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Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 113-116). Also available in electronic format on the Internet.

Equilibrium is paramount in the crafting of a story, and for every writer this sense of balance is different. The writer must manage a balance of showing and telling, of denotation and connotation, and forever strive to find the perfect word in both the denotative and connotative sense, so that the reader and writer can meeting in a living story—both in the ink on the page and the remaining white space.

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Thesis (M.M.)--Baylor University, 2006. / Includes bibliographical references (p. 68-72).

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009 / Made available in DSpace on 2012-10-24T14:50:37Z (GMT). No. of bitstreams: 1 276391.pdf: 500694 bytes, checksum: d6f89f008fa8d8944996cfc68e5d8f39 (MD5) / Esta dissertação discute o filme Brokeback Mountain (2005, dirigido por Ang Lee) sob a ótica de estudos de sexualidade e identidade nacional. O filme, que ganhou prêmios importantes e foi aclamado pelo grande público, trouxe bastante controvérsia também, na medida em que mostra cowboys que têm práticas homossexuais. Esta dissertação examina como o filme, apesar de parecer conservador pelo fato de que os homens nunca saem do armário e pelo seu final infeliz, ainda promove agenciamento na medida em que traz o que Judith Butler chama de performatividade paródica. Ademais, também há uma discussão de como o filme, ao trazer a subversão do mito do cowboy através da homossexualidade, representa um "queering" da identidade nacional dos Estados Unidos imaginada com base em tal mito. / This thesis discusses the film Brokeback Mountain (2005, directed by Ang Lee) under the light of studies on sexuality and on national identity. The film, which won important awards and was acclaimed by the great public, has brought around great controversy as well, to the extent that it depicts cowboys holding homosexual practices. The thesis examines how the film, although may look conservative by the fact that the men never come out of the closet and by its unhappy ending, still promotes agency to extent that it brings what Judith Butler calls parodic performativity. Moreover, there is also a discussion on how the film, by bringing the subversion of the myth of the cowboy through homosexuality, represents the queering of US national identity imagined with its basis on such myth.

Despite the black cowboy's considerable achievement, the history of their lives remains largely uncovered. Most historiographies present a sympathetic picture, but what is missing is the voice of the black cowboys. Using the views and ideologies of Booker T. Washington, black cowboys were able to become self-sufficient men. This thesis will present a comparison and contrast between the historiography and autobiographies of black cowboys. Furthermore, giving black cowboys a voice through the philosophies of Booker T. Washington and presenting an argument on why the stories and histories of black cowboys have only recently been resurrected, largely because popular media in the progressive era did not include their stories.

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The working cowboy remains part of the contemporary culture of Texas. A visual record of him appeared early in the state's history, in daguerreotypes, followed by representations in contemporary black and white as well as color photographs, film and video. Although the way of life for the Texas cowboy has changed, it remains a thriving part of the Texas economy, society, and culture. Moreover, the image of the cowboy has permeated popular culture and fine art. This paper explores what late twentieth century popular culture and fine art images of the cowboy signify, emphasizing aspects of how they signify in relation to an existing tradition of photographic representations. Using Barthes' "Myth Today," it considers how the documentary aspect of early photographic representations of cowboys is transformed in contemporary popular culture and fine art to become mythology, for example, by the exaggeration of features of dress to connote ideals allegorically.