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Geographical features and cultural traits influence the character of big-mountain tourism in Alaska. This research considers the intersectionality of wilderness and frontier concepts on tourism culture, examines guides' and clients' motivations for participation, and relates these influences to the larger phenomena of tourism generally and nature tourism specifically. The findings show that Alaska's big-mountain tourism is globalized in its political and economic scope. Guides imagine themselves as pioneers on a last frontier of mountain pursuits, notions that relate well to images depicted of the region in literature and promoted by the tourism industry. Clients, on the other hand, come to Alaska because of its exceptional geography and unique mountain sporting culture, but are not as enamored with the mythos of the frontier. [ABSTRACT FROM AUTHOR]

The document titled "Author Index" from the journal Vox Sanguinis provides a comprehensive list of authors and their corresponding articles. The index includes a wide range of authors from various backgrounds and disciplines. [Extracted from the article]

The article discusses an art exhibit called "Cowboy" at the Museum of Contemporary Art Denver. The exhibit explores the history and symbolism of the cowboy figure through the work of twenty-seven artists. Divided into three sections, the exhibit aims to present a more authentic and diverse representation of the cowboy. However, it is criticized for not adequately addressing the historical and material conditions of settler colonialism and imperialism. The exhibit highlights the cultural contributions and histories of marginalized communities, such as queer Latinx cowboys, Black rodeo performers, Filipinx Rough Riders, and Indigenous cowboys. It also addresses issues of land, colonization, and identity. The article emphasizes the importance of recognizing and celebrating these lesser-known subcultures and their resilience in the face of violence and erasure. [Extracted from the article]

The article, titled "Cowboy Charity," recounts a personal experience of the author, Justin Goodson, who learned about charity from a cowboy he met in Wyoming. Despite their differences in personality and beliefs, Goodson and the cowboy, named Paul, got along well until a disagreement arose during a camping trip. However, a month later, Paul approached Goodson and apologized, demonstrating an act of charity. This experience taught Goodson the importance of kindness and understanding, even in the face of disagreements. Unfortunately, Paul later took his own life, highlighting the significance of reaching out and reciprocating acts of charity. Goodson concludes that empathy and basic kindness are essential components of charity, connecting all individuals through their shared human experience. [Extracted from the article]

As cultures are mainly divided into collectivistic and individualistic, members tend to emphasize, through communication, either their position as part of their group or their independence from the group. This emphasis is manifested in using the pragmatic concepts of positive politeness and negative politeness. The present study looks into the reflection of these two cultures in Rockstar's renowned video game, Red Dead Redemption 2 (2018). It aims at identifying the two cultures as present in the game and showing their significance to its narrative. It fills the gap in the studies of language used within video games as well as its cultural reflections. The study addresses the following question: What are the positive and negative politeness strategies used in Red Dead Redemption 2 (2018), and what are the implications of using these strategies in its narrative? By adopting Brown and Levinson's (1987) politeness theory, the researcher analyzed the positive and negative politeness used in the scripted dialogue of the in-game cutscenes through the mixed methods approach. The researcher hypothesized that the protagonist shows adherence to a collectivistic culture using positive politeness, and he begins transitioning towards an individualistic culture using negative politeness. The results showed that 75% of the protagonist's interactions contained positive politeness while only 25% contained negative politeness. This transition explains the protagonist's loss of trust and loyalty to his group as he begins to witness the futility of maintaining such loyalty. It also supports the overall narrative of the game as well as its cultural foundations. [ABSTRACT FROM AUTHOR]

Workforce housing does not reproduce all workers equally. So, what kind of workers does "workforce" housing reproduce? Whose reproduction is prioritized, whose is devalued, and how? A case study of housing access and design in three elite Vail Resorts enclaves in Colorado shows that workforce housing prioritizes the reproduction of a young, flexible androcentric workforce who can be cheaply and easily housed. Extending McIntyre and Nast's theorization of racial subsidies, I argue that resort capital awards unearned gendered subsidies to privileged workers and instantiates what Susanne Soederberg calls "displaced survival," or recursive dislocation, for women workers and those with dependents. I detail how twin processes of displaced survival and gendered subsidy emerge in resort communities using data from interviews, survey, ethnographic observation, autoethnography, and municipal records. By attending to the lived experiences of workers in this niche industry, this paper contributes to literature on geographies of exclusion and expands scholarly understandings of how the gendered political economy of labor is sedimented in housing regimes. [ABSTRACT FROM AUTHOR]

