Frontier Re-Imagined: the Mythic West in the Twentieth Century
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Restorative Justice in the Face of Atrocities
Advances in Social Science, Education and Humanities Research, Volume 496 Proceedings of the 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020) Restorative Justice in the Face of Atrocities Yuanmeng Zhang [email protected] Flintridge Preparatory School Abstract The traditional justice serves the justice of the accused, while the restorative justice serves the justice of the victims, which is particularly important to the victims of war and has the function of containing the war. With the development of human society, war is inevitable, but the form will change. Restorative justice will ensure the vulnerable groups and warn the war initiators. Keywords:war,restorative,containing,justice October 1st, 1946. 3 Prior to the trial, the idea of 1. Introduction “retributive justice” was predominating in the law court. This form of justice often takes on an element of After the Second World War, disputes on the treatments of punishment or vengeance, a retribution to what the former Nazi soldiers has heightened debates criminal had done. The term also denotes “harsh internationally. According to many, the crimes of these treatment” because, according to the Stanford soldiers as well as their impacts are incurable; therefore, it Encyclopedia of Philosophy, retributive justice always is justified for Nazis to receive retributive justice- a form comes with “cost or hardship” for the criminal. 4 In of justice “morally impermissible intentionally to punish addition, these hardships are imposed by will upon the the innocent or to inflict disproportionately large guilty rather than accidental. In other words, the adverse punishments on wrongdoers.1” Before, during the Second effects which the use of retributive justice had purposely World War and long after, anti-semetic sentiment towards inflicted can be justified as “punishments” rather than the Jewish community was always high since the Nazi had “harms. -
Better Tapit
Barn 3 Hip No. Consigned by Claiborne Farm, Agent 1 Abrupt First Samurai . Giant’s Causeway Lea . {Freddie Frisson {Greenery . Galileo Abrupt . {High Savannah (GB) Bay colt; Political Force . Unbridled’s Song foaled 2017 {Ire . {Glitter Woman (2009) {Clash . Arch {Hit By LEA (2009), $2,362,398, Donn H. [G1]-ntr, Hal’s Hope S. [G3] twice, Com- monwealth Turf S. [G3], 2nd Woodbine Mile S. [G1], Breeders’ Cup Dirt Mile [G1], etc. His first foals are 3-year-olds of 2020. Sire of 16 wnrs, $932,816, including Muskoka Gold ($155,587, Cup and Saucer S., 2nd Grey S. [G3], etc.), Vast (to 3, 2020, $120,150, Hollywood Wildcat S.). 1st dam Ire, by Political Force. 4 wins at 3 and 4, $202,639, 2nd Mariah’s Storm S. (AP, $13,186), Meafara S. (AP, $13,014), 3rd Arlington Oaks [G3] (AP, $16,170), Mardi Gras H. (FG, $7,500), Happy Ticket S. (FG, $6,000). Sister to Flashy Campaign. Dam of 2 other foals of racing age-- Enrage (f. by Algorithms). Winner at 2, $64,086, 2nd Gin Talking S. (LRL, $20,000). Wrath (c. by Flatter). Winner at 3 and 4, 2020, $50,812. 2nd dam CLASH, by Arch. 2 wins, $86,771. Dam of 6 foals to race, 5 winners, incl.-- FASHION FAUX PAS (f. by Flatter). 3 wins at 2 and 3, 2019, $177,817, Sandpiper S. (TAM, $30,000), Light Hearted S. (DEL, $30,000), 2nd Delaware Oaks [G3] (DEL, $55,000), Mizdirection S. (AQU, $20,000), 3rd Hilltop S. (PIM, $10,000). Ire (f. -
MARCH 12, 2021 Featuring: STORTREGN • ABIOTIC • SHIP THIEVES AMPS for CHRIST / BASTARD NOISE GASP
