Conflicting Masculinities : Men in Television Period Drama.

Cover -- Half-title -- Title -- Copyright -- Contents -- List of Figures -- List of Contributors -- Acknowledgements -- Series Editors' Foreword -- Introduction -- Conflicted Men -- Men at Work -- Warfare -- The Female Gaze -- Part I. The Seventeenth and Eighteenth Centuries -- 1. The Masculine Economies of Banished -- Introduction -- Masculine Economies -- Violence and Sacrifice -- Banished, Masculinity and Australian History -- Conclusion -- 2. 'I will not fight for my country . . . for my ship . . . my King . . . or Captain': Redefining Imperial Masculinities in To the Ends of the Earth -- Introduction -- Empire, Masculinity and the Sea -- This Ship of Fools is England -- The Sea as a Philosophical and Nightmarish Space -- Masculinity, Sexuality and the Sea -- 'I kill people without knowing it' -- Conclusion -- 3. Television Costume Drama and the Eroticised, Regionalised Body: Poldark and Outlander -- Introduction -- Masculinities and Male Bodies -- Regional Identity and the Body -- Colonised Territory: Looking at the Naked Male Body -- Outlander: Body as Contested Territory -- Conclusion -- 4. Power and Passion: Seventeenth-Century Masculinities Dramatised on the BBC in the Twenty-First Century -- Seventeenth-Century Drama on the BBC -- Coming of Age -- Passion -- Interior and Exterior Masculinities -- Conclusion -- Part II. Visions of the Nineteenth Century -- 5. A Post-Feminist Hero: Sandy Welch's North and South -- 'The Darcy Model': Andrew Davies's Pride and Prejudice -- The Evolution of Post-Feminist Masculinities in the Televised Classic Novel -- Moving Beyond Darcymania: A Hero in His Own Right -- North and South (2004): Thornton's Re-inscription as a Post-Feminist Victorian Hero -- Men as Men: Male Community -- Wounded Masculinity: Male Emotion -- Homosocial Bonding: John Thornton and Nicholas Higgins.

Post-Feminism and the Father Figure -- Conclusion -- 6. 'Because my daddy would protect them': Ripper Street's Edmund Reid and the Competing Demands of Home and Public Lives -- Losing His Home: Series One and Two -- Regaining His Home: Series Three -- Reid and Neo-Victorian Representations of Masculinity -- Daddy/Detective -- Conclusion -- 7. 'Pleasure and pain, again and again' - Between Monstrosity and Inner Turmoil: The Representation of Masculinity in Penny Dreadful -- Introduction: 'Not a girl's heart. A man's heart' -- 'When you transform a life, you're making it anew': Penny Dreadful and Victorian Gothic -- 'For the monster is not in my face, but in my soul': The Portrayal of Conflicted Gothic Masculinity in Penny Dreadful -- 'You're a very young man. I've long since learnt that the truth is mutable': Troubled Father and Son Relationships -- Conclusion -- 8. Pathological Masculinities: Syphilis and the Medical Profession in The Frankenstein Chronicles -- Monstrous Doctors and the Legacy of Mary Shelley's Frankenstein -- An Unlikely 'Hero': Marlott and Syphilis -- Power and Education -- Changing Masculinities: Sharpe for the New Millennium? -- Conclusion -- Part III. Masculinities from World War I to the Cold War -- 9. 'The war is done. Shut the door on it!': The Great War, Masculinity and Trauma in British Period Television -- Uniforms and Masculine Authority -- Hysterical Men -- The Manly Death, Shirkers and Disabled Bodies -- The Veteran's Anger -- Conclusion: Memorialising Male Sacrifice -- 10. Pride versus Prejudice: Wounded Men, Masculinity and Disability in Downton Abbey -- The Dilemma of Disabled Masculinity -- 'Think of me as dead': Matthew Crawley's Disabled Masculinity -- Disabled Masculinity: The Case of Mr Bates -- Conclusion -- 11. A Minority of Men: The Conscientious Objector in Period Drama.

'His name is Coward. His name is Shirker': Realism and Melodrama in The Village -- 'Mixed with sour milk': Downton Abbey's Idealistic CO -- 'You're not the man I thought you were': Echoes of World War I in Home Fires and Upstairs, Downstairs -- Conclusion -- 12. Cads, Cowards and Cowmen: Masculinity in Crisis in World War II Television Drama -- Masculinity in British Cinema and Television Drama -- Wounded Masculinity in Period Drama -- The WI Saves the Day -- Conclusion -- 13. 'Have you seen Walliams' Bottom?': Detecting the 'Ordinary' Man in Partners in Crime -- Gender and Genre -- Camp David, Camp Criticism and Otherness -- The Two Tommys: The Secret Adversary and Models of Male Identity -- Of Bees and Men: Gender Dualism and the Detective Figure -- Conclusion -- 14. 'No Need to Matronise Me!': The Crown, the Male Consort and Conflicted Masculinity -- The Feminised Monarchy and Melodrama -- The Male Consort: Malcontent and Moderniser -- The Crown and the Philip Problem -- The Crown and the Twenty-First Century -- Bibliography -- Index.

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