Arguably the most recognizable figure of Galician manhood on screen today is the aging drug kingpin, as the burgeoning cinematic genre of Galician narco noir exposes global audiences to Galicia’s key role as a gateway for the steady flow of cocaine into Europe. This article engages with current debates in aging, masculinities and disability studies to examine the depiction of the elderly male drug lords in two recent works pertaining to the Galician narco noir genre; Nemo Bandeira, protagonist of the series Vivir sin permiso (2018–2020), based on a short story by Manuel Rivas, and Antonio Padín from the film Quien a hierro mata (2019), a Galician-Spanish co-production directed by Paco Plaza. It is argued that the intersection of aging masculinities with illness and disability in the representation of older drug lords perpetuates but also renegotiates preconceptions about Galician manhood, reflecting broader issues relating to the representation and commodification of gender, age, illness, disability, and power in popular culture. In the context of the stereotypically “masculine” sphere of organized crime, analysis of how the older male demographic is represented in noir brings insight into the construction of Galician identities on screen more generally, signaling to perceptions of the wider societal impact of crime, corruption, and impunity in Galician society. [ABSTRACT FROM AUTHOR]

This paper analyzes sexual themes in two major works by William Inge, a Kansas playwright and closeted homosexual noted for his sympathetic portrayals of lonely, frustrated women. More specifically, it focuses on the highly differentiated descriptions of male and female characters in Come Back, Little Sheba and Bus Stop, as well as the portrayal of male-male relationships in the latter. Both plays (along with Picnic and The Dark at the Top of the Stairs) were among the remarkable string of Broadway successes enjoyed by Inge during the 1950s. Although Inge's sexuality is not directly mentioned in any of his major plays, there are subtle references to it in these two, at least, especially in the lavish attention shown by Inge to male bodies in the stage directions of both, and the surprisingly tender relationship between the cowboys Bo and Virgil in Bus Stop. Before beginning our analysis of sexual themes in these plays, we shall examine the more forthright treatment of homosexuality in some of Inge's minor works, including several one-act plays and the two novels he wrote towards the end of his life. Inge has been unjustly overlooked in critical and theatrical circles since his death in 1973, and it is hoped that the greater interest being shown today in LGBTQ+ artists may lead to a revival of interest in his work. [ABSTRACT FROM AUTHOR]

This article examines the position of Andy Adams' famous work, The Log of a Cowboy, through the lens of Western myth and the concept of coloniality. The novel has been critiqued in a variety of ways over the years, with reviews often citing the same factors in their evaluations. Foremost of these has been Adams' lack of finesse in his writing style, with his particular attention to what he deemed to be objective truth. In this study, the Log will be re-examined with the aim of providing a fresh insight into how veterans of the Western trails, such as Adams, viewed the dynamic space in which they lived and worked. Therefore, the concept of the frontier, viewed as a stereotypical assumption in both mythological and colonial terms, is used as a lens of investigation in order to critique Adams' descriptions and viewpoints. The study concludes that although Adams' intention was to create a work true to life on the trail, he ultimately permitted himself to become another speaker for Western stereotypes. It is proposed that seemingly innocuous literary works such as the Log can be included amongst discussions of colonial fiction in the wider field of American studies and, by extension, in the latter postcolonial sphere, through their construction of stereotypical discourses and the glorifying of trail life. [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the position of Andy Adams’ famous work, The Log of a Cowboy, through the lens of Western myth and the concept of coloniality. The novel has been critiqued in a variety of ways over the years, with reviews often citing the same factors in their evaluations. Foremost of these has been Adams’ lack of finesse in his writing style, with his particular attention to what he deemed to be objective truth. In this study, the Log will be re-examined with the aim of providing a fresh insight into how veterans of the Western trails, such as Adams, viewed the dynamic space in which they lived and worked. Therefore, the concept of the frontier, viewed as a stereotypical assumption in both mythological and colonial terms, is used as a lens of investigation in order to critique Adams’ descriptions and viewpoints. The study concludes that although Adams’ intention was to create a work true to life on the trail, he ultimately permitted himself to become another speaker for Western stereotypes. It is proposed that seemingly innocuous literary works such as the Log can be included amongst discussions of colonial fiction in the wider field of American studies and, by extension, in the latter postcolonial sphere, through their construction of stereotypical discourses and the glorifying of trail life.