NEW RELEASE FOR MARCH 12, 2021 featuring: STORTREGN • ABIOTIC • SHIP THIEVES AMPS FOR CHRIST / BASTARD NOISE GASP Exclusively Distributed by STORTREGN Impermanence, LP/CD Street Date: March 12, 2021 ARTIST HOMETOWN: Geneva, Switzerland KEY MARKETS: Switzerland, Boston, Los Angeles, Chicago, Montreal FOR FANS OF: OBSCURA, OPETH, INFERI, DISSECTION With a downpour of eight cosmic tracks, crafted with stellar riffs, thundering blast beats and violence, STORTREGN is unleashing their 5th studio album Impermanence onto the world! The band explores a wide range of musical influences and themes, all interconnected to create a paradigm of epicness. With this album, they have managed to merge the contemporary tech-death sound and ideas with their older influences. Impermanence isn’t just a new studio album: it’s a face- melting sonic eruption! ARTIST: STORTREGN TITLE: Impermanence MARKETING POINTS: LABEL: The Artisan Era • Masterful production by Vladimir Cochet (MIRRORTHRONE, CAT#: LP: AE042-1 WEEPING BIRTH) CD: AE042-2 FORMAT: LP / CD • Incredible artwork by Paolo Girardi (ARTIFICIAL BRAIN, DEATHCODE GENRE: Technical Death/ SOCIETY, POWER TRIP, CHTHE’ILIST ) Black Metal BOX LOT: LP: 25 / CD: 30 • Colorful vinyl pressings SRLP: LP: $35.98 CD: $13.98 UPC: LP: 123184004210 CD: 123184004227 EXPORT: No Restrictions TRACK LIST: 1. Ghosts of the Past 2. Moon, Sun, Stars 3. Cosmos Eater 4. Impermanence 5. Grand Nexion Abyss 6. Multilayered Chaos 7. Timeless Splendor 8. Nénie Exclusively Distributed by Contact your sales rep: Mike Beer - [email protected] phone 414-672-9948 www.ildistro.com ABIOTIC Ikigai, LP, CD Street Date: March 12, 2021 ARTIST HOMETOWN: Miami, Florida KEY MARKETS: Miami, Boston, Los Angeles, Chicago, Montreal FOR FANS OF: THE FACELESS, GOJIRA, THE BLACK DAHLIA MURDER, JOB FOR A COWBOY, RIVERS OF NIHIL Having written Ikigai over the course of the last couple of years and finishing this record during a pandemic, the band brings out pain, grief, desperation, and perseverance in every note, every chord, and every word. -
Billy the Kid and the Lincoln County War 1878
Other Forms of Conflict in the West – Billy the Kid and the Lincoln County War 1878 Lesson Objectives: Starter Questions: • To understand how the expansion of 1) We have many examples of how the the West caused other forms of expansion into the West caused conflict with tension between settlers, not just Plains Indians – can you list three examples conflict between white Americans and of conflict and what the cause was in each Plains Indians. case? • To explain the significance of the 2) Can you think of any other groups that may Lincoln County War in understanding have got into conflict with each other as other types of conflict. people expanded west and any reasons why? • To assess the significance of Billy the 3) Why was law and order such a problem in Kid and what his story tells us about new communities being established in the law and order. West? Why was it so hard to stop violence and crime? As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. This was a time of robberies, range wars and Indian wars in the wide open spaces of the West. Gradually, the forces of law and order caught up with the lawbreakers, while the US army defeated the Plains Indians. As homesteaders, hunters, miners and cattle ranchers flooded onto the Plains, they not only came into conflict with the Plains Indians who already lived there, but also with each other. -
The American West; 1835-95 Key Topic 1: the Early Settlement of the West, C1835-95
The American West; 1835-95 Key Topic 1: The early settlement of the West, c1835-95 Background: The early settlement of the West is marked by tensions between the native Indians and the white man. The reasons why the settlers migrated West meant the new U.S government had to design a strategy to manage the native population. You need to study how the government tried to manage this migra- tion, how the natives reacted and how lawlessness was tackled in the new settlements which were created by those migrating West. American West Module 1: The early settlement of the West In this module you will revise; 1. The Plains Indians; their beliefs and way of life (The beliefs, structure and life of tribes U.S expansion West and the Permanent Indian Frontier, including the Indian Appropriations Act) 2. Migration and early settlement (Factors which encouraged migration West, the process and problems of migration (Case studies: Donner Party and Mormon migration, development and problems of white settle- ment farming) 3. Conflict and tension (Reasons for tensions be- tween settlers and Plains Indians - including the Fort Laramie Treaty of 1581, lawlessness in early towns and settlements and how this was tackled (by government and local communities) KT 1.1: The Plains Indians; their beliefs and way of life Society structure The Native Americans lived on the Great Plains A.K.A the Great American Desert an area of land in the centre of the USA which spans over 1,300,000 km/sq (over 5 times the area of great Britain!) Only the largest tribes were called ‘Nations’, and they consisted of tribes, sub tribes and bands. -
