THE NATIONAL AND THE TRANSNATIONAL, 1945-1980: MASCULINITIES IN BRITISH AND AMERICAN LITERATURE BETWEEN WORLD WAR II AND THATCHER/REAGAN (JUNE 9-11, 2010, DRESDEN UNIVERSITY OF TECHNOLOGY, GERMANY) If current trends in popular entertainment are anything to go by, it seems that gender concepts of 1950s and 60s culture are currently heading for comeback. Successful TV series like Mad Men have been focusing on renegotiations of masculinity after the Second World War and its epitome, the man in the gray flannel suit/' to cite the title of Sloan Wilson's novel and subsequent film adaptation. Even then, a normative masculinity functioned on screen to mask the social differences that stratified U.S. society (Cohan, 1997, p. x), and the narrative constructions of masculinity have been indicative of this dialectic ever since: norma tivity on the one hand, challenging concepts and the notion of pluralism on the other. The shadow of the man in the gray flannel suit was also one of the major themes to provide food for thought during an international workshop on masculinities that took place in Dresden in June, 2010. Organized by Professor Stefan Horlacher (Dresden), the workshop Between the National and the Transnational, 1945-1980 was part of the ongoing research project Towards Comparative Masculinity by Professors Stefan Horlacher and Kevin Floyd (Kent State), sponsored by the Alexander von Humboldt Foundation and Kent State University. Dedicated to in-depth analyses of national masculinities in British and American literature and culture, the project seeks an understanding of the larger context for the emergence of more plural, culturally differentiated, and ultimately transnational masculinities. The analytic methods employed show both diversity and commonality, with regard to redefinitions of Britishness and Americanness as well as masculine identities. At the heart of nationhood and gendered identity lies, we believe, the notion of narrative, crucial in conceptualizations of both rubrics, given that masculinity, like femininity, is fictional construction (Murphy, 1994, p. 1). In this workshop designed to facilitate conversation about the impact of globalization, migration, subaltern subjects, and social mechanisms on different narrative forms, literary scholars from three different continents met in Dresden to discuss changing notions of masculinity as reflected in postwar British and American literature and culture, with the explicit goal of providing comparative analyses and exchanging perspectives on gender-oriented interpretations of texts, plays, films, and photographs. After the welcome address by THOMAS KUHN, Dean of Studies of the Faculty of Linguistics, Literary Studies and Cultural Studies at Dresden, representatives of the two cooperating universities shared their perspectives on the transatlantic framework and the aim of the workshop. Thus, Ronald J. Corthell (Kent State) stressed the importance of transatlantic cooperations as opportunities for comparative studies. According to Corthell, the Humboldt Partnership is treading on new territory, not only as far as the regular exchange between Dresden and Kent State is concerned, but also with regard to transcultural dialogue on masculinities and interdisciplinary work, outside of the monolithic, one-sided framework of traditional scholarship. It was up to STEFAN HORLACHER (Dresden) to provide the Theoretical and Cultural Framework for such comparative approach toward Masculinity Studies (see also Horlacher, 2006). Horlacher not only pointed out the social necessity of such discipline in light of the perceived crisis of manhood, but also highlighted the importance of literary studies, that is, their potential to question seemingly immovable, essentialist models. By locating masculinity at the intersection of literary and cultural studies, works of literature (to give but one example) become accessible as parts of the symbolic order where culture reflects on itself. …