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Performing the American Frontier, 1870–1906
Cambridge University Press 978-0-521-03517-0 - Performing the American Frontier, 1870-1906 Roger A. Hall Frontmatter More information Performing the American Frontier, 1870–1906 Performing the American Frontier, 1870–1906 examines how the American frontier was presented in theatrical productions during the critical period from the end of the Civil War to the beginning of cinema. In chronological fashion, the book explores the post-Civil War resurgence of interest in drama about the frontier, which led to a host of action-packed melodramas. From famous personages such as Mark Twain and “Buffalo Bill” Cody to lesser-known individuals such as Native American playwright and actress Gowongo Mohawk, Hall examines the plays, the players, and the playwrights who helped to define the American westward migra- tion in theatrical terms and covers the complete dramatic experience including scenery, performance, and staging.The book demonstrates the extraordinary variety of subject matter and theatrical styles used to dramatize the frontier, and places frontier drama within the context of its society by framing the productions with the contemporary debates on national policies. roger a. hall is Professor of Theatre at James Madison University, Harrisonburg, Virginia. He has written extensively in the field of American theatre and has published in a number of journals including Theatre Journal, Journal of American Culture, Theatre Survey, Nineteenth-Century Theatre, and The Journal of American Drama and Theatre. He contributed to the Cambridge Guide to American Theatre (1993) and the American National Biography (1999). © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-03517-0 - Performing the American Frontier, 1870-1906 Roger A. -
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University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/59427 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. THESIS INTRODUCTION The picture of themselves which the Victorians have handed down to us is of a people who valued morality and respectability, and, perhaps, valued the appearance of it as much as the reality. Perhaps the pursuit of the latter furthered the achievement of the former. They also valued the technological achievements and the revolution in mobility that they witnessed and substantially brought about. Not least did they value the imperial power, formal and informal, that they came to wield over vast tracts of the globe. The intention of the following study is to take these three broad themes which, in the national consciousness, are synonymous with the Victorian age, and examine their applicability to the contemporary theatre, its practitioners, and its audiences. Any capacity to undertake such an investigation rests on the reading for a Bachelor’s degree in History at Warwick, obtained when the University was still abuilding, and an innate if undisciplined attachment to things theatrical, fostered by an elder brother and sister. Such an attachment, to those who share it, will require no elaboration. My special interest will lie in observing how a given theme operated at a particular or local level. -
Buffalo Bill William F. Cody
Buffalo Bill William F. Cody Written by R. Alan Brooks Illustrated by Matt Strackbein Teacher Guide by Tim Smyth Discussion Questions Elementary 1. How do you think people received mail and news in the early United States, before cars and planes? (Students can be shown panel 1.2 during the discussion). Why was the Pony Express so important to early America? 2. Why do you think William F. Cody’s nickname was Buffalo Bill? (To get the conversation going, students should be shown a few pictures of Cody or panel 1.3 in the comic). 3. Buffalo Bill described himself as the “most famous American in the world” in panel 2.3. Who do you think is the most famous American today? 4. Buffalo Bill may have exaggerated some of his accomplishments and also allowed others to do the same for him. Who else has done this? (Students can be shown Johnny Appleseed, Paul Revere, pop culture personas, etc.) MS/HS 1. Buffalo Bill described himself as the “most famous American in the world” in panel 2.3. Who do you think is the most famous American today? 2. Buffalo Bill may have exaggerated some of his accomplishments and also allowed others to do the same for him. Who else has done this? (Students can be shown Johnny Appleseed, Paul Revere, pop culture icons, etc.) 3. What was the significance of the Pony Express? Why does it remain a significant American West icon? How does it relate to the idea of Americanism? 4. At the conclusion of the lessons, have students discuss how Native Americans might view Cody, his show, and his legacy. -
NORMAN K Denzin Sacagawea's Nickname1, Or the Sacagawea
