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Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory
DANGEROUSLY FREE: OUTLAWS AND NATION-MAKING IN LITERATURE OF THE INDIAN TERRITORY by Jenna Hunnef A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright by Jenna Hunnef 2016 Dangerously Free: Outlaws and Nation-Making in Literature of the Indian Territory Jenna Hunnef Doctor of Philosophy Department of English University of Toronto 2016 Abstract In this dissertation, I examine how literary representations of outlaws and outlawry have contributed to the shaping of national identity in the United States. I analyze a series of texts set in the former Indian Territory (now part of the state of Oklahoma) for traces of what I call “outlaw rhetorics,” that is, the political expression in literature of marginalized realities and competing visions of nationhood. Outlaw rhetorics elicit new ways to think the nation differently—to imagine the nation otherwise; as such, I demonstrate that outlaw narratives are as capable of challenging the nation’s claims to territorial or imaginative title as they are of asserting them. Borrowing from Abenaki scholar Lisa Brooks’s definition of “nation” as “the multifaceted, lived experience of families who gather in particular places,” this dissertation draws an analogous relationship between outlaws and domestic spaces wherein they are both considered simultaneously exempt from and constitutive of civic life. In the same way that the outlaw’s alternately celebrated and marginal status endows him or her with the power to support and eschew the stories a nation tells about itself, so the liminality and centrality of domestic life have proven effective as a means of consolidating and dissenting from the status quo of the nation-state. -
JAMES FARM JOURNAL Published by the Friends of the James Farm VOLUME 27, ISSUE 1 SPRING 2016 Frank and Jesse: Retreating from Northfield Was an Adventure
JAMES FARM JOURNAL Published by the Friends of the James Farm VOLUME 27, ISSUE 1 SPRING 2016 Frank and Jesse: Retreating from Northfield was an adventure ven today, visitors gawk at the just stuffed with cash and would be a cre- 18-foot chasm in the quartzite ampuff to rob, for a savvy pair like Jesse bedrock of the little community and Frank James it must have looked like Epark just north of Garretson in a stretch. southeastern South Dakota. Most of What made the First National Bank so ir- them walk away saying, “Aw, he’d a’ nev- resistible? Some authors who have stud- er made it.” ied the robbery in minute detail claim it Well, the odds wouldn’t have been in was politics. They say the James Boys, his favor, that’s for sure. Especially be- especially Jesse, just couldn’t let the war cause Jesse James was die, and when he had a chance to stick his riding a stolen farm finger (or his revolver) into the eye of an horse when he sup- ex-Federal he took it. posedly jumped that An investor in The First National Bank gap in the autumn was, you see, a man named Adelburt of 1876. He and his Ames, who was the son-in-law of Civil older brother Frank, War Union General Benjamin But- you see, were trying ler, and that Butler, in turn, also had a to outrun a highly- Devil’s Gulch, the 18-foot-long, 70 foot high jump large investment in the bank. It’s pos- incensed Minnesota that Jesse allegedly took during the escape from sible they had no idea of that con- posse after their bungled attempt to rob the botched Northfield, Minn. -
ACM 485 Seminar in Creative Media: American Outlaws
