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By Scott F. Stoddart

AMC's episodic drama Mad males has develop into a cultural phenomenon, detailing America's preoccupation with commercialism and snapshot within the Camelot of Sixties Kennedy-era the USA, whereas self-consciously exploring present preoccupations. The 12 serious essays during this assortment supply a large, interdisciplinary method of this hugely correct tv convey, analyzing Mad males as a cultural barometer for modern matters with consumerism, capitalism and sexism. issues comprise New Historicist parallels among the Nineteen Sixties and the current day, psychoanalytical ways to the exhibit, the self as commodity, and the "Age of Camelot" as an "Age of Anxiety," between others. an in depth forged checklist and episode consultant are incorporated.

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Draper, Don walks shirtless into the Pacific Ocean, having reached the farthest point possible in his westward journey — the tableau moment of Whitman’s “Facing West from California’s Shores,” after millennia of human history has circled upon itself and, upon reflection, is still dissatisfied, having secured no meaningful answers to the questions that prompted its initial quest: “Now I face home again, very pleased and joyous / (But where is what I started for so long ago? )” (83). This time, Don’s attempt at rebirth does not end in a renaming or regeneration; it ends with his return to his family and his continued dreams of escape.

Assuming the Garden of Eden metaphor is expected to play out in American mythology, readers must recall that Eve was the first to raise doubts about whether the garden really was a “paradise” or instead a confinement disguised as a bower. While set in the 1960s and reflective of early twenty-first-century American society, in literary terms Mad Men harkens back to not only the classic literary masculine archetypes but also feminine models prevalent at the height of Victorian culture and that also resurge in post–World War II America.

Fiedler’s account of the male protagonist as a “man on the run” can be seen throughout American literature — he discusses Huck Finn, Moby Dick, Cooper’s Leatherstocking novels — and he argues that the American narrative reveals the inability or unwillingness of the male hero to accept the confines of civilization. This paradigmatic narrative points to the ongoing ambivalence displayed through American literature of the struggle between the masculine and feminine, often analogous to other binary relationships: nature/civilization, freedom/servitude, the individual/the collective, and American democracy/ European aristocracy.

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