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.Taylor's comments are noteworthy for theiremphatic description of his relationships with two long-term male creativepartners.Speci®cally, it is his use of the metaphor of marriage to explainthese working relationships that is particularly striking.Taylor was notalone in deploying this surprising metaphor to describe creative pairings ofthis kind.As his comments suggest, the metaphor enjoyed a wide currencywithin the industry, ®guring most prominently in the pro®les of art directorsand copywriters produced by the advertising trade press.The widespread116 use of the metaphor was closely associated with the predominance of all-male creative partnerships within the industry through the 1990s.While precise ®gures are hard to come by, it seems that up to 80 percent of creative teams were all male.The next most popular pairing wereall-female teams, with a smaller percentage of teams being mixed.For themajority of male creatives, collaborating closely with another man in acreative partnership formed a central part of their working lives.This wascertainly the case for most of the men I interviewed and, signi®cantly, themetaphor of marriage, together with associated themes drawn from hetero-sexual romance, ®gured repeatedly in their accounts.While these were notthe only metaphors they used, their accounts suggested that the tropes ofmarriage and heterosexual romance had considerable power to illuminatetheir experience of working in all-male teams.Their choice of metaphorswas all the more striking given that the women creatives I interviewedtypically ± and conspicuously ± failed to use them, opting instead for ratherdifferent ways of describing their creative partnerships.Unpacking thesymbolism of the metaphors of marriage and heterosexual romance in theaccounts of the men I interviewed forms a central ambition of this chapter.In particular, I want to explore what the use of these metaphors tells usabout the dynamics of creative partnerships and, most importantly, aboutthe gender identities of the men who deployed them.In opening up these concerns, I want to engage with a body of recentwriting that has been very good at shedding light on close, often institution-alised, relationships between men in all-male or male-dominated settings.Looming large in this body of work has been Eve Kosofsky Sedgwick'ssuggestive arguments about male homosocial desire in her book BetweenMen (Sedgewick, 1985).For Sedgewick ± and the subsequent work that hastaken its cue from her ± the key was to introduce `desire.the potentiallyerotic' (Sedgewick, 1985: 1) back into accounts of the social bonds betweenmen (Roper, 1994, 1996; Hearn and Parkin, 1987).This move was parti-cularly important, Sedgewick argued, because a potential continuum existsbetween the social and sexual aspects of men's relationships with each other.However, this continuum remains largely hidden or obscured by contem-porary assumptions about compulsory heterosexuality and by homophobia.As a consequence it is dif®cult for heterosexually identi®ed men to namethese homosocial desires, with close friendships between men subject toanxieties about homosexuality and the wider cultural divide betweenhomosexuality and heterosexuality.Breaking open these all-male intimacies, however, has considerableanalytic value.As Mike Roper has argued, it is precisely the erotic sub-texts± the potential continuum between the homosocial and the homosexual ±that often gives relations between men in formally heterosexual settings117s i x·be twee n men their particular character and intensity (Roper, 1996).For example, in hiswork on senior managers, Roper describes the way inter-generational rela-tions between men and the process of succession in management often workthrough `circuits of homosocial desire', with men being drawn to manage-ment, in part, because of the opportunities it offered for the expression ofthese intimacies (ibid).In opening up the accounts of their partnerships given by the men Iinterviewed, I want to argue that they reveal the same structuring presenceof forms of homosocial desire [ Pobierz caÅ‚ość w formacie PDF ]
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.Taylor's comments are noteworthy for theiremphatic description of his relationships with two long-term male creativepartners.Speci®cally, it is his use of the metaphor of marriage to explainthese working relationships that is particularly striking.Taylor was notalone in deploying this surprising metaphor to describe creative pairings ofthis kind.As his comments suggest, the metaphor enjoyed a wide currencywithin the industry, ®guring most prominently in the pro®les of art directorsand copywriters produced by the advertising trade press.The widespread116 use of the metaphor was closely associated with the predominance of all-male creative partnerships within the industry through the 1990s.While precise ®gures are hard to come by, it seems that up to 80 percent of creative teams were all male.The next most popular pairing wereall-female teams, with a smaller percentage of teams being mixed.For themajority of male creatives, collaborating closely with another man in acreative partnership formed a central part of their working lives.This wascertainly the case for most of the men I interviewed and, signi®cantly, themetaphor of marriage, together with associated themes drawn from hetero-sexual romance, ®gured repeatedly in their accounts.While these were notthe only metaphors they used, their accounts suggested that the tropes ofmarriage and heterosexual romance had considerable power to illuminatetheir experience of working in all-male teams.Their choice of metaphorswas all the more striking given that the women creatives I interviewedtypically ± and conspicuously ± failed to use them, opting instead for ratherdifferent ways of describing their creative partnerships.Unpacking thesymbolism of the metaphors of marriage and heterosexual romance in theaccounts of the men I interviewed forms a central ambition of this chapter.In particular, I want to explore what the use of these metaphors tells usabout the dynamics of creative partnerships and, most importantly, aboutthe gender identities of the men who deployed them.In opening up these concerns, I want to engage with a body of recentwriting that has been very good at shedding light on close, often institution-alised, relationships between men in all-male or male-dominated settings.Looming large in this body of work has been Eve Kosofsky Sedgwick'ssuggestive arguments about male homosocial desire in her book BetweenMen (Sedgewick, 1985).For Sedgewick ± and the subsequent work that hastaken its cue from her ± the key was to introduce `desire.the potentiallyerotic' (Sedgewick, 1985: 1) back into accounts of the social bonds betweenmen (Roper, 1994, 1996; Hearn and Parkin, 1987).This move was parti-cularly important, Sedgewick argued, because a potential continuum existsbetween the social and sexual aspects of men's relationships with each other.However, this continuum remains largely hidden or obscured by contem-porary assumptions about compulsory heterosexuality and by homophobia.As a consequence it is dif®cult for heterosexually identi®ed men to namethese homosocial desires, with close friendships between men subject toanxieties about homosexuality and the wider cultural divide betweenhomosexuality and heterosexuality.Breaking open these all-male intimacies, however, has considerableanalytic value.As Mike Roper has argued, it is precisely the erotic sub-texts± the potential continuum between the homosocial and the homosexual ±that often gives relations between men in formally heterosexual settings117s i x·be twee n men their particular character and intensity (Roper, 1996).For example, in hiswork on senior managers, Roper describes the way inter-generational rela-tions between men and the process of succession in management often workthrough `circuits of homosocial desire', with men being drawn to manage-ment, in part, because of the opportunities it offered for the expression ofthese intimacies (ibid).In opening up the accounts of their partnerships given by the men Iinterviewed, I want to argue that they reveal the same structuring presenceof forms of homosocial desire [ Pobierz caÅ‚ość w formacie PDF ]