Review of Inventing Billy the Kid: Visions of the Outlaw in America, 1881-1981 by Stephen Tatum
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Summer 1984 Review of Inventing Billy the Kid: Visions of the Outlaw in America, 1881-1981 By Stephen Tatum Kent L. Steckmesser California State University-Los Angeles Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Steckmesser, Kent L., "Review of Inventing Billy the Kid: Visions of the Outlaw in America, 1881-1981 By Stephen Tatum" (1984). Great Plains Quarterly. 1798. https://digitalcommons.unl.edu/greatplainsquarterly/1798 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. 182 GREAT PLAINS QUARTERLY, SUMMER 1984 biography was formulated as a "romance." As a "bad" badman, a threat to the moral order, the Kid had to die so that civilization-repre sented by Sheriff Pat Garrett-could advance. This formula of conflict and resolution by death can be detected in dime novels and early magazine accounts, which dwell on the Kid's unheroic appearance and bloodthirsty char acter. After a period of meager interest, by the mid-1920s a quite different figure was being molded by biographers and film makers. This was the prototypical "good" badman, one who personifies a kind of idealism. In Walter Noble Burns's key biography in 1926 and in a 1930 film, the Kid becomes a redeemer who helps small farmers. -
In Martin Scorsese's Taxi Driver
The Narcissistic Masculinity of Travis Bickle: American ‘Reality’ in Martin Scorsese’s Taxi Driver Waldemar Pauw Thesis presented in partial fulfillment of the requirements for the degree of Master of Arts at Stellenbosch University Supervisor: Prof Edwin Hees December 2006 Declaration I, the undersigned, hereby declare that the work contained in this assignment/thesis is my own original work and that I have not previously in its entirety or in part submitted it at any university for a degree. Signature:……………………….. Date:……………………………... ii Summary In this thesis, I examine the way in which Martin Scorsese’s 1976 film Taxi Driver can be read as a critical investigation of post-World War II American masculinity. Drawing on Susan Faludi’s arguments regarding the post-World War II American ‘masculinity crisis’, I highlight specifically how Taxi Driver addresses American masculinity in the context of ideals of heroism, of the myth of the Wild West, of the Vietnam era, and of the increasingly influential role that the popular media play in shaping conceptions of masculinity. In the process I indicate that Taxi Driver exposes, and critiques, an association in modern American society between masculinity and what analysts have termed the ‘myth of regeneration through violence’. Opsomming In hierdie tesis bestudeer ek hoe Martin Scorsese se 1976 film Taxi Driver gelees kan word as kritiese studie van Amerikaanse konsepsies van ‘manlikheid’ in die tweede helfte van die twintigste eeu. Binne die raamwerk van Susan Faludi se werk ten opsigte van die moderne Amerikaanse ‘manlikheidskrisis’ lig ek uit hoe Taxi Driver Amerikaanse manlikheid ondersoek, met spesifieke verwysing na ideale van heldhaftigheid, na die Amerikaanse mite van die wilde weste, na die Vietnam-era en die invloed van die Vietnam oorlog, en na die toenemend belangrike rol wat die media speel in die konstruksie van opvattings van ‘manlikheid’. -
Revising the Western: Connecting Genre Rituals and American
