte’s character Heathcliff.

Men in the society as well as literature are either treated as violent, tough, stern

characters or if perceived as emotional, then they are labelled as fragile. This project

looks on to this particular conveyance as contradicting and affirm that men, too are

individual persons to be studied and reflected individually. It can be done so by focusing

on men’s selves with respect to their milieu. This project by instigating into studies on

men in feminine novels, it affirms the role played by everyone in constructing a healthy

society irrespective of their gender. Gender is hence, not a defining character of one’s

personality. Instead, like traditions and culture, gender and its certain characteristics are
 Hudha 32

constructed as generations embrace it and pass it over to the next one. This project intents

to make one careful to assert the positive side of such a construct and drop the ill modes

of gender relevant in a society ascertained with regards to this project.

Roux, predominantly belonging to marginalised masculinity with the character’s

own weak points can be established as a part of hegemonic and complicit masculinities

on the other side. It is done by probing into certain parts of the story acknowledging the

character’s traits related to the chosen forms of masculinities in the project. Roux, in

many sense, exhibit the characteristics of both hegemonic and complicit masculinities,

but with varying outcomes as compared to the false hero, Thierry le Tresset of the novel

The Lollipop Shoes.

The study undertaken finds the character as stubborn, characteristic of hegemonic

masculinity propagate the character into the stream of marginalized ones. It creates an

inferior sense of being in the character, making him less desirable for a decent- labelled

job or designation in the society. Henceforth, connecting to the early statement regarding

the intermingled contexts of varying masculinities in one character, Roux stands as a

better one offering vast possibilities to explore the intermittent traits in the character.

Roux depicts the ordinary, free-spirited youth likely to grab attention of others.

But, here as a contradiction, Roux is towed into margin based on the character’s class and

related inferiority complex. Ego, according to the study, is a defining element of one’

position in a society, as it is reflected through their attitude and demeanour. It is

perceived in both the characters of Roux and Thierry, originating from contrast milieu.

Comparably, the outcomes too varies depending on their subjective position in the society

and objective actions affecting others. Ego, in relation to hegemonic and marginalized

masculinity classify the characters into two different strata according to their respective

sources.
 Hudha 33

The free-spirited trait of Roux, categorizing the character into the complicit form

of masculinity was what made the female protagonist to fall in love with him in the first

novel, Chocolat. The same trait, however refrained Vianne or Yanne on settling with

Roux, as the anxieties of a mother strained the character. Yanne was left in doubt and

chaos with allusion to Roux in relation to the duly free going attitude of the character.

The following statement by Harris cites the free-spirited quality of Roux from the

perception of the female protagonist in the novel The Lollipop Shoes as “Roux would

have said: you care too much. Roux with his defiant red hair and reluctant smile and his

beloved boat under the drifting stars. You care too much”. (49) Here, one may notice the

societal influence playing its vital role in specifying the traits of a character.

Though free-spirited may be Roux, the emotional link of the character with the

others in the novel bound him to go with the flow relevant in the society. It also makes

the character to accept the existing culture, as the character accepts Yanne and the

children. The manly responsibilities, are grasped by the character of Roux overcoming

the traits of stubbornness, towards the end of the novel. Hence, on tracing the venture of

Roux throughout the novel The Lollipop Shoes, a shift from hegemonic to complicit form

of masculinity could be perceived. Now, this is just one side of the interpretation.

Observing through the other side of the literary analytical lens, the earlier quoted lines

can be interpreted as Roux’s flexible attitude towards life and society. It can be critiqued

as a positive outcome of complicit masculinity applied to the character of Roux.

As men in the margin face dual reaction from the society, so does Roux, in

addition to the character’s inferiority complex. Though Roux exhibits both characteristics

of hegemonic and complicit masculinities, the ego inhibits the character from mixing

with the society and leading a culture-friendly content life. The complexities that arise in

the plot of the novel with respect to the character of Roux predominantly are
 Hudha 34

consequences that arise when Roux is placed or observed through the lens of

marginalized masculinity. A series of obstruction follows in the path of Roux, challenged

by the society and the prevailing culture. As society and culture are interlinked, so does

the acceptance of an individual is associated with it.

Culture is what makes the female protagonist interpret their certain designations

in the society on introspection. Or analyzing from the other side, one’s character asserts

the definition of culture of certain village or a mass. Their impacts on each other is

undeniable. Literature, lucid with its array of illustrations act as a mirror into the culture

of a certain individual or a society. The project by exploring varying forms of

masculinities possible in a feminine text lead to a new wave in its development in

contemporary literature. It also exhorts the theme of gender equality to be reflected in the

real world by inspiring the readers and the researchers to probe more into the role played

by an individual irrespective of their gender. Hence, a particular gender may not be

underscored by the actions of an individual but it is the societal influence to be deterred

for the analytical study.