Across the social sciences, there is a growing recognition that rural innovation and entrepreneurship are at the frontlines of responding to increasing dynamism and complexity in social, cultural, and economic environments. Yet, a reviewof the disparate literatures on rural venturing reveals that this research has largely escaped the attention of management and entrepreneurship scholars. Our analysis suggests that scholarly progress has been forestalled by three interconnected research practices: gap-spotting scholarship, decontextualized theory-building, and an allegiance to binary oppositions. In response to the challenges posed by these practices, this article identifies three alternative, multiparadigmatic research tools to enhance the effectiveness of management scholars in contributing to multidisciplinary fields of inquiry such as rural entrepreneurship: problematization, hybridization, and contextualization. Through the application of these tools, we develop new avenues to consider the complex interplay between community, space, and place; novel innovation pathways; the power of traditional values and contexts; and the varied nature of modern business venturing. Our work also contributes fresh perspectives on themanner in which management scholars can offer more effective conceptual leadership inmultidisciplinary fields to theorize complex phenomena. [ABSTRACT FROM AUTHOR]

Once overshadowed in a tightly controlled media environment, alternative voices in contemporary Singapore found new avenues through the emerging cyberspace from the 1990s. As irreverent satire, critical commentaries, community networks and knowledge repositories blogs, websites and forums, they came to reflect the digital presence and extension of a nascent, autonomous and enduring digital public culture. Extending the discussion of democratic enclaves within authoritarian political cultures, this article positions such sites as democratic enclaves within alternative digital histories, once alluded by Singapore's Prime Minister Lee Hsien Loong as "cowboy towns." Amidst the creeping trends of "flawed democracies" as historical precedence, these sites are reminder to the precarious democratic foundations, possibilities and networks pioneered over the early years of the internet. [ABSTRACT FROM AUTHOR]

This essay explores how the contemporary drag king deconstructs and appropriates the iconography of the classical Hollywood western to reimagine the cowboy figure through subcultural drag performance. Through a combination of interviews and textual, ideological, and genre analyses, this case study illustrates how one drag king in the Washington, DC drag scene, King Molasses, responds to the western's prescriptive and normative constructions of gender and race by naming them and transforming them into new sites of resistance. Dragging the cinematic cowboy troubles the western's thematic binary oppositions between the individual and society, the masculine and feminine, as well as the cowboy archetype's rigid racial construction. The drag king's embodiment of the Hollywood cowboy renders visible the erasures inherent in the American frontier mythology of this figure, and simultaneously infuses these symbols with new meanings in the context of drag performance to create new subcultural voices and subjectivities. [ABSTRACT FROM AUTHOR]

Fernando Cavestany (1922-1974) was an architect whose short but intense professional career always went hand in hand with a passion for drawing. Even as a student, and later as a practicing architect, he worked as an illustrator for the magazine Revista Nacional de Arquitectura, as did Joaquín Vaquero Turcios, José Luis Picardo, Ramón Vázquez Molezún, and more. This article aims to be a first probe into the graphic work of Fernando Cavestany. To this end, RNA has been used as guiding thread, given that it was the medium he most assiduously published his drawings in. In addition to showing the Madrid architect's drawing skills, this paper seeks to uphold the work of draftspersons, drawing attention to how their drawings, always one of a kind, added expressive quality to architecture journals. In Fernando Cavestany's case, the range of techniques and themes was broad, but there is a prevalence of the spur-of-the-moment travel sketch, which he relished doing all his life. [ABSTRACT FROM AUTHOR]

Drawing connections between an extractivist economy, the forms of cowboy culture (and rugged, white, working-class masculinity) that have a long history of entanglement with extractivism on the territory now defined as the province of Alberta (in western Canada) and the high rates of sexualized colonial violence against Indigenous women in the province, the authors argue that Alberta has a transient white guy problem. By analyzing the Calgary Stampede as a case study of forms of white masculinity that are supported, encouraged, prioritized and, at times, glorified in Alberta, the authors demonstrate how this transient white guy problem is proving exceedingly dangerous to many Indigenous women in particular (as well as to women, girls and 2SLGBTQQIA people more broadly) and diverse local communities, the land and the environment. Their analysis aims to unpack how settler-colonial logics of extractivism and cultural practices of placemaking, too often viewed as innocuous and as central to an Albertan identity, come to be deeply implicated in ongoing violence against Indigenous women. [ABSTRACT FROM AUTHOR]

This comparative essay analyses the dramatic representation of horses in two early twenty-first-century American plays by Sam Shepard and Sarah Ruhl. Both plays bring a horse figure onto the stage as a prop and couple it to human characters fashioned by the iconography of the American cowboy. While both plays rely heavily on the symbolic power of horses and trope the animal, thus failing to achieve a portrayal of animality initially capable of challenging traditional humanist forms of representation, a close analysis of the materiality of equine presence on the stage shows the overlooked yet essential dramatic function horses have in these plays; that, far from being static symbols, they intervene decisively in the construction and cultural perception of space, gender and values of evolving American cowboy cultures; that their presence contributes to an appreciation of the potential of the horse-human partnership; and that, bringing to the stage their historical heritage as inhabitants of the American frontier, their presence contributes to the reconceptualization of borders making boundaries between humans and animals more permeable. [ABSTRACT FROM AUTHOR]

