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Focusing on twenty-first century Western films, including all major releases since the turn of the century, the essays in this volume cover a broad range of aesthetic and thematic aspects explored in these films, including gender and race. As diverse contributors focus on the individual subgenres of the traditional Western (the gunfighter, the Cavalry vs. Native American conflict, the role of women in Westerns, etc.), they share an understanding of the twenty-first century Western may be understood as a genre in itself. They argue that the films discussed here reimagine certain aspects of the more conventional Western and often reverse the ideology contained within them while employing certain forms and clichés that have become synonymous internationally with Westerns. The result is a contemporary sensibility that might be referred to as the postmodern Western.
Sweeping in scope, as revealing of an era as it is of a company, Stagecoach is the epic story of Wells Fargo and the American West, by award-winning writer Philip L. Fradkin. The trail of Wells Fargo runs through nearly every imaginable landscape and icon of frontier folklore: the California Gold Rush, the Pony Express, the transcontinental railroad, the Civil and Indian Wars. From the Great Plains to the Rockies to the Pacific Ocean, the company's operations embraced almost all social, cultural, and economic activities west of the Mississippi, following one of the greatest migrations in American history. Fortune seekers arriving in California after the discovery of gold in 1849 couldn't bring the necessities of home with them. So Wells Fargo express offices began providing basic services such as the exchange of gold dust for coin, short-term deposits and loans, and reliable delivery and receipt of letters, money, and goods to and from distant places. As its reputation for speed and dependability grew, the sight of a red-and-yellow Wells Fargo stagecoach racing across the prairie came to symbolize not only safe passage but faith in a nation's progress. In fact, for a time Wells Fargo was the most powerful and widespread institution in the American West, even surpassing the presence of the federal government. Stagecoach is a fascinating and rare combination of Western and business history. Along with its colorful association with the frontier -- Wyatt Earp, Black Bart, Buffalo Bill -- readers will discover that swiftness, security, and connectivity have been constants in Wells Fargo's history, and that these themes remain just as important today, 150 years later.
A fascinating illustrated record of regional bus operators in the South Wales valleys since the millennium.
This edited work is spurred by the 30-year anniversary of the groundbreaking work by Paul Ricoeur, Lectures on Ideology and Utopia (1986)—and the 40-year anniversary of the original lectures (1975). Ricoeur took these concepts that continue to be enormously important in social and political analysis and connected them in a uniquely intricate dance. The ensuing interplay of these concepts provides a framework for a more deft and subtle evaluation than is common. Little has been done to engage Ricoeur’s skill in interpreting ideology and utopia or their creative tension, perhaps due to his significant contributions in other areas. When one combines Ricoeur’s intricate analyses of ideology and utopia, however, with his contributions in other areas of philosophy such as hermeneutics, anthropology, embodiment, and philosophy of religion, one has fertile grounds for reflection in many directions. The essays in this book draw on these resources not only to engage the strengths and weaknesses of Ricoeur’s original work, but they also expand his understanding in creative new directions such as the social imaginary, embodiment, gender theory, immigration, and extremist political rhetoric. The text will bring to the fore how this aspect of Ricoeur’s work has significance for the wider twenty-first century political landscape. Just as his original work, this book provides much-needed resources for critique of each term, along with their relationship to one another, while recognizing the positive dimension of their function.