Literature acts as an instrument to help human beings better understand their

selves along with the roles played by gender, society and culture they are bound to. It

unites everyone irrespective of the gender-related, cultural and other irrelevant barriers.

This project also evaluates the significance of criticism on inspecting the various

elements from all sides with respect to a literary text. Through the literary analytical lens,

one is able to come up with an apt interpretation by studying the characters from an

omniscient point of view. Literature, often plays the role of a mirror that help the

contemporary world to introspect and reach into a resolution against the controversial

problems it undergoes to some extent.

 Hudha 35

This project on analyzing varying forms of masculinities do not fail to notice the

significance of the feminine characters, who play a role equal and active as men in both

the novels Chocolat and The Lollipop Shoes. It ascertain the interplay of the two chosen

forms of masculinities in the novel The Lollipop Shoes, and comes to a conclusion that

societal influence play a key role in defining the outcomes of the forms of masculinities.

The characteristics and attitudes of the characters complying with hegemonic, complicit

and marginalized masculinities, are interpreted from different point of view by others as

three sides of a story are interpreted. Similarly, the three sided analysis, i.e., the

perspective of the male characters, evaluation of the respective male characters and their

form of masculinity through the lens of the other characters specifically the feminine ones

and a three-sided omniscient interpretation is done in the project.

No men are to be ascertained from a certain idealized form of masculinity and the

chapter even tries to convey that there is no harm in associating a man with with feminine

characters in the least. As an individual a man like anyone else deserve the right to

express themselves, their agonies and tensions, regardless of how they get described or

defined by others in a society. Restrained within particular ideologies based on how a

man should be, many characters, for instance, like Chinua Achebe’s Okonkwo becomes

the victim of their moralized form of masculinity, under the enforced social prejudice.

Inclusive masculinity theory is one that liberates men from such hegemonic ideals as

demanded by the society.

Serious illness both physical and mental also harness men who follow the suit of

hegemonic masculinity according to the studies referred as a part of the project. The

chapter, hence, looks into the social, cultural and topographic factors that set the

particular form of masculinity to be followed by the respective men. It also ends with a

conclusion that no one, specifically man here is to judged as a whole with regards to the
 Hudha 36

traits of masculinity they depict, as they are often based on a milieu. At times, others in

the social line are too responsible for an inconsiderate attitude of one. A man plays an

equal role like any other gender, in framing a society and as a pillar of the constructed

society and culture propagating its balance.

 Hudha 37

Chapter 5

Conclusion

This study was carried out to identify the prominence of masculinity in social

construction relevant to how it is applied in literature. It also identifies the scope for a

study on masculinities in a feminine text based on comparative analysis of the characters

in the chosen texts. The project has taken two literary texts to conduct the study. Since

the 19th century, studies on feminism and queer groups have become relevant in the

western world. Studies on masculinity was in hindrance as men were believed to be a

hegemonic and privileged group. Masculinity studies arose as a reaction against such

ignorance of men as a group, who indeed plays an equal role as any other gender in social

and cultural construction.

Classification of men into a hegemonic and privileged group by others often

results in the dwindling of their personalities. Men labelled as hegemonic, often

experience an alienation in the socio-cultural milieu. At the peak, such hegemonic

understatements drive men to develop toxic masculinity like in the case of the priest

Francis Reynaud. Men exhibiting characteristics of hegemonic masculinity encounter

boon only to a minimal extent, but fails to live in harmony with others to a greater extent.

For instance the village priest, Francis Reynaud does not meet the social demands and is

therefore, unhappy and frustrated in the novel Chocolat. It in turn leads to the

complications that arises in the novel.

Most studies on men, conducted earlier, are historical, psychological, social and

so on. It is in recent times, that masculinity studies began to attain a designation in the

literary realm. Hegemonic masculinity and other types of masculinity such as complicit

and marginalized, which were once social theories by Raewyn Connel are now being
 Hudha 38

rewritten as reflected in literature. In this study, a three sided envisioning of the outcomes

of masculinities portrayed by the characters are carried out. A trait of masculinity leads to

the definition of a character by itself, other characters in the literary texts and by the

omniscient reader as well.

