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Westward expansion in the late 1800s
The impact of westward expansion on the United States
The impact of westward expansion on the United States
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Ameican Cowboys
Have you ever wondered who the cowboys were; how they lived; or what they did? The American Cowboy's way of life was interesting and unique, and they contributed more to society than one might think. Besides looking after stock and driving cattle, they had to round up huge numbers of cattle for ranchers. This paper will examine the American cowboy's character, what they wore, the everyday things they did like driving cattle and branding calves and the lawlessness of the old west.
The job wasn't just for anyone. Certain character traits and physical characteristics were required if someone wanted to be a good cowboy. Considering the distances that they covered, traveling was rough. ?? the cowboy needed great strength, endurance, and often ingenuity to complete the treks? (?Cowboy?). People came from everywhere to become cowboys. Some came from eastern American states, others from the Midwest, and the rest came from states in the South. They came to work on ranches and drive cattle on the trail. ?Many were ex-rebel soldiers who maintained that attitude on the trail. There was also a flood of renegades from both north and south that went to Texas. This is how Texas got a reputation for lawlessness and violence? (The Cowboys). Being a cowboy, for some, had a special status. Cowboys in the Western Plains called themselves cow punchers and thought of themselves as more important than others. ?The man himself, the clothes he wore, and the horse he rode were all outgrowths of life on the range. The long days in the open, and riding alone with the cattle gave him self-reliance. The danger of stampeding cattle, of undependable horses, of hostile Indians and of bitter winter blizzards demanded endurance and courage. The whole job of driving, roping, and handling cattle required expert horsemanship? (?Cowboys?). Cowboys worked very hard and also fought hard, but never with their fists. In a fight, a cowboy would always use his gun (The Cowboys). The reason cowboys used their guns was because of the fact of the West being lawless. There were two reasons for the west being lawless, one is the social conditions there during that period and the second because the law there didn?t apply well to the conditions and wasn?t obeyed. It was also do to the vast distances between populated areas, which made it easy for a cowboy to move to another area and g...
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...u, the life of a cowboy was very hard at times, with the chance everyday that you could die or lose everything you had. Even though they have good times, American Cowboys deserve a good amount of credit for the things they did for society. As stated in the thesis, the American cowboy was unique and interesting and contributed in many different ways to our society. Through hard work and the ability to endure harsh working conditions, cowboys historically have been seen as examples of American workers with strong work ethics. Economically, the American cowboy contributed greatly to the cattle movement industry during the opening of the western part of the United States. The various backgrounds of the early American cowboys brought different attitudes and behaviors that resulted in the need for a legal system to the early West. Cowboys were important to American society.
Bibliography
Wende 6 Works Cited ?Cowboy.? Compton?s Encyclopedia. 1989 ed. Encarta 96 CD-ROM: Microsoft, 1993-1995. Gibson, Beth. ?The Cowboys? 28 Dec. 1999
http://www.members.aol.com/Gibson0817/ cowboys.htlm Huff, Madilene and Dick. ?Java Script? 10 Nov. 1999 http://www.net.westhost.com/trail2.htm
The West is a very big part of American culture, and while the myth of the West is much more enticing than the reality of the west, it is no doubt a very big part of America. We’re constantly growing up playing games surrounded by the West such as cowboys and Indians and we’re watching movies that depict the cowboy to be a romanticized hero who constantly saves dames in saloons and rides off into the sunset. However, the characters of the West weren’t the only things that helped the development of America; many inventions were a part of the development of the West and helped it flourish into a thriving community. Barbed wire, the McCormick reaper and railroads—for example—were a large part of the development in the West—from helping to define claimed land boundaries, agricultural development and competition, and even growth of the West.
Professor Thomas Slaughter has provided a most thorough overview of the Whiskey Rebellion, which he asserts had by the time this book was conceived nearly two centuries after the episode transpired, had become a largely forgotten chapter of our nation's history since the time of the Civil War. He cites as direct evidence of this fact the almost complete absence of any mention of the event in many contemporary textbooks of the conservative era of the 1980's, which this reviewer can attest to as well, having been a high school student in the late 1970's, who never heard of the Whiskey Rebellion until years later. Building off of his own dissertation on the topic, the author convincingly shows that the Whiskey Rebellion was in fact an event of tremendous importance for the future of the fledgling United States of America, which was spawned by the head-long collision of a variety of far-reaching forces and factors in the still quite primitive environs of western Pennsylvania that summer and fall. Slaughter contends that one must place the frontier at the center of the great political debates of the era and fully explore the ideological, social, political, and personal contexts surrounding the episode in order to fully understand the importance of its place in American history. In doing so the author has produced a very readable work that may be enjoyed by casual readers, who will likely find the individual vignettes which open each chapter particularly fascinating, and a highly useful basis of further research by future scholars into the importance of the frontier region as it relates to events on a national scale in those early days of the republic.
