Academic literature on the topic 'Frontier mythology'
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Journal articles on the topic "Frontier mythology"
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Edwards, Leigh H. "The Endless End of Frontier Mythology: PBS's Frontier House 2002." Film & History: An Interdisciplinary Journal of Film and Television Studies 37, no. 1 (2007): 29–34. http://dx.doi.org/10.1353/flm.2007.0010.
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Taylor, Cheryl. "Shaping a Regional Identity: Literary Non-Fiction and Short Fiction in North Queensland." Queensland Review 8, no. 2 (November 2001): 41–52. http://dx.doi.org/10.1017/s1321816600006826.
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Stories, anecdotes, and descriptive articles were the earliest publications, following the main wave of colonisation in the 1860s, to bring Queensland north and west of Proserpine to the attention of the national and international community. Such publications were also the main vehicle of an internal mythology: they shaped the identity of the inhabitants, diversified following settlement, and their sense of the region. The late date of settlement compared with south-eastern Australia meant that frontier experience continued both as a lived reality and as mythology well into the twentieth century. The self-containment of the region as actual and exemplary frontier was breached only with the arrival of television and university culture in the 1950s and 1960s.
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Demenyuk, Veronika Maksimovna. "The transformation of frontier mythology in short stories by Ambrose Bierce (based on the "Tales of Soldiers and Civilians", 1891)." Litera, no. 1 (January 2022): 106–13. http://dx.doi.org/10.25136/2409-8698.2022.1.37346.
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This article examines a certain type of US national mentality that stems from the historical frontier development of the continent, as well as the specificity of its representation in the texts of the American writer of the turn of the XIX – XX centuries Ambrose Bierce. The object of this research is the texts of the “Tales of Soldiers and Civilians" by Ambrose Bierce. The subject is the category of cyclic time, binary opposition of “own/alien”, system of characters in the “Tales of Soldiers and Civilians", interpretation of the symbolic images of the texts through the prism of frontier mythology. The scientific novelty consists in examination of the works by Ambrose Bierce not only as a literary tradition, but also in the context of frontier mythology, which determines the specificity of the US national worldview. It is established that Ambrose Bierce refers to a range of patterns characteristic to the frontier myth (opposition of own/alien, image of frontiersman, transformational shift, religious symbolism, and motivation), which allows revealing the national traits of the contemporary to Bierce Americans who have experienced the monumental disturbances of the Civil War, as well as examining the human nature overall, creating a universal image of a man who lost touch with the world and own identity.
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Carter, Matthew. "Personalizing the Apocalypse: Frontier Mythology and Genre Hybridity in „Maggie”." Studia Filmoznawcze 38 (June 21, 2017): 121–35. http://dx.doi.org/10.19195/0860-116x.38.9.
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An independent U.S.-Swiss co-production released by Lionsgate Films and Roadside Attractions, Maggie 2015 is marketed as apost-apocalyptic Horror drama and appears most obviously as azombie-apocalypse film. It soon becomes apparent, however, that Maggie differs markedly from other, more traditional zombie-apocalypse films. It blends recognizable elements from several mainstream genres and, though largely conforming to the well-known conventions of so-called classical realism, echoes some of the alternative narrative strategies traditionally associated with independent American and European cinemas. Although Maggie is rich with interpretive possibilities, this article shall touch on a less overt, some might even say fringe aspect of its narrative; namely, its engagement with a number of aspects of America’s frontier mythology. This might seem astrange connection to make at first since the frontier myth as apopular cultural referent is most often associated with the Hollywood Western, and the Western is clearly not Maggie’s most recognizable narrative schema. However, the myth’s