The Perceived Societal Attitude Towards Men Who Cry

Faith Fritz
Missouri Western State College
May 1, 1997

Abstract

The rules in society dictating conventional "male" and "female" behavior seem to be changing. In my experiment I attempted to determine whether or not it is becoming more acceptable for men to show emotion, particularly that of weeping. The participants included 95 undergraduate students at Missouri Western State college. The participants first watched a video and then completed a questionnaire based upon the video. There were three different conditions. In the first condition the male actor answered five different questions, and did not cry on any of the five questions. In the second condition the male actor cries when he talks about the loss of a friend. In the third condition the male actor cries when he talks about a disappointing event in his own life. There were items in the questionnaire that reached statistical significance, therefore, this may be an indication that it is becoming more acceptable for men to cry. There may have been many factors influencing such questions that were not significant such as the male actor himself. Another factor may have been the technical problems that occurred in the video. Some suggestions for further research may be to go beyond college students and see if those with less education have the same opinion of male weeping. The older generation may also have a different view of male weeping than the younger generation.

Introduction

"Do not be moved by women's tears, they have taught their eyes to weep," was a comment made by Ovid, a character in one of Shakespeare's plays (Stevenson, 1948, p. 1976). In this paper we will attempt to discuss the classical stereotypes of male weeping and the reasons behind this classical view, the more contemporary trend that seems to be gracing male emotion, and how men can see emotions as a more functional part of life.

It may appear that crying is a natural expression of sadness, but in our society it serves as a double standard. In our society crying is seen as appropriate for women and inappropriate for men. In fact, Robertson and Freeman (1995) have developed a term in male gender role research known as "restricted emotionality" to comment on the lack of male expressiveness. The research indicates that there is a much lower correlation between crying and sadness for men, and that men are less likely to cry than women (Ross & Mirowsky, 1984). Although these studies may indicate a gender difference in the expression of sadness, they do not indicate a difference in the actual experience of sadness. The widespread belief that females are more expressive than males is one of the most consistent findings in the research on gender stereotypes (Fabes & Martin, 1991). These stereotypes determine the roles and behaviors that we see as appropriate for males and females.

There seems to be many reasons behind this difference in emotional expression between males and females. The most important factor in emotional differences is seen as socialization (Ross & Mirowsky, 1984). Little boys are taught to act differently than little girls right from the start. When a little boy begins to cry the parents may respond to that behavior by saying that he is a big boy and that big boys don't cry. Right away the child learns what is acceptable behavior and what is not. The second reason that men are less emotionally expressive than women is that unemotional behavior is often praised in our society (Robertson & Freeman, 1995). In many business and management positions men who appear unemotional and are skilled at making impersonal decisions are often rewarded. The third condition that may contribute to a lack of male expressiveness is the fact that crying is often mocked as being a sign of weakness and femininity (Lombardo, Cretser, Lombardo, Mathis, 1983). Fabes and Martin believe that another possible reason that these stereotypes are maintained is what appears to be an emotional cycle (1991). Males lack of emotions seems to enhance the females more expressive nature, therefore, creating a bias based on the fact that female emotionality may be more often noted. The attention paid to the female emotions may overshadow the male emotion therefore reinforcing the existing stereotype.

The information we have reviewed so far represents the classic literature on the subject of male weeping. There seems to be a new trend occurring in the more contemporary literature on male weeping (Labott, Martin, Eason, Berkey, 1991). It seems that society may have more tolerance and maybe even more approval towards men who cry. The trend seems to indicate a greater acceptance of this type of behavior. Some may even see it as attractive. By the same token men who do not cry when it is deemed appropriate may be liked less than men who do express their emotions. The data seems to attribute this new found attitude to a belief that men who cry may have a more important reason to do so since they appear to cry less than women. Crying may no longer be seen as predominantly feminine.

There are certain factors, however, that seem to have an influence on whether men choose to express their emotions. Some men are more likely to cry than others. The men who are more likely to cry are those who have both masculine and feminine traits and through their own experiences and socialization have come to reject the stereotypical masculine role (Narus & Fischer, 1982). These men are known as nontraditional men. There is another factor that influences whether or not to cry: income (Komarovsky, 1962). Nontraditional men typically fall into a higher socioeconomic status and these men are more likely to express their emotions because of both of these factors, but conversely they are less likely to be sad and therefore less likely to cry. On the other hand, working class men are more likely to be sad or depressed, but less likely to cry. So it seems that neither group is very likely to cry although for different reasons.

