 Mosse convincingly demonstrates the novelty in modern masculinity, the gradual evolution rather than dramatic revolution in establishing the new ideal obscured its outsized impact. At the same time, continuity with the past maintained the illusion that the “true man” is simply a fact of nature, rather than the product of intense intellectual, cultural, and artistic labor.
Mosse’s skill in finding, interpreting, and combining sources allows him not simply to render visible a hidden phenomenon, but to trace its history and influence. Drawing on evidence from the likes of philosophers, sculptors, medical experts (though often “experts” in now-debunked fields like physiognomy), politicians, pedagogues, poets, or simply the diaries of ordinary people, Mosse weaves a complex, but compelling case. He picks apart their language and arguments to show the centrality of a masculine stereotype, even where authors seem unaware of its significance in their thinking. Mosse presents witnesses to testify to the theories, policies, lessons, and symbols that elites and leaders hoped would guide the public at large to proper conclusions about virtuous masculine ideals; moreover, he supplies evidence that these efforts were mainly successful. Indeed, the argument is perhaps most convincing when Mosse looks at the various alternative models, the “countertypes” to normative manhood that cropped up at various moments: he demonstrates that figures produced by nineteenth-century Romantic dandies or socialists, fin de siècle feminists and homosexuals, and postwar pacifists or fascists all emerged, challenged the norm, and were ultimately either defeated or absorbed into the dominant discourse. In sum, Mosse reads broadly, from works of theory as well as practice, to demonstrate not only what masculinity was affirmatively supposed to be, but also what oppositional forces hoped to make of it.
In these ways, The Image of Man is a model of what is often termed the history of “mentalities.” Mosse has first identified an idea that was pervasively influential in Western culture, yet invisible to contemporaries despite (or perhaps because of) its ubiquity. He identifies the authors and authorities who, consciously or not, provided the intellectual materials for its construction, and delicately deconstructs the evidence they left, to reveal the unspoken assumptions that structured those materials. As he picks apart their words and “between-the-lines” beliefs, he provides proof of its effect – that notions of manhood were not just literary figures or abstract ponderings, but that they were adopted and deployed in real life, by real men and even women. Nor does Mosse commit the all-too-common misstep of implying that these cultural forces acted on their own and encountered no resistance. Rather, he is careful to acknowledge the people who variously – though only rarely consciously – championed, altered, perverted, resisted, or denied these ideas, in different contexts and to different effects.
Finding and foregrounding such hidden ideas is no small feat in the case of any historical investigation – I think especially of scholars who have painstakingly analyzed humor, fashion, emotion, foodways, or any such richly nuanced, unconscious ways of being in the world. To perceive those elements submerged in past societies is an important achievement on its own. Mosse’s accomplishment is all the more admirable in that he has identified and analyzed a force as carefully hidden and crucially important as masculinity, and that he has so lucidly explained its origins, functions, and influences across Western Europe and even the USA. The Image of Man provides not only a vivid account of manhood’s place in the modern world, but a model for thinking about unspoken beliefs that condition our experience in the world.
[1] Simone de Beauvoir, The Second Sex (New York: Vintage, 1989), xxi-xxii.
#include <stdlib.h>
#include "nala.h"

TEST(exit_1)
{
    exit_mock_once(1);
    exit_mock_set_callback(nala_exit);
    exit(1);
}
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By default, Fedora Linux displays all motd messages (including the motd file and the motd.d directory) in connection with ssh, but in other cases when opening a session (TTY) only the motd file without the motd.d directory. Where is this configured to work like this? And why is it configured like this?
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What I have noted is that for single user (home) use it is wasted to have the motd displayed since that one user is usually the admin and displaying it every time they log in to the TTY is wasted. Also, the motd is only related to a text display and very seldom does the regular user ever use the tty but instead is using the gui desktop where motd is not used.
A user logging in via ssh, OTOH, is using a virtual tty so the motd should display there.
A multi-user system often has more than one user logged in at the same time, most with only the tty screen, so the motd is relevant for them.
Sorry, I didn’t ask that.Emojica
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