association with the Western, while historically dominant, is far from exclusive and it would also be amistake to deny the myth’s links to other film genres through the related connections that exist between categories of films that, on the surface, seem to have little to do with one another. This is especially so in afilm as “genre confused” as Maggie.To be clear, this article does not claim Maggie to be a Western, at least not in any traditional sense that we might understand it. Rather, it interprets Maggie as apart of amore general trend in contemporary cinema typified by the hybridization of the codes and conventions of numerous genres and subgenres; especially, but not exclusively, those that bring an international perspective to bear on traditional genre categories. In the case of Maggie, this works to undermine audience expectations through aprocess of inversion and deconstruction that reconfigures the erstwhile familiarity of the zombie-apocalypse’s popular-cultural terrain. For, in referencing the Western and its related frontier mythology in the way that it does, Maggie demonstrates the adaptability and continued relevance of both in relation to the complex dynamics of contemporary global film genres. It is within this context that Maggie references the Western and, in so doing, highlights the continuing influence of frontier mythology in contemporary popular culture. PERSONALIZACJA APOKALIPSY — MITOLOGIA POGRANICZA I GATUNKOWA HYBRYDOWOŚĆ W FILMIE MAGGIE HENRY’EGO HOBSONANiezależna amerykańsko-szwajcarska produkcja zrealizowana przez Lionsgate Films i Roadside Attractions — Maggie 2015 — jest reklamowana jako postapokaliptyczny horror, a jawi się w sposób najoczywistszy jako zombie-apokaliptyczny film. Wkrótce stanie się jednak oczywiste, że obraz ten różni się znacząco od innych, bardziej tradycyjnych zombie-apokaliptycznych obrazów. Łączy w sobie rozpoznawalne elementy z wielu gatunków głównego nurtu kina i mimo że przeważnie opiera się na znanych konwencjach tak zwanego klasycznego realizmu, przywołuje pewne alternatywne strategie narracyjne, tradycyjnie identyfikowane z niezależnym amerykańskim i europejskim kinem. Maggie obfituje w liczne możliwości interpretacyjne, jednak niniejszy artykuł koncentruje się na mniej widocznym, można by nawet rzec marginalnym, aspekcie jego struktury. Mianowicie na obecności w nim kilku aspektów mitologii amerykańskiego Pogranicza. Na pierwszy rzut oka może się to wydać dziwnym odniesieniem, ponieważ mit pograniczny jako odwołanie w kulturze popularnej jest najczęściej kojarzony z hollywoodzkim westernem, a sam western nie jest też najbardziej rozpoznawalnym narracyjnym schematem filmu Hobsona. Jednakże skojarzenie mitu z westernem, historycznie dominujące, nie jest przecież wyłączne i byłoby również błędem odmawianie związków zmitem innym filmowym gatunkom przez ich pokrewieństwa, istniejące między kategoriami filmów, które na pozór wydają się mieć niewiele wspólnego. Jest tak szczególnie w przypadku utworu tak „gatunkowo mieszanego” jak Maggie. Dla jasności — w artykule film ten nie jest definiowany jako western, przynajmniej nie w tradycyjny sposób rozumienia gatunku. Jest raczej interpretowany jako część bardziej ogólnego trendu we współczesnym kinie, naznaczonego hybrydyzacją kodów i konwencji wielu gatunków i podgatunków; zwłaszcza, choć nie wyłącznie, tych, które przynoszą międzynarodową perspektywę na podstawie tradycyjnych gatunkowych parametrów. W przypadku Maggie działa to tak, aby podważyć oczekiwania publiczności przez proces inwersji i dekonstrukcji, który przeformułowuje dotychczasową swojskość popkulturowego zombie-apokaliptycznego obszaru. Dlatego że odwołując się do westernu i ideologii Pogranicza w sposób, w jaki czyni to Maggie, film ten demonstruje zdolność adaptowania się i trwającą ważność obu tych fenomenów w relacji do złożonej dynamiki współczesnych globalnych gatunków filmowych. To właśnie w tym kontekście Maggie przywołuje western i — czyniąc to — rzuca światło na trwający wpływ ideologii Pogranicza na współczesną popularną kulturę. Przeł. Kordian Bobowski
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Bindas, K. J. "Frontier Figures: American Music and the Mythology of the American West." Journal of American History 100, no. 2 (August 13, 2013): 556. http://dx.doi.org/10.1093/jahist/jat265.
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MACNEIL, DENISE. "Mary Rowlandson and the Foundational Mythology of the American Frontier Hero." Women's Studies 34, no. 8 (December 2005): 625–53. http://dx.doi.org/10.1080/00497870500359522.
