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The study follows the early evolution of the American frontier hero, from its roots in Mary Rowlandson's narration of her experiences as a prisoner during King Phillip's war through works by Unca Eliza Winkfield, Charles Brockden Brown, James Fenimore Cooper, the film-maker John Ford, and actor John Wayne.
Before the West Was West examines the extent to which scholars have engaged in-depth with pre-1800 “western” texts and asks what we mean by “western” American literature in the first place and when that designation originated. Calling into question the implicit temporal boundaries of the “American West” in literature, a literature often viewed as having commenced only at the beginning of the 1800s, Before the West Was West explores the concrete, meaningful connections between different texts as well as the development of national ideologies and mythologies. Examining pre-nineteenth-century writings that do not fit conceptions of the Wild West or of cowboys, cattle ranching, and the Pony Express, these thirteen essays demonstrate that no single, unified idea or geography defines the American West. Contributors investigate texts ranging from the Norse Vinland Sagas and Mary Rowlandson’s famous captivity narrative to early Spanish and French exploration narratives, an eighteenth-century English novel, and a play by Aphra Behn. Through its examination of the disparate and multifaceted body of literature that arises from a broad array of cultural backgrounds and influences, Before the West Was West apprehends the literary West in temporal as well as spatial and cultural terms and poses new questions about “westernness” and its literary representation.
The idea of the frontier--once, the geographical borderline moving further and further West across the North American continent--has shaped American science fiction television since its beginnings. TV series have long adapted the frontier myth to outer space and have explored American Wests of the future. This book takes a deeper look at the futuristic frontiers within such series as Star Trek, Firefly, Terra Nova, Defiance and The 100, revealing how they rethink colonialism, the environment, spaces of risk and utopian/dystopian worlds. Harnessing forms of speculation and the post-apocalyptic imagination, these series engage with matters of the present, from the legacies of colonialism to climate change and the increasing integration of humans and technologies. In doing so, these series question in novel ways the very idea of borders and reshape cultural binaries such as Self/Other, wilderness/civilization, city/nature, human/non-human and utopia/dystopia.
When Horace Greeley published his famous imperative, “Go West, young man, and grow up with the country,” the frontier was already synonymous with a distinctive type of idealized American masculinity. But Greeley’s exhortation also captured popular sentiment surrounding changing ideas of American boyhood; for many educators, politicians, and parents, raising boys right seemed a pivotal step in securing the growing nation’s future. This book revisits these narratives of American boyhood and frontier mythology to show how they worked against and through one another—and how this interaction shaped ideas about national character, identity, and progress. The intersection of ideas about boyhood and the frontier, while complex and multifaceted, was dominated by one arresting notion: in the space of the West, boys would grow into men and the fledgling nation would expand to fulfill its promise. Frontiers of Boyhood explores this myth and its implications and ramifications through western history, childhood studies, and a rich cultural archive. Detailing surprising intersections between American frontier mythology and historical notions of child development, the book offers a new perspective on William “Buffalo Bill” Cody’s influence on children and childhood; on the phenomenon of “American Boy Books”; the agency of child performers, differentiated by race and gender, in Wild West exhibitions; and the cultural work of boys’ play, as witnessed in scouting organizations and the deployment of mass-produced toys. These mutually reinforcing and complicating strands, traced through a wide range of cultural modes, from social and scientific theorizing to mass entertainment, lead to a new understanding of how changing American ideas about boyhood and the western frontier have worked together to produce compelling stories about the nation’s past and its imagined future.
"Draws extensively on the 26th President's field notebooks, diaries and letters to share insight into how Roosevelt's field expeditions shaped his character and political polices, covering his teen ornithology adventures, Badlands travels and safaris in Africa and South America, "--NoveList.
Across the borderlands of the early American northeast, New England, New France, and Native nations deployed women with surprising frequency to the front lines of wars that determined control of North America. Far from serving as passive helpmates in a private, domestic sphere, women assumed wartime roles as essential public actors, wielding muskets, hatchets, and makeshift weapons while fighting for their families, communities, and nations. Revealing the fundamental importance of martial womanhood in this era, Gina M. Martino places borderlands women in a broad context of empire, cultural exchange, violence, and nation building, demonstrating how women's war making was embedded in national and imperial strategies of expansion and resistance. As Martino shows, women's participation in warfare was not considered transgressive; rather it was integral to traditional gender ideologies of the period, supporting rather than subverting established systems of gender difference. In returning these forgotten women to the history of the northeastern borderlands, this study challenges scholars to reconsider the flexibility of gender roles and reveals how women's participation in transatlantic systems of warfare shaped institutions, polities, and ideologies in the early modern period and the centuries that followed.
While Western films can be seen as a mode of American exceptionalism, they have also become a global genre. Around the world, Westerns exemplify colonial cinema, driven by the exploration of racial and gender hierarchies and the progress and violence shaped by imperialism. Transnationalism and Imperialism: Endurance of the Global Western Film traces the Western from the silent era to present day as the genre has circulated the world. Contributors examine the reception and production of American Westerns outside the US alongside the transnational aspects of American productions, and they consider the work of minority directors who use the genre to interrogate a visual history of oppression. By viewing Western films through a transnational lens and focusing on the reinterpretations, appropriations, and parallel developments of the genre outside the US, editors Hervé Mayer and David Roche contribute to a growing body of literature that debunks the pervasive correlation between the genre and American identity. Perfect for media studies and political science, Transnationalism and Imperialism reveals that Western films are more than cowboys; they are a critical intersection where issues of power and coloniality are negotiated.
This book shows how a political and cultural dynamic of amnesia and truth telling shapes literary constructions of history. Gauthier focuses on the works of Don DeLillo, Toni Morrison, Michelle Cliff, Bharati Mukherjee, and Julie Otsuka.
Graham-Bertolini provides the first analysis of vigilante women in contemporary American fiction. She develops a dynamic model of vigilante heroines using literary and feminist theory and applies it to important texts to broaden our understanding of how law and culture infringe upon women's rights.
In Imaginary Empires, Maria O’Malley examines early American texts published between 1767 and 1867 whose narratives represent women’s engagement in the formation of empire. Her analysis unearths a variety of responses to contact, exchange, and cohabitation in the early United States, stressing the possibilities inherent in the literary to foster participation, resignification, and rapprochement. New readings of The Female American, Leonora Sansay’s Secret History, Catharine Maria Sedgwick’s Hope Leslie, Lydia Maria Child’s A Romance of the Republic, and Harriet Jacobs’s Incidents in the Life of a Slave Girl confound the metaphors of ghosts, haunting, and amnesia that proliferate in many recent studies of early US literary history. Instead, as O’Malley shows, these writings foreground acts of foundational violence involved in the militarization of domestic spaces, the legal impediments to the transfer of property and wealth, and the geopolitical standing of the United States. Racialized and gendered figures in the texts refuse to die, leave, or stay silent. In imagining different kinds of futures, these writers reckon with the ambivalent role of women in empire-building as they negotiate between their own subordinate position in society and their exertion of sovereignty over others. By tracing a thread of virtual history found in works by women, Imaginary Empires explores how reflections of the past offer a means of shaping future sociopolitical formations.