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Myth of the western frontier
Myth of the western frontier
Myth of the western frontier
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The American western frontier, still arguably existent today, has presented a standard of living and characteristics which, for a time, where all its own. Several authors of various works regarding these characteristics and the obvious border set up along the western and eastern sections have discussed their opinions of the west. In addition to these literary works by renowned authors, one rather convenient cinematic reference has also been influenced by these well-known, well-discussed practices of this American frontier. “True Grit”, a film recently remade in 2010 by the Cohen Brothers, crosses the boundaries of the west allowing all movie-goers to capture one idea of the western world. The movie, along with a few scholarly sources which will also be discussed offer a more ideal glimpse into the past of the western lands. The true nature of the west, both refuted and supported, is characterized well through the author’s dictation as well as the Hollywood interpretation introducing the land’s distinction between savagery vs. civilization, law vs. chaos, and loyalty vs. independence. When addressing savagery and civilization “True Grit” takes a strong hold on reality versus falsehood in the landscapes of the scenes depicted, the attire, and of course the surrounding citizens. Mattie Ross, coming from a seemingly rural area compared to most of the day, is brought into what seems to be city life according to Western standards. Many ideas are presented early in Mattie’s encounter with this new territory which would hint towards a violent, uncivilized, godless country not like that of her home. However, through later engagements, a different side of the West creeps through when the judicial system is introduced in the film a... ... middle of paper ... ...tie with a big heart and a dominant nature much like all of the other Western frontiersman taking a chance to move into new lands and leave the old world behind. Works Cited DILORENZO, THOMAS J. "The Culture of Violence in the American West: Myth versus Reality." Independent Review 15.2 (2010): 227-239. Academic Search Premier. EBSCO. Web. 7 Feb. 2011. Conzen, Michael P. "THE NON--PENNSYLVANIA TOWN: DIFFUSION OF URBAN PLAN FORMS IN THE AMERICAN WEST." Geographical Review 96.2 (2006): 183-211. Academic Search Premier. EBSCO. Web. 7 Feb. 2011. True Grit. Dir. Ethan Coen and Joel Coen. Perf. Jeff Bridges, Matt Damon, and Hailee Steinfeld. Paramount, 2010. Anderson, Eric. “Unsettling Frontiers,.” Cultural Conversations: The Presence of the Past. Eds. Stephen Dilks, Regina Hansen, and Matthew Parfitt. Boston: Bedford/St. Martin’s, 2001. 529-554.
McMurtry, Larry. 2005. Oh What a Slaughter: Massacres in the American West: 1846-1890. 10th Ed. New York, NY: Simon and Schuster.
According to the thesis of Fredrick Jackson Turner, the frontier changed America. Americans, from the earliest settlement, were always on the frontier, for they were always expanding to the west. It was Manifest Destiny; spreading American culture westward was so apparent and so powerful that it couldn’t be stopped. Turner’s Frontier Theory says that this continuous exposure to the frontier has shaped the American character. The frontier made the American settlers revert back to the primitive, stripping them from their European culture. They then created something brand new; it’s what we know today as the American character. Turner argues that we, as a culture, are a product of the frontier. The uniquely American personality includes such traits as individualism, futuristic, democratic, aggressiveness, inquisitiveness, materialistic, expedite, pragmatic, and optimistic. And perhaps what exemplifies this American personality the most is the story of the Donner Party.
...to Americans: if their prospects in the East were poor, then they could perhaps start over in the West as a farmer, rancher, or even miner. The frontier was also romanticized not only for its various opportunities but also for its greatly diverse landscape, seen in the work of different art schools, like the “Rocky Mountain School” and Hudson River School, and the literature of the Transcendentalists or those celebrating the cowboy. However, for all of this economic possibility and artistic growth, there was political turmoil that arose with the question of slavery in the West as seen with the Compromise of 1850 and Kansas-Nebraska Act. As Frederick Jackson Turner wrote in his paper “The Significance of the Frontier in American History” to the American Historical Association, “the frontier has gone, and with its going has closed the first period of American history.”
Cormac McCarthy’s “Blood Meridian” does a marvelous job of highlighting the violent nature of mankind. The underlying cause of this violent nature can be analyzed from three perspectives, the first being where the occurrence of violence takes place, the second man’s need to be led and the way their leader leads them, and lastly whether violence is truly an innate and inherent characteristic in man.