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King, Geoff. "Spectacular Narratives: Twister, Independence Day, and Frontier Mythology in Contemporary Hollywood." Journal of American Culture 22, no. 1 (March 1999): 25–40. http://dx.doi.org/10.1111/j.1542-734x.1999.00025.x.
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Gohar, Saddik Mohamed. "Pursuing the Zionist Dream on the Palestinian Frontier." Acta Neophilologica 53, no. 1-2 (November 26, 2020): 61–81. http://dx.doi.org/10.4312/an.53.1-2.61-81.
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This paper critically examines Theodore Herzl’s canonical Zionist novel, Altneuland /Old New Land as a frontier narrative which depicts the process of Jewish immigration to Palestine as an inevitable historical process aiming to rescue European Jews from persecution and establish a multi-national Utopia on the land of Palestine. Unlike radical Zionist narratives which underlie the necessity of founding a purely Jewish state in the holy land, Altneuland depicts an egalitarian and cosmopolitan community shared by Jews, Arabs and other races. The paper emphasizes that Herzl’s Zionist project in Altneuland is not an extension of western colonialism par excellence. Herzl’s narrative is a pragmatic appropriation of frontier literature depicting Palestine as a new frontier and promoting a construct of mythology about enthusiastic individuals who thrived in the desert while serving the needs of an enterprising and progressive society. Unlike western colonial narratives which necessitate the elimination of the colonized natives, Herzl’s novel assimilates the indigenous population in the emerging frontier community.
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Becker, Carlo. "“Every New Land Demands Blood”: ‘Nature’ and the Justification of Frontier Violence in Hell on Wheels." aspeers: emerging voices in american studies 10 (2017): 21–37. http://dx.doi.org/10.54465/aspeers.10-04.
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This paper demonstrates how AMC’s TV show Hell on Wheels portrays the ideological force of nature to justify violence in frontier mythology. After a short look into the historical and ongoing relevance of frontier mythology in US culture, I will argue for its ideological reliance on nature. The following chapter will provide a theoretical background on social Darwinism, determinism, and scientism. I will then analyze how these relationships are examined in Hell on Wheels. First, as Thomas Durant’s social Darwinist monologue is paralleled with imagery that challenges the providential myth of Manifest Destiny, the show reveals that both ideologies equally replace human responsibility with a quasi-evolutionary rhetoric of inevitable progress. Second, the Swede’s deterministic notions of nature demonstrate the mythical power of the natural environment and evolutionary biology, which can easily assume Manifest Destiny’s divine authority as a justification for violence. Finally, the Swede’s and Reverend Cole’s discursive replacement of God with blood signifies a shift from religion to a redemptive scientism, in which science purports not only to explain but also to justify the violence of westward expansion. In these renditions, nature is variably utilized as the prime model for social behavior, as the ultimate victor over culture, and as the final authority whose imperatives are intelligible only through science.
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Krynytska, Nataliya. "Forest as an element of the frontier mythology in contemporary U.S. science fiction." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 20 (2019): 88–95. http://dx.doi.org/10.34079/2226-3055-2019-12-20-88-95.
Full textDissertations / Theses on the topic "Frontier mythology"
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Buss, Kato M. T. "Cowboy Up: Evolution of the Frontier Hero in American Theater, 1872 – 1903." Thesis, University of Oregon, 2012. http://hdl.handle.net/1794/12302.
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215 pagesOn the border between Beadle & Adam’s dime novel and Edwin Porter’s ground-breaking film, The Great Train Robbery, this dissertation returns to a period in American theater history when the legendary cowboy came to life. On the stage of late nineteenth century frontier melodrama, three actors blazed a trail for the cowboy to pass from man to myth. Frank Mayo’s Davy Crockett, William Cody’s Buffalo Bill, and James Wallick’s Jesse James represent a theatrical bloodline in the genealogy of frontier heroes. As such, the backwoodsman, the scout, and the outlaw are forbearers of the cowboy in American popular entertainment. Caught in a territory between print and film, this study explores a landscape of blood-and-thunder melodrama, where the unwritten Code of the West was embodied on stage. At a cultural crossroads, the need for an authentic, American hero spurred the cowboy to legend; theater taught him how to walk, talk, and act like a man.
