人們對於女權以及兩性平等的覺醒，是女性主義學說多年來的辛苦成果。然而，對於男性及男子氣概的研究（比如像是所謂的「有絕對特權」的白人男性特質），則仍處於發展不全、甚至是被誤解的情形。為了回應麥克·坎摩爾在『美國男子氣概』裡所觀察到的「美國男性沒有他們身為『男性』的歷史」的現象 (1)，本論文著重於討論南方白人男性特質、異性戀陽剛展現、與（不）男子氣概之間的關聯。白人父系結構與騎士精神在此討論中尤為重要：此兩種在美國內戰前發展的意識形態，深刻影響了戰後南方白人如何看待性別與種族結構。當南方正面對著階級與種族分化等挑戰之時，這些意識形態更成為南方形塑一種共有地、有深刻自覺地、及區域性地身分認同的基礎。
為了反思白人父系結構、騎士精神與榮譽、以及南方白人男性特質間的交互作用，南方作家很常將父子間的微妙互動寫入其作品裡，尤其著重於兒子對於父親（或如父親角色般）的矛盾情結。然而，兒子的立場及其體現男子氣概的複雜過程，卻很容易被埋沒在著重於父權結構或父親角色的詮釋之下。由此，本文將兒子受父系結構影響而展現的複雜情結，視為一種男性「(反)涉入」父權的政治展現：一種對於社會所認可的陽剛體現及父親形象、依附卻又切割的矛盾表現。當一個兒子因為幻想破滅而將自己跟其令人失望的父親及家庭切斷連結之時，他不只表現了其如何被動地受到理想男性特質所左右，更同時展現了其如何主動地重新調整自身的姿態。此類兒子的行為因此頗有顛覆南方傳統（但失能）家庭結構的意味，並具有解構傳統父權從上而下、單一方向影響性別與種族結構的可能，縱使結果並不保證讓人滿意。
為了仔細研究那些不滿足的南方男孩們的發展軌跡，本文著重在以下這些主要白人男性作家的南方經典：戈馬克·麥卡錫的『血色子午線』、馬克·吐溫的『哈克歷險記』、威廉·福克納的『八月之光』、與楚門·卡波提的『别的聲音，别的房間』。麥卡錫和吐溫著重於描寫兒子(反)涉入理想父親形象所造成的矛盾與不安，使其處於方向迷失的情境之中。相較之下，福克納與卡波提則強調兒子超越父系結構的可能，並針對其男性特質構築出不同於傳統框架的認識。由此，這些作品不只展現了不同選擇下的結果，更讓我們看見，即使在一理想且強勢的男性特質框架下，不同的故事如何能展演出多面向的男性主體，不論其結果是一個具政治性的改革、一種具顛覆性的擾動、或只是個過分偏執而招致的失敗。

Years of feminist efforts have contributed to the public awareness of women’s rights and the equality between sexes, but the studies of men and male masculinity (such as the seemingly privileged site of white manliness) still remains underdeveloped and sometimes misunderstood. In response to Michael S. Kimmel’s observation in Manhood in America that “American men have no history of themselves as men” (1, emphasis original), this dissertation focuses on the correlation between Southern white manhood, heterosexual masculine displays, and the delineation of manliness and unmanliness. White paternalism and manly honor are most relevant here: they form the basic structure of races and sexes that developed in the Old South and was inherited after the Civil War, underpinning the conception of a communal, self-conscious, and regional identification that was strengthened but also ceaselessly challenged by class and racial discrepancies.
The Southern writers often use the father-son interaction, specifically the son’s ambivalence towards a paternal figure, as a literary trope to reflect on the correlation between white paternalism, chivalric honor, and Southern white manhood. However, the son’s stance and masculine embodiment are often easily overshadowed and consumed by the focuses on the paternal figure and its patriarchal function. Instead, I treat the son’s ambivalence towards his paternal legacy as men’s politics of “(dis-)engagement”－a paradoxical move of attachment to and detachment from the socially-sanctioned embodiments of paternity and manliness. Through a disillusioned disconnection of oneself from the disappointing father and the realm of home, the son is passively affected by the conception of ideal manliness while simultaneously actively re-adjusting his stance. The son’s move is thereby subversive to the (dys-)function of the Southern white family and deconstructive of the unidirectional power of patriarchal, sexual, and racial structures functioning in his time, even though the outcomes are not always promising.
To probe into the trajectories of dissatisfying Southern boys, I focus on such key white male writers’ works as Cormac McCarthy’s Blood Meridian; or, the Evening Redness in the West, Mark Twain’s Adventures of Huckleberry Finn, William Faulkner’s Light in August, and Truman Capote’s Other Voices, Other Rooms. Whereas McCarthy’s and Twain’s novels are concerned with a son’s (dis-)engagement with a paternal ideal and its disorienting effects upon the son, Faulkner’s and Capote’s novels focus on the potential transcendence of the white paternal ideal through the son’s development of a new understanding of his manhood. These novels thereby present different outcomes resulting from routes taken or not taken, and embody how a dominant frame of masculinity can be enriched by the display of masculinities, be this display a political reform, a subversive disturbance, or an obsessive failure.

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