McCarthy’s plot is built around a teenage boy, John Grady, who has great passion for a cowboy life. At the age of seventeen he begins to depict himself as a unique individual who is ambitious to fulfill his dream life – the life of free will, under the sun and starlit nights. Unfortunately, his ambition is at odds with the societal etiquettes. He initiates his adventurous life in his homeland when he futilely endeavors to seize his grandfather’s legacy - the ranch. John Grady fails to appreciate a naked truth that, society plays a big role in his life than he could have possibly imagined. His own mother is the first one to strive to dictate his life. “Anyway you’re sixteen years old, you can’t run the ranch…you are being ridiculers. You have to go to school” she said, wiping out any hopes of him owning the ranch (p.15). Undoubtedly Grady is being restrained to explore his dreams, as the world around him intuitively assumes that he ought to tag along the c...
When managers seek to improve their sport organization often times they refer to SWOT. SWOT is an acronym which stands for strength, weakness, opportunity, and threat. These four areas are tools used to address and fix any issue that an organization may have internally or externally. The Dallas Cowboys are an NFL team that uses these four categories to address any issues they may have in order to improve any imperfections for the betterment of their Franchise.
John Ford’s classic American Western film, Stagecoach (1939) shows many examples of political life and social behavior during it’s time. The plot is about nine travelers onboard a stagecoach from Tonto, Arizona to Lordsburg, New Mexico Territory. In the beginning, the passengers of the Stagecoach are unfamiliar with each other. However, their relationships grow as they get to know each other during their journey. Each character claims a different social position.
In the introduction, Hämäläinen introduces how Plains Indians horse culture is so often romanticized in the image of the “mounted warrior,” and how this romanticized image is frequently juxtaposed with the hardships of disease, death, and destruction brought on by the Europeans. It is also mentioned that many historians depict Plains Indians equestrianism as a typical success story, usually because such a depiction is an appealing story to use in textbooks. However, Plains Indians equestrianism is far from a basic story of success. Plains equestrianism was a double-edged sword: it both helped tribes complete their quotidian tasks more efficiently, but also gave rise to social issues, weakened the customary political system, created problems between other tribes, and was detrimental to the environment.
Gathering men from Southwest states like Arizona, New Mexico, Oklahoma, and Texas was
The Taming of the West: Age of the Gunfighter: Men and Weapons of the Frontier 1840-1900.
The cowboy hero, The Virginian, as portrayed in Owen Wister’s novel was the first of his kind and today is known as the stereotypical mythic cowboy figure which our view of the western frontier are based from. The Virginian was the first full length western novel apart from the short dime novels which marked the final stage in the evolution of the cowboy hero to a national icon. The Virginian was published in 1902 and at that time was wildly popular because of the settlement of the west. The story of the cowboy who had the skill and courage to take control of the untamed frontier enthralled people. The cowboy hero had a few distinguished qualities, he was a self-appointed vigilante, he had a very strict moral code, he had exceptional perception skills and he had the ability to adapt. Owen Wister’s The Virginian was the first to portray these qualities and really created a deeper cowboy character.
Somewhere out in the Old West wind kicks up dust off a lone road through a lawless town, a road once dominated by men with gun belts attached at the hip, boots upon their feet and spurs that clanged as they traversed the dusty road. The gunslinger hero, a man with a violent past and present, a man who eventually would succumb to the progress of the frontier, he is the embodiment of the values of freedom and the land the he defends with his gun. Inseparable is the iconography of the West in the imagination of Americans, the figure of the gunslinger is part of this iconography, his law was through the gun and his boots with spurs signaled his arrival, commanding order by way of violent intentions. The Western also had other iconic figures that populated the Old West, the lawman, in contrast to the gunslinger, had a different weapon to yield, the law. In the frontier, his belief in law and order as well as knowledge and education, brought civility to the untamed frontier. The Western was and still is the “essential American film genre, the cornerstone of American identity.” (Holtz p. 111) There is a strong link between America’s past and the Western film genre, documenting and reflecting the nations changes through conflict in the construction of an expanding nation. Taking the genres classical conventions, such as the gunslinger, and interpret them into the ideology of America. Thus The Western’s classical gunslinger, the personification of America’s violent past to protect the freedoms of a nation, the Modernist takes the familiar convention and buries him to signify that societies attitude has change towards the use of diplomacy, by way of outmoding the gunslinger in favor of the lawman, taming the frontier with civility.