The male characters in the chosen literary texts, Chocolat and The Lollipop Shoes

are analysed from the socio-cultural milieu relevant in the works. The project examines

how the selected characters are woven in relation to the pressure exerted upon them by

the society. Until 1970s, the concept of masculinity wasn’t heard much. Some

reasearchers find masculinity as an antonym to femininity which is not logically correct.

Masculinity is an independent field of research as any other field or concepts.

Masculinity is not a static concept. It is an ongoing process. From Beowulf to the works

of Jane Austen, and following the literary texts of the contemporary era, masculinity has

been rewritten in literature. Apart from the common types of masculinities put forth by

the theoretician, heroic, toxic and inclusive masculinities are also examined in this

project.

According to Connel, Hegemonic masculinity authorize men’s dominant position

in society and propagate the subordination of the common male population and women.

The practice also looks down upon other marginalized ways of being a man. Now, such a

marginalized group also resort to violence as a means of opening up their pressurized

ideologies and mindset. Here, violence becomes a common outcome of both the types of

masculinities discussed. Power relations is another element that works in the

performativity of the masculine ideologies among the characters. Most characters exhibit

arrogance and ignorance towards other social or gender groups depending on the power

they are deemed with as a part of their high position in status.

 Hudha 39

Complicit, a less dominant type of masculinity is identified as better than

hegemonic as it alienates the characters or persons exhibiting it to the minimal extent

only. The project however concludes in the case of complicit masculinity, that certain

weakness is depicted by the characters exhibiting it. In both the cases of Thierry le

Tresset and Roux analysed in the novel The Lollipop Shoes, the character’s weakness is

probed following the characteristics of complicit masculinity they exhibit. So,

irrespective of the type of masculinities depicted by the characters, there are both pros

and cons associated with them. The affects are not only on the characters but also their

respective society.

The major focus of the project is on the justice part in addressing a man with

respect to certain norms enforced on them by the socio-cultural milieu. The notions about

men conveyed through literature, including both literary texts and films also make men

think of their reliability on certain types of masculinities. Since literature is a mirror of

the living world, interpretations and analysis of such literary texts are to be unbiased and

something that makes sense to the readers. Many literary texts, for instance Macbeth of

William Shakespeare portrays a hero, who is in endless struggle to fulfill the social norms

of manhood. Yet, all these counterfeits are only vain as the struggle only leads to the

mental and emotional breakdown of the hero. Such men only loses their sense to fulfil the

demands of others in their domestic life.

The village priest, Francis Reynaud is heroic through the character’s depiction of

hegemonic ideologies in front of the high-class society. But this heroism is limited within

elite’s perspective. The lowly demeanour of Reynaud makes the common people in the

novel condemn him and thus the character is defined as an anti-hero. Further, The failure

of the priest to free himself from the traditional concepts of masculinity drives the

character into toxic masculinity. The toxicity dismantles the harmony of the village,
 Hudha 40

Lansquenet-sans-Tous in the novel Chocolat. Even in the work The Great Gatsby by

Scott Fitzgerald, one might find Gatsby relying on his power element as a part of

adapting the traditional norms of masculinity.

The futility of masculinity is also explored in this project with the negative effects

of certain types of masculinities on the characters itself exhibiting it and on the society as

well. A man’s success is not to be measured on the basis of the traits of masculinity they

exhibit. The prevailing paradigm of masculinity is defeated by a much younger, more

powerful type of masculinity which is more socially reliable. An example is the defeat of

the hegemonic masculinity of the priest by the younger, heroic masculinity of Roux in the

novel as accepted within and outside the novel. The half-truth about the priest Reynaud is

that he is reckless, emotionally repressed and criminal.

Concluding, the project has explored in-depth how masculinities have been

rewritten and interpreted in the contemporary literature with reference to the literary

texts- Chocolat and The Lollipop Shoes by Joanne Harris. The project examines how

contrastive types of masculinities function within a society. It also covers the outcomes of

such a state of violence of disruption of harmony as futile. Heroic or hegemonic, a man is

not to be restricted within a defined frame of masculinity, but should be looked upon

more as a person, a social well-being. The project also looks into how two varying types

of masculinities co-exist within one individual along with its outcomes on the individuals

as well as the society.

It is relevant that masculinity is a socially and culturally constructed entity. But

each types of masculinities, especially the new emerging ones have profound effect upon

the individuals, be it in literature or reality. As literature is any piece of writing, including

both fictional and real life characters, it is rightly said that literature acts as a mirror of the
 Hudha 41

world, ages surpass. The inclusive masculinity is suggested as a better type of

masculinity for reference, but that too is not to be enforced upon any man by the

institution of which he is a part.

 Hudha 42

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