NORMAN K DENZIN Sacagawea’s Nickname1, or The Sacagawea Problem The tropical emotion that has created a legendary Sacajawea awaits study...Few others have had so much sentimental fantasy expended on them. A good many men who have written about her...have obviously fallen in love with her. Almost every woman who has written about her has become Sacajawea in her inner reverie (DeVoto, 195, p. 618; see also Waldo, 1978, p. xii). Anyway, what it all comes down to is this: the story of Sacagawea...can be told a lot of different ways (Allen, 1984, p. 4). Many millions of Native American women have lived and died...and yet, until quite recently, only two – Pocahantas and Sacagawea – have left even faint tracings of their personalities on history (McMurtry, 001, p. 155). PROLOGUE 1 THE CAMERA EYE (1) 2: Introduction: Voice 1: Narrator-as-Dramatist This essay3 is a co-performance text, a four-act play – with act one and four presented here – that builds on and extends the performance texts presented in Denzin (004, 005).4 “Sacagawea’s Nickname, or the Sacagawea Problem” enacts a critical cultural politics concerning Native American women and their presence in the Lewis and Clark Journals. It is another telling of how critical race theory and critical pedagogy meet popular history. The revisionist history at hand is the history of Sacagawea and the representation of Native American women in two cultural and symbolic landscapes: the expedition journals, and Montana’s most famous novel, A B Guthrie, Jr.’s mid-century novel (1947), Big Sky (Blew, 1988, p. -
Amy Abrams Brandelyn Andres Rudy Arena Vicki Barnes Wilfred Beaupre
Amy Abrams Amy Abrams is an award-winning author, widely-read journalist, literary journal/book editor, and former publishing executive at art magazines (including Antiques in New York City). She has published over 200 stories, contributing to The Wall Street Journal, Art in America, Village Voice Media, Southwest Art, Arizona Highways, and Phoenix Magazine, as well as appeared on TV and radio programs including NPR. She has lectured to university, museum, and writing conference audiences across America including The Walter Cronkite School of Journalism. As a writing workshop leader, she has taught at The Writer’s Center and Writopia in Washington, DC environs.Two new book releases include a novel, The Cage and The Key, and a 212-page illustrated coffee table book, Schenck in the 21st Century: The Myth of the Hero and the Truth of America, which won the 2013 U.S. Literary Award for Fine Arts and True West magazine’s Best of the Western Books for 2014 in Modern Western Art category. As Communications Consultant to corporations, her clients include The George Washington University in Washington, DC. Writing her latest book in a renovated farmhouse in Prescott, she shares her writing knowledge with workshops. More information can be found at www.AmyAbramsWrite.com Brandelyn Andres Brandelyn is a professor of art history at Yavapai College. Her specialties are post-modernism and feminist critical theory. She gave a presentation on photography during the Civil War as part of the OLLI Munch & Learn series in 2017. For the 2016 Yavapai faculty art exhibition, she created an appropriation series which featured historical works of art with contemporary additions. -
Nebraska's Unique Contribution to the Entertainment World
Nebraska History posts materials online for your personal use. Please remember that the contents of Nebraska History are copyrighted by the Nebraska State Historical Society (except for materials credited to other institutions). The NSHS retains its copyrights even to materials it posts on the web. For permission to re-use materials or for photo ordering information, please see: http://www.nebraskahistory.org/magazine/permission.htm Nebraska State Historical Society members receive four issues of Nebraska History and four issues of Nebraska History News annually. For membership information, see: http://nebraskahistory.org/admin/members/index.htm Article Title: Nebraska’s Unique Contribution to the Entertainment World Full Citation: William E Deahl Jr, “Nebraska’s Unique Contribution to the Entertainment World,” Nebraska History 49 (1968): 282-297 URL of article: http://www.nebraskahistory.org/publish/publicat/history/full-text/NH1968Entertainment.pdf Date: 11/23/2015 Article Summary: Buffalo Bill Cody and Dr. W F Carver were not the first to mount a Wild West show, but their opening performances in 1883 were the first truly successful entertainments of that type. Their varied acts attracted audiences familiar with Cody and his adventures. Cataloging Information: Names: William F Cody, W F Carver, James Butler Hickok, P T Barnum, Sidney Barnett, Ned Buntline (Edward Zane Carroll Judson), Joseph G McCoy, Nate Salsbury, Frank North, A H Bogardus Nebraska Place Names: Omaha Wild West Shows: Wild West, Rocky Mountain and Prairie Exhibition -
Settlement of the West