Why is it that so many of the best-loved novels of the Victorian era take place not in the steam-powered railway present in which they were published, but in the very recent past? Most works by Dickens, Brontë, Eliot, and Hardy set action neither in the present nor in a definitively historical epoch but rather in a 'just' past of collective memory, a vanishing but still tangible world moving by stage and mail coach. It is easy to overlook the fact that Jane Eyre, Bleak House, and Middlemarch, for example, are in this sense historical novels, recreating places and times that are just slipping from the horizon of here and now. Ruth Livesey brings to the surface the historical consciousness of such novels of the 'just' past and explores how they convey an idea of a national belonging that can be experienced through a sense of local place. The journey by public coach had long been an analogy for the form of the novel as it took shape in the eighteenth century; smooth engineered roads and the rapid circulation of print was one means by which Britain was reimagined as a modern, peaceable, and communicative nation in the aftermath of the Napoleonic wars. But by the later 1840s the end of the stage coach was assured and that made it a highly charged figure of a lost national modernity. In its halts, relays, stops at inns, and crossing points, the stage and mail coach system offered a different experience of mobility and being-in-place--passages of flight and anchoring points--from the vectors of the railway that radiated out from industrial and urban centres. This book opens by examining the writing of the stage coach nation in Walter Scott's fiction and in the work of the radical journalists William Hazlitt and William Cobbett. Livesey suggests that in turning to the 'just' past of the stage coach imaginary, later novels by Dickens, Brontë, and Eliot reach out to the possibility of a nation knitted together by the affect of strongly felt local belonging. This vision is of a communicative nation at its liveliest when the smooth passage of characters and words are interrupted and overset, delivering readers and protagonists to local places, thick with the presence of history writ small.
Joan Sohn found her grandparents? 36 letters, tucked away for 65 years in a small brown paper bag. When she read them, her family?s story came alive. Of course, there were missing pieces?many of them; and so she began a long labor of love, filling in the gaps. Thanks to those letters and Sohn?s determination, we have that story ? about people who left their homes for a new start and never returned. They reinvented themselves; they changed their citizenship, their language, their customs, and even their names. 36 Letters is about separation, personal struggle, and achievement. It?s about people who landed at Ellis Island and made their way, somehow, to New York?s Lower East Side, and then to Philadelphia, where they grew and multiplied and made remarkable contributions to the city?s development. Accompanied by over 100 stunning photographs, maps and illustrations, and, of course, the letters.
In the latter part of the C20th, a series of seminal books were written which examined Los Angeles by the likes of Reyner Banham, Mike Davis, Edward Soja, Allen Scott, Michael Dear, Frederick Jameson, Umberto Eco, Bernard-Henri Levy, and Jean Baudrillard which have been hugely influential in thinking about cities more broadly. The debates which were generated by these works have tended to be very heated and either defensive or offensive in approach. A sufficient amount of time has since passed that a more measured approach to evaluating this work can now be taken. The first section of this book, 'Contra This and Contra That', provides such a critique of the various theories applied to Los Angeles during the last century, balancing the positive with the negative. The second part of the book is an investigation of L.A. as it exists on the ground today. While political, the theoretical stance taken in this investigation is not mounted as a platform from which to advocate a particular ideology. Instead, it encompasses cultural as well as economic issues to put forth a view of L.A. which is coherent and cogent while at the same time considering its multi-layed, complex and ever-changing qualities. It concludes by arguing that sectored off and 'totalizing' visions of the city will not do as instruments of urban analysis and that only a theory as mobile as its target will do: one that replicates the polymer nature of this place. It proposes that, extending that theory to the world beyond this particular city, only a theory that models itself on the mobile and polymer nature of the world, while still retaining a sense of the actual and the real, will do as an instrument with which to comprehend the world. In doing so, this book is not only a model by which to think through Los Angeles, but as a model by which to think through other world cities.
This groundbreaking collection provides students with a timely and accessible overview of current trends within contemporary popular fiction.
A unique new reference work, this encyclopedia presents a social, cultural, and economic history of American sports from hunting, bowling, and skating in the sixteenth century to televised professional sports and the X Games today. Nearly 400 articles examine historical and cultural aspects of leagues, teams, institutions, major competitions, the media and other related industries, as well as legal and social issues, economic factors, ethnic and racial participation, and the growth of institutions and venues. Also included are biographical entries on notable individuals—not just outstanding athletes, but owners and promoters, journalists and broadcasters, and innovators of other kinds—along with in-depth entries on the history of major and minor sports from air racing and archery to wrestling and yachting. A detailed chronology, master bibliography, and directory of institutions, organizations, and governing bodies—plus more than 100 vintage and contemporary photographs—round out the coverage.