Committee in charge: Dr. John Schmor, Co-chair; Dr. Jennifer Schleuter, Co-chair; Dr. John Watson, Member; Dr. Linda Fuller, Outside Member
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Edley, Christopher. "Riding into myth: Manifest Destiny, Nietzschean ethics and the creation of a new western frontier mythology in Cormac McCarthy’s Blood Meridian." Thesis, Rhodes University, 2017. http://hdl.handle.net/10962/7334.
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Cormac McCarthy’s Blood Meridian or the Evening Redness in the West is a provocative evocation of the American West that has attracted a wide range of critical responses. This study has three foci: the novel as epic myth, McCarthy’s critique of Manifest destiny, and the influence of Nietzschean philosophy on the judge and McCarthy’s portrayal of the human condition. These concerns conduce to an alternative reading of the conclusion of the novel. Blood Meridian is a unique textual enterprise as it both conforms to and subverts mythic conventions associated with both Classical epic and the American West. Recognition of the resonances between Blood Meridian and these mythologies helps the reader to engage with McCarthy’s ambitious creation of a powerful literary allegory in the tradition of Twain and Faulkner. Having situated McCarthy’s enterprise within these co-ordinates, the study then moves on to examine the novel’s stunning critique of Manifest Destiny, in the context of the implications that such thinking has had on American foreign policy over the past two centuries, and that continue to inspire American involvement in military conflicts well into the twenty-first century. The final area of focus is the influence of Friedrich Nietzsche’s philosophy on the character of the judge and the weltanschauung that the novel presents. McCarthy’s ultimate objective is to demonstrate that humankind’s most basic condition is an inherently violent one. The more critically accepted reading of the novel is challenged by postulating the kid’s triumph over the judge as not only in keeping with the literary tradition of Melville and others but also a logical outcome of the novel’s allegory of American military involvement in Vietnam. The study concludes that whilst McCarthy has gone on to receive critical acclaim and public praise for works published after Blood Meridian, this work remains both his artistic masterpiece and his most far-reaching engagement with issues of eschatological and political importance. It is argued that, given the contemporary escalation in geo-political tensions, Blood Meridian may well continue to provide insight into the nature of American domestic and foreign policy for decades to come.
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Grguric, Nicolas Grguric, and eqeta@yahoo com au. "Fortified Homesteads: The Architecture of Fear in Frontier South Australia and the Northern Territory, ca 1847-1885." Flinders University. Humanities, 2007. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20080225.161715.
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This thesis is an investigation into the use of defensive architectural techniques by
civilian settlers in frontier South Australia and the Northern Territory between 1847 and
1885. By focussing specifically on the civilian use of defensive architecture, this study
opens a new approach to the archaeological investigation and interpretation of Australian
rural buildings, an approach that identifies defensive strategies as a feature of Australian
frontier architecture.
Four sites are analysed in this study area, three of which are located in South Australia
and one in the Northern Territory. When first built, the structures investigated were not
intended, or expected, to become what they did - their construction was simply the
physical expression of the fear felt by some of the colonial settlers of Australia. Over
time, however, the stories attached to these structures have come to play a significant part
in Australias frontier mythology.
These structures represent physical manifestations of settler fear and Aboriginal
resistance. Essentially fortified homesteads, they comprise a body of material evidence
previously overlooked and unacknowledged in Australian archaeology, yet they are
highly significant in terms of what they can tell us about frontier conflict, in relation to
the mindsets and experiences of the settlers who built them. This architecture also
constitutes material evidence of a vanguard of Australian colonisation (or invasion) being
carried out, not by the military or police, but by civilian settlers.
v
Apart from this, these structures play a part in the popular mythology of Australias
colonial past. All of these structures have a myth associated with them, describing them
as having been built for defence against Aboriginal attack. These myths are analysed in
terms of why they came into existence, why they have survived, and what role they play
in the construction of Australias national identity. Drawn from, and substantiated
through, the material evidence of the homesteads, these myths are one component of a
wider body of myths which serve the ideological needs of the settler society through
justifying its presence by portraying the settlers as victims of Aboriginal aggression.
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Harper, Rowena. "Frontier mythology in the American teen film." 2009. http://hdl.handle.net/2440/56952.