Although the events of Jane Campion’s The Power of the Dog (2021) miss the golden age of frontier stories in the American West, its sullen protagonist clings obsessively to the myth of the cowboy—the ultimate figure of American masculinity, by then belonging to a distant past—as a means of disguising his taboo homosexual desires. Attempting to mimic the cowboys of old and stake his claim over the mythical landscape of the classical Western, Phil Burbank (Benedict Cumberbatch) hides his shame behind layers of grime and aggression that the film gradually reveals as a mask—a mask which, as its cracks begin to show, reflect the fictitious nature of the idealized masculinity he is desperate to embody. [ABSTRACT FROM AUTHOR]

The article, titled "Jimmy USA," describes an encounter at a gas station in the Midwest. The author observes a Caucasian American cowboy with a Texan hat and cowboy boots, carrying a gun, accompanied by his blonde Caucasian wife. The author pretends to ignore their presence and focuses on refueling their car. The gun accidentally flies out and sprays gasoline, but the author regains control. The author then subscribes to the gas station's membership program and wonders if the cowboys also have a subscription. The article provides a snapshot of a moment in the author's experience, highlighting cultural elements such as cowboy attire and the presence of firearms. [Extracted from the article]

Abstract Expressionism has been influenced heavily by the popular theory of America's undying, progressive spirit, originally conceived by Frederick Jackson Turner and given its most potent form in Western films. Turner's "Frontier Thesis" was embodied in stories of John Wayne and other cowboy heroes taming the supposed edges of civilization. The mythic West as constructed by Turner and these films cemented American identity as one of exploration and innovation, with the notable condition of Indigenous Americans ceding their sovereignty. While Abstract Expressionism was commonly connected to the mythic West through the origin stories of Jackson Pollock and Clyfford Still, the critical understanding of this movement as the height of painterly achievement built on Native American precedents evinces a deeper connection to Turner's popular Frontier theory. As critics like Clement Greenberg cast flatness as the last frontier of painting, and as artists like Pollock and Barnett Newman claimed Native American ritual practices as a part of their aesthetic lineage, Abstract Expressionism proved as effective as Hollywood Westerns in corroborating and perpetuating the idea of America's frontier spirit. [ABSTRACT FROM AUTHOR]

The article titled "Persist, reproduce, play. Rodeo, vaquería, and vaqueridad in Baja California" is a review of a book written by Josué Beltrán Cortez. The book examines the identity of the cowboy in Baja California, from its emergence in the 19th century to the present day. Beltrán traces the genealogy of the cowboy and describes the current world of cowboys, using images taken by himself. The book also highlights the importance of preserving and protecting the cultural heritage of the region. [Extracted from the article]

Customary law in Albania, Anglo-Saxon law, and the legal system that prevailed in the Old West are all examples of legal systems in which individuals were, to a certain extent, expected to manage the law on their own. Customary law in Albania, commonly referred to as Kanun, is an ancient body of laws that has been verbally transmitted from generation to generation for hundreds of years. Under this system, each person was responsible for their own disagreements and was supposed to find a way to resolve them on their own, whether by mediation, negotiation, or even resorting to violence if that was the only option. The Kanun placed relatively little attention on the use of formal legal systems, instead placing an emphasis on the values of honor, family, and vengeance. Individuals were also expected to take responsibility for resolving disputes on their own under Anglo-Saxon law, which originated in England during the early Middle Ages. Despite this, however, there was a greater emphasis placed on the role that the king and the court system played in the process of upholding the law. Under this legal framework, individuals were afforded the right to a trial conducted by their contemporaries, and the king was accountable for both the appointment of judges and the implementation of their rulings. In the United States, another example of a legal system in which individuals were expected to handle the law on their own is found in the time period known as the Old West. Because there was a dearth of formal law enforcement and judicial institutions during this time in the history of the United States, individuals frequently had to take matters into their own hands in order to safeguard both their person and their possessions. There was a widespread practice of vigilante justice, and disagreements were typically settled through duels or gunfights.In spite of the fact that these legal systems may appear antiquated in comparison to contemporary legal systems, they serve to demonstrate the significance of human responsibility and self-reliance in the process of conflict resolution. However, they also underscore the disadvantages of depending too heavily on violence and revenge to resolve problems, as well as the necessity of formal legal institutions in order to create a system of justice that is fair and unbiased for all parties involved. [ABSTRACT FROM AUTHOR]

Copyright of Amaltea. Revista de Mitocrítica is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)