CSCXXX10.1177/1532708614527561Cultural Studies <span class="symbol" cstyle="symbol">↔</span> Critical MethodologiesCastleberry 527561research-article2014 Article Cultural Studies ↔ Critical Methodologies 2014, Vol. 14(3) 269 –278 Revising the Western: Connecting © 2014 SAGE Publications Reprints and permissions: sagepub.com/journalsPermissions.nav Genre Rituals and American Western DOI: 10.1177/1532708614527561 Revisionism in TV’s Sons of Anarchy csc.sagepub.com Garret L. Castleberry1 Abstract In this article, I analyze the TV show Sons of Anarchy (SOA) and how the cable drama revisits and revises the American Western film genre. I survey ideological contexts and tropes that span Western mythologies like landscape and mise-en- scene to struggles for family, community, and the continuation of Native American plight. I trace connections between the show’s fictitious town setting and how the narrative inverts traditional community archetypes to reinsert a new outlaw status quo. I inspect the role of border reversal, from open expansion in Westerns to the closed-door post-globalist world of SAMCRO. I quickdraw from a number of film theory scholars as I trick shoot their critiques of Western cinema against the updated target of SOA’s fictitious Charming, CA. I reckon that this revised update of outlaw culture, gunslinger violence, and the drama’s subsequent popularity communicates a post-9/11 trauma playing out on television. Through the sage wisdom of autoethnography, I recall personal memories as an ideological travelogue for navigating the rhetoric power this drama ignites. As with postwar movements of biker history that follow World War II and Vietnam, SOA races against Western form while staying distinctly faithful. -
Chuck Klosterman on Pop
Chuck Klosterman on Pop A Collection of Previously Published Essays Scribner New York London Toronto Sydney SCRIBNER A Division of Simon & Schuster, Inc. 1230 Avenue of the Americas New York, NY 10020 www.SimonandSchuster.com Essays in this work were previously published in Fargo Rock City copyright © 2001 by Chuck Klosterman, Sex, Drugs, and Cocoa Puffs copyright © 2003, 2004 by Chuck Klosterman, Chuck Klosterman IV copyright © 2006, 2007 by Chuck Klosterman, and Eating the Dinosaur copyright © 2009 by Chuck Klosterman. All rights reserved, including the right to reproduce this book or portions thereof in any form whatsoever. For information address Scribner Subsidiary Rights Department, 1230 Avenue of the Americas, New York, NY 10020. First Scribner ebook edition September 2010 SCRIBNER and design are registered trademarks of The Gale Group, Inc., used under license by Simon & Schuster, Inc., the publisher of this work. For information about special discounts for bulk purchases, please contact Simon & Schuster Special Sales at 1- 866-506-1949 or [email protected]. The Simon & Schuster Speakers Bureau can bring authors to your live event. For more information or to book an event contact the Simon & Schuster Speakers Bureau at 1-866-248-3049 or visit our website at www.simonspeakers.com. Manufactured in the United States of America ISBN 978-1-4516-2477-9 Portions of this work originally appeared in The New York Times Magazine, SPIN magazine, and Esquire. Contents From Sex, Drugs, and Cocoa Puffs and Chuck Klosterman IV The -
1457054074479.Pdf
Dead/ands'" Dime Novel'" #4 lXDER;A- ++-~O/ED f'..'ool (P,4-1<f O tE): .slK:.P!~ BEDFFI I Oil5=- Written by: Matt Forbeck Production: Barry Doyle & Hal Mangold Cover Art and Logo: Ron Spencer Interior Art: Kevin Sharpe Maps: Jeff Lahren Special Thanks to: Justin /\chilli. Kelley Foote, Shane & Michelle Hensley. John Hopler, Ann Kolinsky. Ashe Marler. Dave seay. Ethan Skemp. Richard Thomas, Matt Tice. Mike TInney. Stephen Wieck, John Zinser. Dead/ands created by Shane Lacy Hensley werewo!f:The Wild West created by Justin Achilli &Ethan Skemp PINNACLE ENTERTAINMENT GROUP, Inc. elM! STUDIO .. ~." "Iito-" "t< • 'lito'''' ~-. lito-.· Pinnade Entertainment Group, Inc. P.O. Box 10908 Blacksburg. VA 24062-()908 www.peginc.comordeadlandSiiaol.com (BOO) 214-5645 (orders only) DeadIandJ. Dime -.. WciId WesI..he DaclIIrIds Iogo..r>d the P"",ack SUrtlunl If\! Tl"IIdema,'u <If Plnnaele Enteruolnmenl Gmup. In<. ~ The WlId west is. Trademarl< d WMc WOlf. Inc. The White 'M;>If GP'Ie S1udoo lot<> is. R"IIkSI~ Tr.aoern.rt 0( Whole WOlf. inc. C 1997 Pinnae" Enlt!flllnlMrll Group. Inc.. Ind While WOlf. InC. ~!I Rights R<'5tfW:d. _Icd In ,he USA .?~ t;EDt-E.LONS There was something different about this camp, though. The larger tents bore the brassy emblems of Wasatch, the company controlled by Dr. Darius Hellstromme, the most notorious master of steam technology the West had to offer. That wasn't why Ronan was here though-at least not directly. Wasatch was laying dozens of spurs off of their main line on their way toward the coast. -