As history cascades through an hourglass, the changing, developmental hands of time are shrouded throughout American history. This ever-changing hourglass of time is reflected in the process of maturation undertaken by western America in the late nineteenth century. Change, as defined by Oxford’s Dictionary, is “To make or become different through alteration or modification.” The notion of change is essential when attempting to unwind the economic make-up of Kansas in the 1880’s and 1890’s. Popular culture often reveres the American cowboy, which has led him to become the predominate figure in America’s “westering” experience (Savage, p3). However, by 1880 the cowboy had become a mythical figure rather than a presence in western life. The era of the cowboy roaming the Great Plains had past and farmers now sought to become the culturally dominant figure and force in the American West. Unlike the cowboys, farmers were able to evolved, organizing and establishing the Populist Party. The farmers’ newly formed political organization provided them with a voice, which mandated western reform. Furthermore, the populist ideas spread quickly and dominated western thought in the 1880’s and 1890’s. The period of the 1880’s and 1890’s marked the end of the American cowboy and gave farmers a political stronghold that would forever impact the modernization of the West.
Culture of Honor: The Psychology of Violence in the South, written by Richard Nisbett and Dov Cohen discuss and explain violence found in the South. For decades, the American South has been viewed as more violent than the North. According to Nisbett and Cohen (1996):
...Thesis in 1893, the process of the Frontier is still a predominant force in American culture. The Frontier Thesis is less about settling the West than it is about Americans adapting to their environment in order to capitalize on resources. Because of this, the new Frontier lies in cyberspace. In cyberspace, Americans are changing their skills and personality traits in order to capitalize and utilize available resources for personal benefit. This process not only defined how the Frontier became civilized, but it also explained the development of the characteristics of the ideal American. In a response to their savage environment, settlers developed certain characteristics that are distinctly American. Because of this, the process of the West can be seen as a social evolution which helped to advance traits that are uniquely American – even in contemporary America.
The movie uses the idea of what life used to be like for men and women, and then goes against that idea almost completely. Rather than having the woman character stay at home and clean and take care of the family while the Marshalls go hunt down the killer, the movie has the female lead going out and tracking down the killer as well. Women were not supposed to be independent, and they were not supposed to be able to do things on their own and provide for themselves. Instead, they were supposed to be very dependent on men, and very soft-spoken people. Mattie Ross is a prime example of how a woman can do more than what a society believes she can do. True Grit is a movie that shows how the lives of men and women have evolved since the Western era. In today’s society, the idea of gender roles does not really exist. Women are now being accepted to do things that only men were allowed to do, such as shooting guns and working outside of the
The image of the cowboy as Jennifer Moskowitz notes in her article “The Cultural Myth of the Cowboy, or, How the West was Won” is “uniquely
Unfortunately, today the true history of the West has become a nothing more than a myth. History was replaced by fiction, and these falsehoods are perceived by today's society as facts. The true American cowboy, white or black, no longer exists in the minds of Americans. It is only as one delves deeper into the facts that the unperceived truth arises. The success of settling the West can be contributed to men such as Nat Love, but one can certainly not omit the hardworking cowboys who did not live such a glamorous life. The Negro cowboys of this era played a crucial role in facilitating any work on America's new frontier. The Black cowboys were essential to the United States during the late 1800's, in a time when any Negro needed great perseverance against prejudice. For their valiant efforts the Black cowboys should be given great honor and prestige.
The western frontier is full of many experiences that changed the frontier. Each significant event has an important role on the shaping of society and way it influenced a new nation. Each author brought a new perspective and thought process to the western experience which either contradicted Turner or supported his theories. The frontier ideas that interested me include topics such as trading frontier, farming frontier, nationality and government, and the neglecting of women.
"Chapter 2 Western Settlement and the Frontier." Major Problems in American History: Documents and Essays. Ed. Elizabeth Cobbs Hoffman, Edward J. Blum, and Jon Gjerde. 3rd ed. Vol. II: Since 1865. Boston, MA: Wadsworth Cengage Learning, 2012. 37-68. Print.
In the article “The Thematic Paradigm” exerted from his book, A Certain Tendency of the Hollywood Cinema, Robert Ray provides a description of the two types of heroes depicted in American film: the outlaw hero and the official hero. Although the outlaw hero is more risky and lonely, he cherishes liberty and sovereignty. The official hero on the other hand, generally poses the role of an average ordinary person, claiming an image of a “civilized person.” While the outlaw hero creates an image of a rough-cut person likely to commit a crime, the official hero has a legend perception. In this essay, I will reflect on Ray’s work, along with demonstrating where I observe ideologies and themes.
...s and Contexts. Ed. Stephen A. Scipione Feinstein and Marisa. Boston: Bedford/ St. Martin's, n.d. 119-34. Print. 29 Oct. 2013.
Johnson, Michael P. Reading the American Past. Bedford Books, Boston MA 1998. This material may be legally cited or reproduced as long as the author's name is not removed from the publication and full and proper credit is given in the citation.