Cultural Bodies

Bodies & Culture

The body can be described as a, "text of culture: it is a symbolic form upon which the norms and practices of a society are inscribed" (Lee in Swami 59). It has become central to consumer culture. However, now it has transitioned from a biological entity to a socio-cultural construct, which is a work in progress- constantly needing upkeep and care (Ricciardelli 66).

Men are now responsible for the shape and appearance of their body - an object that must be manipulated and invested in. The body is now fully connected with their identity (Ricciardelli 66). American heterosexual men's magazines currently perpetuate two types of bodies- muscularity and metrosexuality.

The importance of muscularity in hegemonic masculinity has fluctuated over time. Depending on the era of time in question, muscularity may or may not have been a necessity to masculinity. After the discovery of the Americas, muscles gained prominence since they were needed by man to forge westward, build and battle (Ricciardelli 65). Since the Vietnam War there has been an emphasis on muscles to possibly compensate for feelings of inferiority as the status of women increased (65). More recently, David Halperin has surmised through his study of Foucault that, "muscles don't signify power," that they are "specifically designed to be an erotic turn on" (Benzie 163). Pronger has even claimed that muscles are the ultimate indicator of masculinity (Ricciardelli 65).

The other form of masculinity seen through media and magazine is the metrosexual. The metrosexual was first introduced through the gay liberation movement in the 1970s to counter aggressive masculinity by focusing on non-oppressive relationships with women, families and other men. Metrosexuality placed less focus on the more dominant forms of masculinity and instead emphasized, "self-presentation, appearance and grooming" (65). It challenged traditional masculinity while providing for self-expression. With the expansion of grooming products and fashion, combined with the increase of disposable income, there has been a more recent growth of metrosexuality, now personified by many male celebrities (65).

Metrosexuality can serve as a crucial rhetorical function for the current reconciliation of commercial masculinity with normative masculinity by organizing homosociality (non-romantic same-sex relationships, such as friendships) in strategic ways (Shugart 280). While metrosexuality has helped ease tension in commercial masculinity by acknowledging and organizing homosociality (Shugart 281), it still complicates the visual representations of masculinity. Metrosexuality has become a way for men to bond by embodying the traits of success, power, privilege and wealth that are articulated in commercial masculinity (Shugart 285). But these traits are presented in magazines because they allow access to securing the "acquiescence of women" (289) or reinforce heterosexuality's social dominance (Kates 28).

The characteristic of both types of masculinity seen in men's magazine share is an emphasis on the body. It is suggested that in Western Culture that images of success are associated with youth, vitality and fitness (Benzie 163). There is a fear of aging in our society that has sparked a fitness industry that "seeks validation by reference to the visual product it produces" (163). As a result, male icons tend to be characterized by an excellent degree of physical fitness, or having a good body.

Currently there is a tremendous degree of knowledge about fitness that allows men to choose the kind of body that can have (Benzie 167). These magazines offer this knowledge inside, and the models, actors or icons on their cover appear to embody the knowledge the magazine can impart. The men on the covers serve as idealized version of who men want to be. Simply stated, they want to be beautiful in a culture that demands an unattainable perfection.

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