The literature does, however, discuss some ways to make emotional expression more positive to men. Robertson and Freeman (1995) maintain that men have to be shown that emotions are a functional part of life. Emotions must be exhibited from a more masculine-congruent perspective. Emotions that are characterized as having a positive effect on relationships, families, and job settings are more likely to be displayed. Men must not see emotion as singularly feminine but rather as a tool to increase personal effectiveness.

I have attempted to review the contemporary and classic literature on male weeping along with the reasons behind these stereotypes. Some ideas on how to change the existing stereotypes were also discussed. The classical view is best summed up in this quote by Levine (1992), "So entrenched is this perception of men's inability to express emotion communally that a caring man becomes, to some women, an oxymoron." ( p. 43). The contemporary view points to the opposite direction with there being more appreciation for the expression of male emotion. There appears to be many factors that influence both views on male emotional expression. This is what I wish to examine in my experiment whether or not this contemporary trend towards male weeping really exists.


Methods

Participants

The participants consisted of 95 undergraduate students from Missouri Western State College. Missouri Western is located in the Northwest part of the state and has approximately 5,000 undergraduate students in attendance. The participants were those students who were in attendance in Psychology 100 and 200 classes the day of the data collection.

Apparatus

A Hi8 video recorder was used to tape the video of the male confederate who cries. Sixteen of the same items were used from the trait dimension scale composed by Anne Verbeck in 1996. The Scale contained such demographics as sex and age. It also contained questions that inquired into what the participants thought of the male in the video. The traits inquired about included such things as sensitive, likable, sympathetic, sincere, shallow, irritating, dependable, generous, considerate conceited, humorous, exciting, and perceptive. It was also asked in the survey if they felt similar to the male in the video, if they would get along with the male in the video, and if they would like to work with the male in the video. Photo

Procedure

There were three different levels of the independent variable. In condition one, the male confederate cried when he discussed a tragic hunting accident that happened to one of his close friends. In condition two, the male confederate cried when he discussed his own personal disappointment stemming from his struggle with a drinking problem. In condition three, the control condition, the male confederate did not cry at all. In each condition the script was exactly the same only the crying was varied. Each of the three classes that I surveyed watched one of the three different versions of the videos. After they saw the video they filled out a survey on the perceived traits of the actor.

Results

The average impressions of the male confederate were compared depending on the video that particular group of participants saw. Condition one was crying for an event they do not have personal control over. Condition two was crying for an event they do have conscious control over, and condition three was not crying at all. A one way between subjects analysis of variance (ANOVA) was calculated on the data collected. Questions one, two, four, seven, eight, thirteen, fourteen, fifteen, and sixteen were statistically significant (see Table 1.). The data seems to indicate that the societal view of male weeping may be seen in a more positive light.

Discussion

The whole idea of this experiment was to determine whether or not society views male crying as more acceptable. I believed that society would find male weeping more acceptable as the contemporary literature indicates. There were items on my questionnaire that did reach statistical significance, therefore, indicating this may be true to some extent. The items that were significant included items one, two, four, seven, eight, thirteen, fourteen, fifteen, and sixteen.

There may have been many reasons why the other items did not reach statistical significance. The video had a few technical problems including a problem with sound in the third condition and also the actors lips and words did not match up. The participants may not have perceived the male as "normal" because of either the characteristics the actor portrayed of because of the script he read. Of course the college sophomore is an apparent problem in this experiment. There other items may not have reached statistical significance due to the fact that the female participants greatly outnumbered the male participants.

Some suggestions for further research may be to survey those with higher levels of education and those with lower levels of education and compare the two to see if there is a difference of opinion on the acceptability of male weeping. Another idea could include surveying the younger population and surveying the older population to see if their views differ on this subject. Also one could survey different cultures and determine their views on male weeping.

To some extent my study did agree with the contemporary literature on the topic of male emotion. It may appear to be more acceptable for men to cry than in years past. The contemporary literature suggests that males who express their emotions more freely may be seen in a more positive light. This outlook is relatively new as the older literature suggests that male emotion in general is looked upon negatively. More research must be done in this subject area to determine is this contemporary view is indeed correct.