ACM 485 Seminar in Creative Media: American Outlaws Fall 2016 – Fridays 9:30-12:20 Arch 101A Office: HI 314 Prof. (Tom) Brislin, Ph.D. Hours: By Appt. E-Mail: [email protected] Phone: 956-6051 <www2.hawaii.edu/~tbrislin> This course has a Contemporary Ethical Issues (E) Focus designation. Contemporary ethical issues are fully integrated into the main course material and will constitute at least 30% of the content. At least 8 hours of class time will be spent discussing ethical issues. Through the use of lectures, discussions and assignments, students will develop basic competency in recognizing and analyzing ethical issues; responsibly deliberating on ethical issues; and making ethically determined judgments. TEXT: There is no text to purchase. Readings will be assigned from several books and articles and posted on the course Laulima site. Films screened in class and on your own will also be treated as “texts” subject to class and individual analysis. You will be responsible for individual screenings via Sinclair Library, Netflix, Hulu, etc. streaming, video rental or purchase (Amazon, iTunes), etc. Assigned Readings, and resources you should consult for your essays and Group Presentation will come from such books as: • Gangster Film Reader, by Alain Silver and James Ursini (Limelight Editions: 2007) • The Gangster Film: Fatal Success in American Cinema by Ron Wilson (Wallflower Press: 2014) • The Western Reader by Gregg Rickman and Jim Kitses (Limelight Editions: 2004) • From Shane to Kill Bill: Rethinking the Western by Patrick McGee (Wiley-Blackwell: 2006) • Down and Dirty Pictures: Miramax, Sundance, and the Rise of Independent Film by Peter Biskind (Simon and Schuster: 2013). -
Jesse James Complete Program Transcript
Page 1 Jesse James Complete Program Transcript Narrator: In the spring of 1864, Jesse James rode to war ... there would be no papers to sign, no brass-button uniforms, no government-issue firearms. He simply followed creeks and hog- trails into the darkness of the Missouri woods, where the guerrilla fighters made camp. Phil Stewart, Local Historian: The regular Confederate forces had already been driven out of this area. If a young man was going to fight for the Southern side, it was going to have to be with a guerrilla unit because there were no active Confederate forces in the area. Fred Chiaventone, Author: When Jesse James first joins the Missouri guerrillas -- what they often referred to as bushwhackers -- he's 16 years old. He's tall. He's slender. He's very fair- complexioned. He has the most piercing bright blue eyes. T.J. Stiles, Author: He was still growing. And he had a very youthful look. He had a very soft, sort of oval face. He had a nose that was slightly turned up. He had these very bright blue eyes and sandy hair. Phil Stewart, Local Historian: He was about 5 foot 6, kind of lean, maybe 120 pounds. The first thing you thought is, what is this kid doing here? Narrator: Jesse James' boyhood was a long, sure ride toward battle -- on a trail marked by partisan politics, violence and loss. He was born in September of 1847 in Clay County, Missouri, to Robert and Zerelda James, who had migrated west from Kentucky. Robert James was a slave-holding Baptist preacher who Page 2 worked hard to keep the abolitionists and their threatening doctrines from circulating among his congregants. -
The Story of Cole Younger, by Himself by Cole Younger
The Project Gutenberg EBook of The Story of Cole Younger, by Himself by Cole Younger This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at http://www.guten- berg.org/license Title: The Story of Cole Younger, by Himself Author: Cole Younger Release Date: February 12, 2008 [Ebook 24585] Language: English ***START OF THE PROJECT GUTENBERG EBOOK THE STORY OF COLE YOUNGER, BY HIMSELF*** Cole Younger The Story of Cole Younger, by Himself Being an Autobiography of the Missouri Guerrilla Captain and Outlaw, his Capture and Prison Life, and the Only Authentic Account of the Northfield Raid Ever Published By Cole Younger Chicago The Henneberry Company 1903 Contents Why This Book Is Here . 1 1. Boyhood Days . 3 2. The Dark and Bloody Ground . 11 3. Driven from Home . 15 4. The Trap That Failed . 19 5. Vengeance Indeed . 23 6. In the Enemy's Lines . 25 7. Lone Jack . 27 8. A Foul Crime . 33 9. How Elkins Escaped . 35 10. A Price on My Head . 39 11. Betrayed . 43 12. Quantrell on War . 47 13. The Palmyra Butchery . 51 14. Lawrence . 55 15. Chasing Cotton Thieves . 61 16. A Clash with Apaches . 65 17. The Edicts of Outlawry . 69 18. Not All Black . 75 19. A Duel and an Auction . 77 20. Laurels Unsought . 81 21. The Truth about John Younger . 87 22. Amnesty Bill Fails . -
NORTHFIELD Johnny D. Boggs