Over the years, the idea of the western frontier of American history has been unjustly and falsely romanticized by the movie, novel, and television industries. People now believe the west to have been populated by gun-slinging cowboys wearing ten gallon hats who rode off on capricious, idealistic adventures. Not only is this perception of the west far from the truth, but no mention of the atrocities of Indian massacre, avarice, and ill-advised, often deceptive, government programs is even present in the average citizen’s understanding of the frontier. This misunderstanding of the west is epitomized by the statement, “Frederick Jackson Turner’s frontier thesis was as real as the myth of the west. The development of the west was, in fact, A Century of Dishonor.” The frontier thesis, which Turner proposed in 1893 at the World’s Columbian Exposition, viewed the frontier as the sole preserver of the American psyche of democracy and republicanism by compelling Americans to conquer and to settle new areas. This thesis gives a somewhat quixotic explanation of expansion, as opposed to Helen Hunt Jackson’s book, A Century of Dishonor, which truly portrays the settlement of the west as a pattern of cruelty and conceit. Thus, the frontier thesis, offered first in The Significance of the Frontier in American History, is, in fact, false, like the myth of the west. Many historians, however, have attempted to debunk the mythology of the west. Specifically, these historians have refuted the common beliefs that cattle ranging was accepted as legal by the government, that the said business was profitable, that cattle herders were completely independent from any outside influence, and that anyone could become a cattle herder.
A typical Western would usually be set in the late 19th century in the mid-west of America in a remote town. The town is usually small, lonely and unwelcoming. Typically a western set looks like it is in the middle of a desert with sand, cacti and tumbleweed which gives a desert look, there are usually never any lakes or rivers around these features make the place look really hot and deserted. The buildings are generally timber board houses with swinging doors and outside the buildings are places to keep their horses, there is also always a General Store and a Saloon. Horses and carriages and cattle are used to give a western feel. The cowboys are typically dressed in western style clothing for example they wear simple shirts and jeans they may also wear ponchos, waist coats, hats, boots with spurs, guns and a belt to hold the gun and bullets, Hero's tend to wear lighter clothing and the villain’s tend to wear darker clothing.
The cowboys of the frontier have long captured the imagination of the American public. Americans, faced with the reality of an increasingly industrialized society, love the image of a man living out in the wilderness fending for himself against the dangers of the unknown. By the end of the 19th century there were few renegade Indians left in the country and the vast expanse of open land to the west of the Mississippi was rapidly filling with settlers.
In my paper, I want to examine the difference between a stereotypical western cowboy and the two main characters Jack Twist and Ennis del Mar of the short story “Brokeback Mountain” by Annie Proulx and its movie adaption by Ang Lee. This paper will analyze how the author, Annie Proulx, defies masculine cowboy norms when writing such an extravagant love story about two cowboys falling in love through an unexpected consultation. Ultimately, this paper will analyze the key differences, both physical, and emotional between the stereotypical western cowboy and the cowboys presented by Annie Proulx, Jack and Ennis. I will use the short story/film “Brokeback Mountain”, and the movie No Country for Old Men. I will also use secondary sources that explain in detail both the physical and emotional features of the masculine stereotypical cowboy. With this information I will contrast the stereotypical cowboy from Jack and Ennis. I will illustrate that societal pressures and the perception of a stereotypical cowboys lead society to think of Jack and Ennis as queers rather than cowboys.
I would define the cowboy persona as a man or women that portrays being very tough, masculine, stern, and incapable of feeling fear. I would also say when speaking his or her tone must be very masculine and strong. If one has ever watched a western featuring Clint Eastwood, one knows that he portrays a man that is often considered the epitome of this persona. This is because Clint Eastwood’s characters traits and tone portray that he is tough, strong, assertive, heroic and incapable of being intimidated. In one of his most famous movies called The Good, The Bad, and The Ugly, Eastwood portrays a cowboy on quest for gold with a supposed friend, while an evil Union Sergeant is on their tail. Eastwood is eventually faced with situation that would truly test one’s capabilities to be tough, heroic, and not intimidated: Eastwood’s character is faced with a three-way gun standoff with the evil union sergeant and Eastwood’s supposed friend. Here Eastwood’s character shows his sense of heroism and inability to feel fear by killing the evil sergeant and incapacitating his supposed friend while having the risk of being shot. Eastwood’s character does this because both antagonist’s agendas involved various crimes and sins, thus Eastwood’s character believes that they should be persecuted (Gelten Par. 6). I feel this persona would not be embodied by any of the cowboys represented in Lisa Ling’s show. This is true because while the people shown did do various events that involve toughness and strength like bull wrestling. I feel if put in the same situation as Eastwood’s character he or she would not be able to have the same effect because the personality portrayed would be more feminine. Thus when faced with pointing a gun at a supposed friend and another bad human