Settlement of the West The Western Career of Wild Bill Hickok James Butler Hickok was born in Troy Grove, Illinois on 27 May 1837, the fourth of six children born to William and Polly Butler Hickok. Like his father, Wild Bill was a supporter of abolition. He often helped his father in the risky business of running their "station" on the Underground Railroad. He learned his shooting skills protecting the farm with his father from slave catchers. Hickok was a good shot from a very young age, especially an outstanding marksman with a pistol. He went west in 1857, first trying his hand at farming in Kansas. The next year he was elected constable. In 1859, he got a job with the Pony Express Company. Later that year he was badly mauled by a bear. On 12 July 1861, still convalescing from his injuries at an express station in Nebraska, he got into a disagreement with Dave McCanles over business and a shared woman, Sarah Shull. McCanles "called out" Wild Bill from the Station House. Wild Bill emerged onto the street, immediately drew one of his .36 caliber revolvers, and at a 75 yard distance, fired a single shot into McCanlesʼ chest, killing him instantly. Hickok was tried for the killing but judged to have acted in self-defense. The McCanles incident propelled Hickock to fame as a gunslinger. By the time he was a scout for the Union Army during the Civil War, his reputation with a gun was already well known. Sometime during his Army days, he backed down a lynch mob, and a woman shouted, "Good for you, Wild Bill!" It was a name which has stuck for all eternity. -
The Baxter's Curve Train Robbery
Territorial News www.territorialnews.com www.facebook.com/TerritorialNews Vol. 33, No. 9 Your Connection to the Old West November 27, 2019 Next Issue The Baxter’s Curve Wednesday December 11 Train Robbery Play Express Agent Foils the Tall Texan’s Plan Arizona Trivia By Michael Murphy convicted and sentenced to See Page 2 for Details fifteen years in prison. Af- t’s been said that Ben ter serving ten years at the Kilpatrick, AKA “The federal penitentiary in At- This Week’s I Tall Texan,” was pretty lanta, Georgia, Kilpatrick incompetent when it came to was released in June 1911. Question: robbing trains. As a member He immediately re- of both the Ketchum Gang turned to a life of crime and and the Wild Bunch, Kil- pulled off a series of mild- Looming over the patrick had plenty of suc- ly successful robberies in East Valley, Four cess, but without the likes West Texas. On March 12, Peaks is a part of of Butch Cassidy or Black 1912, The Tall Texan’s luck what mountain Jack Ketchum along for the would run out again. range? ride, well, not so much. Baxter’s Curve is locat- (8 Letters) The thing is, it wasn’t ed almost midway between that he couldn’t rob a Sanderson and Dryden, just train—in fact he had a re- east of Sanderson Canyon markable string of suc- in West Texas. It was a cesses in a short period of sharp bend in the railway’s Index time—it’s just that he could rail bed named for an engi- never quite secure enough neer who died there when funds from these robberies his train derailed. -
The Satire of Puck Magazine 7 Days In
fall/winter 2015 James Bama’s ■ The satire of Puck magazine ■ 7 Days in Glasgow with Buffalo Bill ■ Exploring a new frontier About the cover: to the point BY BRUCE ELDREDGE | Executive Director Beginning on page 4, Emily Wilson shares a glimpse into the photography of western artist James Bama— images like this tepee. MS 243 James Bama Photographic Collection. Gift of the artist. P.243.02459 ©2015 Buffalo Bill Center of the West. Points West is published for members and friends of the Center of the West. Written permission is required to copy, reprint, or distribute Points West materials in any As you enjoy this issue of Points West, take special medium or format. All photographs in Points West are Center of the West photos unless otherwise note of the awards and triumphs the Buffalo Bill noted. Direct all questions about image rights and Center of the West has enjoyed this summer: reproduction to [email protected]. Bibliographies, works cited, and footnotes, etc. ■ 2015 Certificate of Excellence Award from Trip Advisor (third year in a row) are purposely omitted to conserve space. However, ■ #1 Western Museum by True West magazine such information is available by contacting ■ #4 Western Art Museum by True West the editor. Address correspondence to Editor, ■ 41,000 Facebook fans Points West, Buffalo Bill Center of the West, ■ Sports Afield magazine feature with the Draper Natural History Museum in 720 Sheridan Avenue, Cody, Wyoming 82414, or [email protected]. its “The Hunter’s Lair” series ■ Managing Editor | Marguerite House In addition, noted art critic Ed Rothstein with the Wall Street Journal ■ (formerly with the New York Times in which he lauded our “new” Buffalo Bill Assistant Editor | Nancy McClure Museum in 2012), praised our exhibition Painted Journeys: the Art of John ■ Designers | Desirée Pettet, Jessica McKibben Mix Stanley. -
