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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.

The intention of this thesis is to analyze the figure of the post 9/11 Westerner as a modern character created from the preexisting archetype of the classic Westerner. 3:10 to Yuma (dir. James Mangold), The Assassination of Jesse James by the Coward Robert Ford (dir. Andrew Dominik), and There Will Be Blood (dir. Paul Thomas Anderson) were released in 2007 and featured post 9/11 Westerners dealing with issues of fatherhood, demonstrating the prevalence of this figure within the modern western genre. Fatherhood becomes the prism through which these characters are depicted, which becomes the main source of their anxiety. The events of 9/11 contributed to a fracture of the western myth established by the classic postwar western that results in the post 9/11 Westerner attempting to reclaim a similar mythic status. The post 9/11 Westerner becomes an inversion of the classic Westerner seen through his insecure masculinity and ultimate failure to live up to his own imagined ideals.

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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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