References

Fabes, R. A., & Martin, C. L. (1991). Gender and age stereotypes of emotionality. Personality and Social Psychology Bulletin, 17, 532-540.

Komarovsky, M. (1962). Blue Collar Marriage. New York: Random House.

Labott, S. M., Martin, R. B., Eason, P. S., & Berkey, E. Y. (1991). Social reactions to the expression of emotion. Cognition and Emotion, 5, 397-414.

Levine, J. (1992). My enemy, my love: Man-hating and ambivalence in women's lives. New York: Doubleday.

Lombardo, W. K., Cretser, G. A., Lombardo, B., & Mathis, S. L. (1983). Fer cryin' out loud--there is a sex difference. Sex Roles, 9, 987-995.

Narus, L. R., & Fischer, J. L. (1982). Strong but not silent: A reexamination of expressivity in the relationships of men. Sex Roles, 8, 159-168.

Robertson, J. M., & Freeman, R. (1995). Men and emotions: Developing masculine-congruent views of affective expressiveness. Journal of College Student Development, 36, 606-607.

Ross, C. E., & Mirowsky, J. (1984). Men who cry. Social Psychology Quarterly, 47,138-146.

Stevenson, B. (1948). The macmillan book of proverbs, maxims, and famous phrases. New York: MacMillan.

Verbeck, A. (1996). Perceived attractiveness of men who cry. Journal of Psychological Inquiry, 1, 5-10.


Table 1. The average impressions of the participants in the three different conditions. QuestionCondition Mean Results of Test Sensitive Control 2.47 C-friend 1.80 C-personal 2.55 F(2, 92)= 4.318, p<.05 The participants saw the actor as more sensitive when he cried at the loss of a friend. Likable Control 2.19 C-friend 2.05 C-personal 2.58 F(2, 92)= 4.131, p<.05 The participants saw the actor as less likable when he cried at the loss of a friend. Sympathetic Control 2.52 C-friend 2.16 C-personal 2.48 F(2, 92)= 1.287, p>.05 The participants did not see the actor as more or less sympathetic in the three conditions. Sincere Control 2.22 C-friend 2.37 C-personal 2.83 F(2, 92)= 3.901, p<.05 The participants saw the actor as less sincere when he cried for personal reasons. Shallow Control 3.64 C-friend 3.74 C-personal 3.45 F(2, 92)= .859, p>.05 The participants did not see the actor as more or less shallow in the three conditions. Irritating Control 3.44 C-friend 3.47 C-personal 3.03 F(2, 92)= 1.998, p>.05 The participants did not see the actor as more or less irritating in the three conditions. Dependable Control 3.25 C-friend 3.68 C-personal 3.4 F(2, 92)= 6.149, p<.05 The participants saw the actor as more dependable when he cried at the loss of a friend. Generous Control 2.81 C-friend 2.53 C-personal 3.4 F(2, 92)= 4.323, p<.05 The participants saw the actor as more generous when he cried at the loss of a friend. Considerate Control 2.53 C-friend 2.21 C-personal 3.10 F(2, 92)= 1.484, p>.05 The participants did not see the actor as more or less considerate in the three conditions. Conceited Control 3.53 C-friend 3.74 C-personal 3.48 F(2, 92)= .573, p>.05 The participants did not see the actor as more or less conceited in the three conditions. Humorous Control 3.03 C-friend 3.16 C-personal 3.25 F(2, 92)= .485, p>.05 The participants did not see the actor as more or less humorous in the three conditions. Exciting Control 3.47 C-friend 3.42 C-personal 3.75 F(2, 92)= 1.779, p>.05 The participants did not see the actor as more or less exciting in the three conditions. Perceptive Control 3.06 C-friend 2.42 C-personal 3.00 F(2, 92)= 6.087, p<.05 The participants saw the actor as more perceptive when he cried at the loss of a friend. Felt Similar Control 3.75 C-friend 3.68 C-personal 4.30 F(2, 92)= 4.555, p<.05 The participants felt less similar to the actor when he cried for personal reasons. Work Control 3.25 C-friend 3.21 C-personal 3.75 F(2, 92)= 3.153, p<.05 The participants felt less like they would like to work with the male in the video when he cried for personal reasons. Get Along Control 2.69 C-friend 2.80 C-personal 3.32 F(2, 92)= 4.036, p<.05 The participants felt less like they would get along with the male in the video when he cried for personal reasons. Page Lasst Updated.