NORTHFIELD Johnny D. Boggs LEISURE BOOKS NEW YORK CITY For Tyrone Power and Henry Fonda; Ron Hansen and Max McCoy; John Newman Edwards and Jack Koblas; Red Shuttleworth and W.C. Jameson; The people of Northfield and Madelia; And The Friends of the James Farm. TABLE OF CONTENTS Cover Title Page Dedication Prologue: Cole Younger Chapter One - Bill Stiles Chapter Two - Adelbert Ames Chapter Three - Clell Miller Chapter Four - Joe Brown Chapter Five - Mollie Ellsworth Chapter Six - Colonel Thomas Vought Chapter Seven - Jim Younger Chapter Eight - Alonzo E. Bunker Chapter Nine - Anselm R. Manning Chapter Ten - Charlie Pitts Chapter Eleven - Cole Younger Chapter Twelve - John Oleson Chapter Thirteen - Henry Mason Wheeler Chapter Fourteen - Lizzie May Heywood Chapter Fifteen - Frank Jupies Chapter Sixteen - Thomas Jefferson Dunning Chapter Seventeen - Jesse James Chapter Eighteen - A.O. Sorbel Chapter Nineteen - Sheriff James Glispin Chapter Twenty - Bob Younger Chapter Twenty-One - William Wallace Murphy Chapter Twenty-Two - Dr. Sidney Mosher Chapter Twenty-Three - Sheriff Ara Burton Epilogue: Cole Younger Author’s Note About the Author Praise Other Leisure books by Johnny D. Boggs Copyright PROLOGUE COLE YOUNGER Seven minutes…seems like seven lifetimes. “For God’s sake, boys, hurry up! They’re shooting us all to pieces!” The words still ring in my head, over the deafening roar of musketry. Over the bullets singing past our heads. Over the hoofs of our horses. Over all of Northfield. Those words came from my mouth only minutes earlier. Long minutes, though. Think about it—seven minutes ain’t nothing. Time it takes a train to cover a little better than two miles. -
A Riff on Billy the Kid
University of Kentucky UKnowledge Law Faculty Scholarly Articles Law Faculty Publications 4-2016 A Riff on Billy the Kid Richard H. Underwood University of Kentucky College of Law, [email protected] Follow this and additional works at: https://uknowledge.uky.edu/law_facpub Part of the Entertainment, Arts, and Sports Law Commons, and the Music Commons Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Repository Citation Underwood, Richard H., "A Riff on Billy the Kid" (2016). Law Faculty Scholarly Articles. 540. https://uknowledge.uky.edu/law_facpub/540 This Article is brought to you for free and open access by the Law Faculty Publications at UKnowledge. It has been accepted for inclusion in Law Faculty Scholarly Articles by an authorized administrator of UKnowledge. For more information, please contact [email protected]. A Riff on Billy the Kid Notes/Citation Information Richard H. Underwood, A Riff on Billy the Kid, 32 Touro L. Rev. 225 (2016). This article is available at UKnowledge: https://uknowledge.uky.edu/law_facpub/540 Underwood: A Riff on Billy the Kid A RIFF ON BILLY THE KID Richard H. Underwood* When Professor Levine invited me to participate in the 2011 Bob Dylan and the Law Symposium,1 I was – bemused. Still, I felt that I was compelled to go. I had a good time in the big city, and was surprised by the number of high-powered presenters in attendance. The Symposium produced some interesting articles. I must admit that I struggled to find anything to say about “Bob Dylan and the Law.” I was a Dylan fan in the very early sixties when he was doing folk music;2 but I went into the Army at age twenty and did not return to “The World” until the early seventies, when I entered law school. -
Jesse James and American History in Motion Pictures Clinton S
The University of Maine DigitalCommons@UMaine Electronic Theses and Dissertations Fogler Library 2000 Seeing the Past: Jesse James and American History in Motion Pictures Clinton S. Loftin Follow this and additional works at: http://digitalcommons.library.umaine.edu/etd Part of the Cultural History Commons, and the Film and Media Studies Commons Recommended Citation Loftin, Clinton S., "Seeing the Past: Jesse James and American History in Motion Pictures" (2000). Electronic Theses and Dissertations. 