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The Old West has had a powerful impact on the concept of gentlemanly masculinity among Americans. To behave like a gentleman may mean little or much. To spend large sums of money like a gentleman may be of no great praise, but to conduct ones self like a gentleman implies a high standard even for those without financial means. For almost two centuries, the frontiersman has been a standard of rugged individualism and stoic bravery for the American male. Provider, protector, counselor, and knight errant to the weak or helpless, men on the frontier stood apart. Newspapers, Dime Novels, and Wild West Shows helped to form the popular view of Old West masculinity in the later 19th century. Novels and short stories served this purpose in the first half of the 20th century, but it was films and TV that cemented the image of the Old west that most post WWII Baby Boomers have today. The study of film and other media representations has been a particularly energetic field for masculinity research. However, western films are not so much about the West as they are about the Westerner. He stands alone, heroic, powerful, and seeking justice and order. The Westerner is the "last gentleman" and Westerns are "probably the last art form in which the concept of honor retains its strength." Directors and screenwriters, ultimately having overcome the simplistic shoot-em-up, used the genre to explore the pressing subjects of their day like racism, nationalism, capitalism, family, and honor, issues more deeply meshed with the concept of manliness than simply wearing a gun belt and Stetson hat. Fear not, Old West purists! For those traditionalists among you, these pages are filled with authentic designs, facts, weapons, and tales from the mid 1800s to the turn of the century and slightly beyond. Here are some of the roots of the most popular holsters, fashions, weapons, cartridges, and myths preferred by collectors and reenactors. So-called Cowboy Action enthusiasts, NRA members, and armchair generals will find sections of this work devoted to their hobbies, and while stodgy academics might cringe, Old West historians will have their obsessions somewhat mollified. Nonetheless, the current author grew up in the days of Shoot'em-up Saturdays at the movies, prime time TV Westerns, and those wondrous sights and sounds of Cowboy gunfights with cap guns on a hillside and Indian encounters on the pavement during a childhood when neither activity was considered politically incorrect. Few other authors in this genre have a resume that includes formal training in science, weapons, and horsemanship; nor have they actually been a horse wrangler, ridden in a troop of cavalry, and reenacted a mounted charge with dozens of others, Hollywood cameras running, revolvers or swords in hand. Nonetheless, there comes a time when we are all "too old and too fat to jump rail fences with horses" (True Grit) and must retire to our easy chairs to write. What follows is a serious (if a bit nostalgic) effort at history by a critically noted author and widely published historian with the proper credentials and practical experience to attempt to carry it off. Cling to your Bibles and to your guns, partner! Dudes need not apply.
Full color maps and illustrations throughout.
One of the most innovative films ever made, Sam Peckinpah's motion picture The Wild Bunch was released in 1969. From the outset, the film was considered controversial because of its powerful, graphic, and direct depiction of violence, but it was also praised for its lush photography, intricate camera work, and cutting-edge editing. Peckinpah's tale of an ill-fated, aging outlaw gang bound by a code of honor is often regarded as one of the most complex and impactful Westerns in American cinematic history. The issues dealt with in this groundbreaking film—violence, morality, friendship, and the legacy of American ambition and compromise—are just as relevant today as when the film first opened. To acknowledge the significance of The Wild Bunch, this collection brings together some of the leading Peckinpah scholars and critics to examine what many consider to be the director's greatest work. The book's nine essays cover an array of topics. Explored are the function of violence in the film and how its depiction is radically different from what is seen in other movies, the background of the film's production, the European response to the film's view of human nature, and the strong sense of the Texas/Mexico milieu surrounding the film's action.
Black Elk Speaks, the story of the Oglala Lakota visionary and healer Nicholas Black Elk (1863–1950) and his people during momentous twilight years of the nineteenth century, offers readers much more than a precious glimpse of a vanished time. Black Elk’s searing visions of the unity of humanity and Earth, conveyed by John G. Neihardt, have made this book a classic that crosses multiple genres. Whether appreciated as the poignant tale of a Lakota life, as a history of a Native nation, or as an enduring spiritual testament, Black Elk Speaks is unforgettable. Black Elk met the distinguished poet, writer, and critic John G. Neihardt in 1930 on the Pine Ridge Reservation in South Dakota and asked Neihardt to share his story with the world. Neihardt understood and conveyed Black Elk’s experiences in this powerful and inspirational message for all humankind. This complete edition features a new introduction by historian Philip J. Deloria and annotations of Black Elk’s story by renowned Lakota scholar Raymond J. DeMallie. Three essays by John G. Neihardt provide background on this landmark work along with pieces by Vine Deloria Jr., Raymond J. DeMallie, Alexis Petri, and Lori Utecht. Maps, original illustrations by Standing Bear, and a set of appendixes rounds out the edition.
This important book from a Pulitzer Prize finalist follows the brutal journey a group of men take to cross the Mexican border: "the single most compelling, lucid, and lyrical contemporary account of the absurdity of U.S. border policy" (The Atlantic). In May 2001, a group of men attempted to cross the Mexican border into the desert of southern Arizona, through the deadliest region of the continent, the "Devil's Highway." Three years later, Luis Alberto Urrea wrote about what happened to them. The result was a national bestseller, a Pulitzer Prize finalist, a "book of the year" in multiple newspapers, and a work proclaimed as a modern American classic.