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This thesis examines representations of youth in the American “teen film”. As a critical category, the teen film is still developing, but it has been defined by a number of critics as being—ostensibly—about and for youth.¹ This thesis engages with teen film literature to test the meaning of these terms. As a genre that is precariously positioned between parent culture and youth audiences, teen film’s narratives are always negotiated and the degree to which it is about and for youth is debatable. I argue that rather than being about and for youth in simple terms, the teen film deploys narratives about a certain idea of youth that is distinctly American and historically contingent; in other words, while certainly consumed by youth and depicting narratives that feature youthful characters and themes, the teen film genre contributes to discourses that are about and for the idea of America. My argument contributes to the critical literature on teen film by exploring the ways the teen film functions as a representation of American ideology. It outlines how, in America, the category of “youth” has historically functioned as an important site of ideological inscription in which to construct an idealised future. In the early 20th century (via the discourse of adolescence), youth was specifically idealised as a frontier space, a site in which to symbolically reconcile troubling anxieties and contradictions left unresolved at the closure of the American frontier. Up to the end of World War II, Hollywood cinema functioned similarly, as a site in which the troubling contradiction between the national ideals of individualism and community might be mobilised and contained, via the “reconciliatory” narrative.² The teen film emerged in the period immediately after World War II, when Hollywood’s efforts to resolve the tensions inherent in frontier mythology were foundering. The teen film might have represented a convergence of the potential reconciliatory powers of cinema and youth, but rather than assisting in the resolution of American ideological crises, the teen film problematised them. Screening youth as an inherently rebellious space, a “frontier” space, facilitated the breakdown of the reconciliatory pattern. In the teen films of the 1950s, the conflict between the ideals of individualism and community proved irreconcilable. Subsequent teen film cycles stage and re-stage the conflict between individual and community, offering repeated takes on what those fundamentally “American” ideals mean in each generation. This thesis traces developments in the representation of the conflict between individual and community through four of the teen film’s dominant cycles—delinquency films from the 1950s, slasher films and animal comedies from the 1970s-to-mid-1980s, and makeover films from the late-1990s-to-early-2000s. Proceeding from the initial deliberation over the terms about and for youth, I include discussions of films like Rebel Without a Cause (1955) and Porky’s (1982) while excluding films like River’s Edge (1986) and Kids (1995), which certainly represent youth, but are typically not viewed by them. ¹ This definition is supported by the work of Catherine Driscoll and Stephen Tropiano. ² This thesis works from Robert B. Ray’s discussion of the “reconciliatory” narrative.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2009
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Allan, Elizabeth. "The Road to Nowhere: Myths of Homeland and Expulsion in Australian Road Stories." Thesis, 2018. http://hdl.handle.net/2440/118120.
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Vol. 1 Belly of the Beast: Major work -- Vol. 2 The Road to Nowhere: Myths of Homeland and Expulsion in Australian Road Stories: ExegesisExegesis: Through the lens of Richard Slotkin’s theory of the mythogenesis of the frontier, the exegetical component of the thesis proposes that the circular process of analysis and regeneration of the violent mythology of the frontier in both Australian and American literature has dominated the road writing genre. The triumphant frontier narrative of America and the transcendent failure frontier narrative of Australia repeat in contemporary road writing. Road stories featuring women and characters from positions of cultural, ethnic, class, religious and sexual difference offer one possibility for the disruption of this process. Australian road stories Hiam by Eva Sallis, All the Birds, Singing by Evie Wyld and Floundering by Romy Ash offer a reimagining of road stories beyond the frontier legacies of racial, sexual and class oppression. Ross Gibson’s theory of badlands in Australia, which are narratives set in natural locations which attract more atrocities to occur, informs my approach to the reading of these texts.
Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2018
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Weatherstone, Lynda Shirley. "The impact of creation myths in forging new frontiers of religious education." Thesis, 2020. http://hdl.handle.net/1959.13/1415470.