Calamity Jane
Calamity Jane Calamity Jane was born on May 1, 1852 in Princeton, Missouri. Her real name was Martha Jane Cannary. By the time she was 12 years old, both of her parents had died. It was then her job to raise her 5 younger brothers and sisters. She moved the family from Missouri to Wyoming and did whatever she could to take care of her brothers and sisters. In 1876, Calamity Jane settled in Deadwood, South Dakota, the site of a new gold rush. It has been told that during this time she met Wild Bill Hickok, who was known for his shooting skills. Jane would later say that she married him in 1873. Many people think this was not true because if you look at the years, she said she married him 3 years before she really met him. When she was in Deadwood, Jane carried goods and machinery to camps outside of the town and worked other jobs too. She was known for being loud and annoying. She also did not act very lady like. However, she was known to be very generous and giving. Jane worked as a cook, a nurse, a miner and an ox-team driver, and became an excellent horseback rider who was great with a gun. She was a good shot and a fearless rider for a girl her age. By 1893, Calamity Jane was appearing in Buffalo Bill's Wild West Show as a trick shooter and horse rider. She died on August 1, 1903, in Terry, South Dakota, at the age of 51. -
University of Nevada, Reno Cultural Landscape Development And
University of Nevada, Reno Cultural Landscape Development and Tourism in Historic Mining Towns of the Western United States A Thesis submitted in partial fulfilment of the requirements for the degree of Master of Science in Geography By Alison L. Hotten Dr. Gary J. Hausladen/Thesis Advisor May, 2011 © Copyrighted by Alison L. Hotten 2011 All Rights Reserved THE GRADUATE SCHOOL We recommend that the thesis prepared under our supervision by ALISON L. HOTTEN entitled Cultural Landscape Development And Tourism In Historic Mining Towns Of The Western United States be accepted in partial fulfillment of the requirements for the degree of MASTER OF SCIENCE Gary J. Hausladen, Ph.D., Advisor Paul F. Starrs, Ph.D., Committee Member Alicia Barber, Ph.D., Graduate School Representative Marsha H. Read, Ph. D., Associate Dean, Graduate School May, 2011 i Abstract This thesis examines the development of the cultural landscape of western mining towns following the transition from an economy based on mining to one based on tourism. The primary case studies are Bodie, California, Virginia City, Nevada, and Cripple Creek, Colorado. Each one is an example of highly successful tourism that has developed in a historic mining town, as well as illustrating changes in the cultural landscape related to this tourism. The main themes that these three case studies represent, respectively, are the ghost town, the standard western tourist attraction, and the gambling mecca. The development of the landscape for tourism is not just commercial, but relates to the preservation of history and authenticity in the landscape; each town was designated as a Historic District in 1961. -
THE WALTER STANLEY CAMPBELL COLLECTION Inventory and Index
THE WALTER STANLEY CAMPBELL COLLECTION Inventory and Index Revised and edited by Kristina L. Southwell Associates of the Western History Collections Norman, Oklahoma 2001 Boxes 104 through 121 of this collection are available online at the University of Oklahoma Libraries website. THE COVER Michelle Corona-Allen of the University of Oklahoma Communication Services designed the cover of this book. The three photographs feature images closely associated with Walter Stanley Campbell and his research on Native American history and culture. From left to right, the first photograph shows a ledger drawing by Sioux chief White Bull that depicts him capturing two horses from a camp in 1876. The second image is of Walter Stanley Campbell talking with White Bull in the early 1930s. Campbell’s oral interviews of prominent Indians during 1928-1932 formed the basis of some of his most respected books on Indian history. The third photograph is of another White Bull ledger drawing in which he is shown taking horses from General Terry’s advancing column at the Little Big Horn River, Montana, 1876. Of this act, White Bull stated, “This made my name known, taken from those coming below, soldiers and Crows were camped there.” Available from University of Oklahoma Western History Collections 630 Parrington Oval, Room 452 Norman, Oklahoma 73019 No state-appropriated funds were used to publish this guide. It was published entirely with funds provided by the Associates of the Western History Collections and other private donors. The Associates of the Western History Collections is a support group dedicated to helping the Western History Collections maintain its national and international reputation for research excellence.