206. http://digitalcommons.library.umaine.edu/etd/206 This Open-Access Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of DigitalCommons@UMaine. SEEING THE PAST: JESSE JAMES AND AMERICAN HISTORY IN MOTION PICTURES By Clinton Scott Loftin Thesis Advisor: Dr. Nathan Godfried An Abstract of the Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (in History) May, 2000 Historically-based films often reveal more about the time in which they were made than about their historical subjects. Three motion pictures about Jesse James made in three very different eras reveal more about contemporary history than they do about the facts surrounding the legendary outlaw’s life. While each film, in some way, purports to tell the “true” story of Jesse James’ life, each offers a different history of that life. In order to understand the reasons for this it is necessary to examine the events that surrounded the making of each picture. More specifically, there are four major forces that must be examined in order to understand Jesse James’ transformation in the three pictures: the socio-political environment at the time each film was made, the state of the motion picture industry, developments within the genre to which the films belong (the Western), and the unique contributions of individual filmmakers. -
THE LONG RIDERS / 1980 (O Bando De Jesse James)
CINEMATECA PORTUGUESA-MUSEU DO CINEMA O QUE QUERO VER 17 e 28 de dezembro de 2020 THE LONG RIDERS / 1980 (O Bando de Jesse James) um filme de Waltet Hill Realização: Walter Hill / Argumento: Bill Bryden, Steven Philip Smith, Stacy Keach, James Keach / Fotografia: Ric Waite / Direcção Artística: Peter Romero / Música: Ry Cooder / Som: James Webb, Chris McLaughlin / Montagem: David Holden, Freeman Davies / Assistente de Realização: Peter Gries / interpretação: David Carradine (Cole Younger), Keith Carradine (Jim Younger), Robert Carradine (Bob Younger), James Keach (Jesse James), Stacy Keach (Frank James), Dennis Quaid (Ed Miller), Randy Quaid (Clell Miller), Kevin Brophy (John Younger), Harry Carey Jr. (George Arthur), Christopher Guest (Charlie Ford), Nicholas Guest (Bob Ford), Shelby Leverington (Annie Ralston), Felice Orlandi (Mr. Reddick), Pamela Reed (Belle Starr), James Remar (Sam Starr), Fran Ryan (Mrs. Samuel), Savannah Smith (Zee), Amy Stryket (Beth), James Whitmore Jr. (Mr. Rixley), John Bottoms (Mortician), West Buchanan (McCorkindale). Produção: Tim Zinnemann / Produtores Executivo: Stacy Keach, James Keach, para a United Artists / Cópia: Ficheiro, colorida, com legendas eletrónicas em português, 100 minutos / Estreia Mundial: Maio de 1980 / Estreia em Portugal: AB Cine e S. Jorge, em 11 de Setembro de 1980. _____________________________ Herdeiro dos clássicos, de um Hawks em especial, mas contaminado no começo da sua carreira por Peckinpah, para quem escreveu The Getaway, este argumentista passado para a realização tem uma apetência especial pelo western. Todo o cinema de Hill se rege pelos modelos do género, reinvestindo os seus códigos nos mais diversos campos, da guerra ao policial, passando pelo próprio musical (o magnifico Streets of Fire). -
American Outlaws in Australia
International Journal of Social Science Studies Vol.1, No. 2; October 2013 ISSN 2324-8033 E-ISSN 2324-8041 Published by Redfame Publishing URL: http://ijsss.redfame.com American Outlaws in Australia Bruce Tranter1 & Jed Donoghue1 1University of Tasmania, Tasmania Correspondence: Bruce Tranter, School of Social Sciences, University of Tasmania, Private Bag 22, Hobart, Tasmania, 7001. E-mail: [email protected] Received: June 1, 2013 Accepted: June 17, 2013 Available online: June 24, 2013 doi:10.11114/ijsss.v1i2.158 URL: http://dx.doi.org/10.11114/ijsss.v1i2.158 Abstract An aspect of the diffusion of American popular culture is examined in this research drawing upon national survey data. Measuring Australians‟ knowledge of American and Australian outlaws, we found that Jesse James and Billy the Kid are better known in Australia than any of the local outlaws, or bushrangers, with the exception of Ned Kelly. While a relatively large proportion of Australians identified Ned Kelly, Ben Hall, Jesse James and Billy the Kid as outlaws, few identified other Australian „outlaws‟. Social background and political ideology is associated with greater knowledge of outlaws. Men, baby boomers and their predecessors, those born in Australia or the UK, those with a basic secondary level education and those identifying as left on the political spectrum are the most knowledgeable. This Australian study suggests that outlaws such as Jesse James and Billy the Kid are not just national folk heroes, but recognised globally. Promoted by visual and print media they have transcended their outlaw heritage to represent romanticised notions of freedom, loyalty and the „underdog‟, regardless of the historical facts surrounding their lives and deaths. -