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Research Doctorate - Doctor of Philosophy (PhD)The aim of the thesis has been to develop and track both the evolution and the loss of the Feminine Principle. I intend to provide a coherent account of the social ramifications that have been applied to both women (and men) that have underpinned this loss. I argue that the Feminine Principle is a philosophy based on wholeness, non-dualism, and personhood, rather than the rational metaphysics that permeates Western culture today. I endeavour to track the journey of the Feminine Principle starting with the myth of the Great Goddess of Beginnings, or Great Mother, who gives birth to her son-lover-consort: both bring forth life and the world (Baring & Cashford, 1991). Hereafter, the relationship changes from one of partnership to the overthrow of the Great Goddess by her son who becomes the all powerful, patriarchal warrior Sky God who now creates alone without any reference to the fecund womb of the archetypal Mother Goddess. I indicate how this Bronze Age myth travels through to the Iron Age myth of Genesis whereby the Father God creates life by word alone, giving rise to reason replacing all mythical thought. Within the framework of these structural impediments, I demonstrate how the theology of Genesis is a palimpsest of myths that have been misappropriated by patriarchy setting women apart by men because of their “creational difference” (Fiorenza, 1985, p.4). It could be argued that this form of religiously orientated sexism and bigotry is being perpetuated and retold as the dominate focus within Religious Education. A way of addressing this form of discrimination is by exploring the relationship between Public Theology and public education. Although Public Theology has been extensively overlooked (Perner, 2019), as a topic, Public Theology offers a vehicle for reconceptualising the status of women by making theology and religion relevant to the social order (Ali,1995).
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Watt, Diane Lilian. "The disintegration of a dream : a study of Sam Shephard's family trilogy, Curse of the starving class, Buried child and True west." Diss., 1995. http://hdl.handle.net/10500/17851.
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The family trilogy, Curse of the Starving Class, Buried
Child and True West, presents Sam Shepard's strong bond with
his culture and his people, illustrates an intense connection
with the land, and reveals a deep longing for the
traditions of the past, through the dramatisation of the
betrayal of the American Dream. Although obviously part of
the American tradition of family drama, Shepard never completely
conforms, subverting the genre by debunking the
traditional family in order to make a statement about the
present disintegration of the bonds of family life and
modern American society. In the trilogy Shepard decries the
loss of the old codes connecting with his despair at the
debasement of the ideals of the past and the demise of the
American Dream. Finally, the plays insist on the importance
a new set of tenets to supplant the sterile ethics of modern
AmericaM.A. (English)
Books on the topic "Frontier mythology"
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Frontier figures: American music and the mythology of the American West. Berkeley: University of California Press, 2012.
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Slotkin, Richard. Regeneration through violence: The mythology of the American frontier, 1600-1860. New York, NY: HarperPerennial, 1996.
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Slotkin, Richard. Regeneration through violence: The mythology of the American frontier, 1600-1860. Norman: University of Oklahoma Press, 2000.
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Black masculinity and the frontier myth in American literature. Norman: University of Oklahoma Press, 2002.
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Early-twentieth-century frontier dramas on Broadway: Situating the western experience in performing arts. New York: Palgrave Macmillan, 2011.
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Where the tall grass grows: Becoming indigenous and the mythological legacy of the American West. Golden, CO: Fulcrum Pub., 2011.
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Grecità di frontiera: I percorsi occidentali della leggenda. Padova: Esedra, 1994.
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The vigilantes of Montana. Guilford, CT: Globe Pequot Press, 2003.
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Reminiscences: Incidents in the life of a pioneer in Oregon and Idaho. Moscow, Idaho: University of Idaho Press, 1989.
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Elwin, Verrier. Myths of the North East Frontier of India. Munshiram Manoharlal Publishers, 1999.
Find full textBook chapters on the topic "Frontier mythology"
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Carter, Matthew. "“Crossing the Beast”: American Identity and Frontier Mythology in Sin Nombre." In The Post-2000 Film Western, 89–105. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137531285_6.
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Rickles, Dean. "History and Mythology." In The Frontiers Collection, 1–18. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-46036-8_1.
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"Introduction: Spectacle, Narrative and ‘Frontier’ Mythology." In Spectacular Narratives. I.B.Tauris, 2000. http://dx.doi.org/10.5040/9780755699315.0005.