Marriage, Violence, and the Nation in the American Literary West
This page intentionally left blank MARRIAGE, VIOLENCE, AND THE NATION IN THE AMERICAN LITERARY WEST In Marriage, Violence, and the Nation in the American Literary West, William R. Handley examines literary interpretations of the western American past. Handley argues that although recent scholarship provides a narrative of western history that counters the optimistic story of frontier individualism by focusing on the victims of con- quest, twentieth-century American fiction tells a different story of intra-ethnic violence, surrounding marriages and families. He ex- amines works of historiography, as well as writing by Zane Grey, Willa Cather, Wallace Stegner, and Joan Didion among others, to argue that these works highlight white Americans’ anxiety about what happens to American “character” when domestic enemies such as Indians and Mormon polygamists, against whom the nation had defined itself in the nineteenth century, no longer threaten its homes. Handley explains that once its enemies are gone, imperia- lism brings violence home in retrospective narratives that allegorize national pasts and futures through intimate relationships. . is Assistant Professor of English at the University of Southern California. His articles have appeared in Arizona Quarterly, Contemporary Literature, and Twentieth Century Literature. Editor Ross Posnock, New York University Founding editor Albert Gelpi, Stanford University Advisory board Sacvan Bercovitch, Harvard University Ronald Bush, St. John’s College, Oxford University Wai Chee Dimock, Yale University Albert Gelpi, Stanford University Gordon Hunter, University of Kentucky Walter Benn Michaels, University of Illinois, Chicago Kenneth Warren, University of Chicago Recent books in this series Literature, Amusement, and Technology in the Great Depression Democracy, Revolution, and Monarchism in Early American Literature Henry James and the Father Question . -
El Llegat Dels Germans Grimm En El Segle Xxi: Del Paper a La Pantalla Emili Samper Prunera Universitat Rovira I Virgili [email protected]
El llegat dels germans Grimm en el segle xxi: del paper a la pantalla Emili Samper Prunera Universitat Rovira i Virgili [email protected] Resum Les rondalles que els germans Grimm van recollir als Kinder- und Hausmärchen han traspassat la frontera del paper amb nombroses adaptacions literàries, cinema- togràfiques o televisives. La pel·lícula The brothers Grimm (2005), de Terry Gilli- am, i la primera temporada de la sèrie Grimm (2011-2012), de la cadena NBC, són dos mostres recents d’obres audiovisuals que han agafat les rondalles dels Grimm com a base per elaborar la seva ficció. En aquest article s’analitza el tractament de les rondalles que apareixen en totes dues obres (tenint en compte un precedent de 1962, The wonderful world of the Brothers Grimm), així com el rol que adopten els mateixos germans Grimm, que passen de creadors a convertir-se ells mateixos en personatges de ficció. Es recorre, d’aquesta manera, el camí invers al que han realitzat els responsables d’aquestes adaptacions: de la pantalla (gran o petita) es torna al paper, mostrant quines són les rondalles dels Grimm que s’han adaptat i de quina manera s’ha dut a terme aquesta adaptació. Paraules clau Grimm, Kinder- und Hausmärchen, The brothers Grimm, Terry Gilliam, rondalla Summary The tales that the Grimm brothers collected in their Kinder- und Hausmärchen have gone beyond the confines of paper with numerous literary, cinematographic and TV adaptations. The film The Brothers Grimm (2005), by Terry Gilliam, and the first season of the series Grimm (2011–2012), produced by the NBC network, are two recent examples of audiovisual productions that have taken the Grimm brothers’ tales as a base on which to create their fiction.