Personal Identity and the Influence of Outlaw Folklore
Utah State University DigitalCommons@USU All Graduate Plan B and other Reports Graduate Studies 5-2021 Personal Identity and the Influence of Outlaw olklorF e William "Bacon" Nivison Utah State University Follow this and additional works at: https://digitalcommons.usu.edu/gradreports Part of the American Popular Culture Commons Recommended Citation Nivison, William "Bacon", "Personal Identity and the Influence of Outlaw olklorF e" (2021). All Graduate Plan B and other Reports. 1520. https://digitalcommons.usu.edu/gradreports/1520 This Report is brought to you for free and open access by the Graduate Studies at DigitalCommons@USU. It has been accepted for inclusion in All Graduate Plan B and other Reports by an authorized administrator of DigitalCommons@USU. For more information, please contact [email protected]. PERSONAL IDENTITY AND 1HE INFLUENCE OF OU1LA W FOLKLORE by William "Bacon,, Nivison A thesis submitted in partial fulfillment of the requirements for the degree of MASIBR OF SCIENCE 1Il Folklore and American Studies Approved: Lisa Gabbert, Ph.D. Lynne McNeil!, Ph.D. Major Professor Committee Member John McLaughlin, Ph.D. Committee Member UTAH STAIB UNIVERSI1Y Logan, Utah 2021 Copyright © William “Bacon” Nivison 2021 All Rights Reserved ABSTRACT Personal Identity and the Influence of Outlaw Folklore by William “Bacon” Nivison, Master of Science Utah State University, 2021 Major Professor: Dr. Lisa Gabbert Department: English Folklore being a relatively new science there is still debate going on about what folklore actually is. Most of what one reads is relative to who the “folk” are, where the “lore” comes from and how it is inspired. This thesis looks at folklore from a viewpoint that observes folklore from the other direction. -
Jorge Mauricio Espinoza, M.A
Inventing the Latino/a Hero: ‘Legality’ and the Representation of Latino/a Heroic Figures in U.S. Film, Television, and Comics Dissertation Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Jorge Mauricio Espinoza, M.A. Graduate Program in Spanish and Portuguese The Ohio State University 2015 Dissertation Committee: Ignacio Corona, Advisor Frederick Aldama Guisela Latorre Laura Podalsky Copyright by Mauricio Espinoza 2015 Abstract The heroic narratives appearing in U.S. popular culture have been traditionally dominated by Anglo characters, with limited spaces for the representation of ethnic minorities. When they do appear in these narratives, ethnic minorities typically occupy the roles of subservient sidekicks or stereotyped villains—whose main functions, respectively, are to aid the Anglo hero in his pursuits and to serve as cannon fodder in order to highlight his superiority. While few in number, the presence of ethnic minority heroes in popular culture narratives becomes important for examining and understanding the limitations and possibilities of positive portrayals by and about members of historically marginalized communities in the United States. Inventing the Latino/a Hero explores the historical representation of U.S. Latino/a heroic figures and heroism discourses in film, television, and comics. This study concentrates on hero narratives that directly explore, interrogate, or wrestled with the issue of legality, which is central to the construction of Latino/a heroes and their narratives’ relationship with ideology and power relations. In this regard, I contend that Latino/a heroes either challenge the dominant, often oppressive system of U.S.