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Carico, Aaron. "Cowboys and Slaves." In Black Market, 105–37. University of North Carolina Press, 2020. http://dx.doi.org/10.5149/northcarolina/9781469655581.003.0004.
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This chapter pans westward to investigate a single novel, Owen Wister’s The Virginian (1902), regarded as the beginning of the Western, an origin story for that national mythology. The Virginian and the Western would seem to have nothing to do with slavery, but as this chapter reveals, slavery supplies the scaffolding for that most American of heroes, the cowboy. This chapter explores the centrality of anti-Blackness in the origins of the Western, engaging with genre theory and Sigmund Freud’s work on jokes. It explains the Western’s appearance against a backdrop of incorporation, finance capitalism, and emerging economic theories of marginalism. Tracing the connections between the frontier economies of the South and the West, and between the slave overseer and the cowboy, it reveals the Western as originating from a fantasy of Black genocide and white supremacy.
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Towlson, Jon. "“I Knew That the Only Way to Do This Was to Just Beat It to Death”: Production." In Dawn of the Dead, 47–68. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856370.003.0004.
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This chapter examines the production process of Dawn of the Dead. Romero’s screenplay sets out the story as a morality tale reminiscent of the E.C. comics style. There is a formal precision to the screenplay whose social commentary was deliberately built into the sequence of story events. However, as filming got underway, Romero added improvised, unscripted sequences in a manner reminiscent of Bakhtin’s idea of the carnivalesque. Turning the filming into carnival and encouraging invention from cast, crew and extras injected Dawn of the Dead with a boisterous quality that was lacking in the script. Moreover, it moved Dawn of the Dead toward a deconstruction of genre. The chapter argues that running through the film is a critique of frontier mythology which compares with that of the revisionist Western films of the 1960s and ’70s. The revisionist Western or ‘anti-Western’ had a strong influence on the horror films in the ‘American Nightmare’ cycle. Dawn of the Dead can be seen as a culmination of this shared cultural inquiry and a departure from the nihilism of the apocalyptic horror film. What makes Dawn of the Dead remarkable in this respect is its ending, which is guardedly optimistic without restoring normative values.
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"Imagining America: US Influence and American Mythology in Post-War Italy." In Radical Frontiers in the Spaghetti Western. An imprint of I.B.Tauris & Co Ltd, 2011. http://dx.doi.org/10.5040/9780755694761.ch-001.
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Zaytoun, Kelli D. "“An Artist in the Sense of a Shaman”." In Shapeshifting Subjects, 41–64. University of Illinois Press, 2022. http://dx.doi.org/10.5622/illinois/9780252044434.003.0003.
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Chapter 2, “‘An Artist in the Sense of a Shaman’: Border Arte as Decolonial Practice,” considers critiques of Anzaldúa’s use of Indigenous mythology and her and other scholars’ responses to them and proposes that Anzaldúa is not romanticizing an Indigenous past but, instead, is engaging in a practice of what she calls “border arte,” original creative expression formed in the moment of the artistic endeavor. Border artists consciously draw from their awareness of being in colonized spaces and work not to preserve a past but to create new assemblages informed by one’s ancestry and the artist’s particular cultural moment. The chapter also traces Anzaldúa’s earliest thinking about la naguala in Borderlands / La Frontera and identifies a shamanic, shapeshifting pattern in this text and her others.
Conference papers on the topic "Frontier mythology"
1
Lin, Guanqiong. "MYTHOPOETICS OF THE FOX SPIRIT IN THE SHORT STORIES OF B. M. YULSKY AND PU SONGLING." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.29.
Full textAbstract:
The article is devoted to the hermeneutic and comparative analysis of the short story The Fox’s Footprint (1939) by the Russian writer of the Harbin diaspora B. M. Yulsky. The mystical, mythological, adventure aspects are studied. The image of the fox spirit in Chinese culture, in particular, in the collection of stories Liao Zhai zhi yi (17th century) by the Chinese writer Pu Songling, is researched. The emphasis is placed on the cult of immortal foxes in Manchuria in the 19th — first half of the 20th century. It is proved that in his prose Yulsky relied on the eastern cultural context and thereby created the authorial frontier mythology, expressing it in the genre of the mystical-adventure story.