222 pages / The novels of Don Berry rank among the best to emerge from the Northwest and can be considered as serious entries in a growing group of New Western novels. While the term "New Western" is widely used, definitions of its meaning are diverse and at times conflicting. This study delves into the diversity and presents a definition of the New Western novel as a historical tool. The New Western is seen as a probe into the themes and traditions of the western experience, and. as such it can be used in the study of history. The use of fiction in the study of history presents several problems, however, because a novelist goes beyond the usual constraints of a factual record. How the novelist uses, or in some cases abuses, the historical record is important to the historian. This study examines Don Berry's Trask as an example of a New Western novel to determine the manner in which the historical records and traditions of the Northwest have been adapted to use in fiction.

This paper examines critical responses to James Camerons most recent film, <i>Avatar</i>, to suggest that the ways in which critics have ignored its content because of Camerons innovative use of 3-D technology and effects or praised its content for offering a multicultural paradise are misguided at best and misleading at worst. Instead, what follows is an investigation into <i>Avatar</i>s content, specifically its plot, hero and, ultimately, its indivisible relationships to the Western genre and what I call the New Western genreKevin Costners <i>Dances with Wolves</i> (1990) will be representative of the larger genre which has continued to emerge in more recent films like Edward Zwicks <i>The Last Samurai</i> (2003). These relationships between, and crossovers within, genres prevent cross-cultural relationships based upon democratic forms of equality, what Costner is moving toward and what Cameron makes a claim for, from coming to fruition. As biological (colonial) and social/historical (imperial) notions of racial superiority and inferiority move across and arise within genres, the brief moments of cross-cultural cooperation and mutual respect within these films are subverted. In fact, Camerons film very clearly demonstrates how politics can be mobilized, despite a filmmakers unawareness, through big-budget blockbusters to advocate concrete and damaging political projectsin this case, Americas imperial projects around the globe. This paper attempts to do two main things: show how Cameron fails to notice what is a very clear advocacy for American imperialism in his film and display the ways in which a lasting egalitarian model of cross-cultural social organization is never established as a result of this failure.

L'objectif de cette étude est de mettre en lumière la complexité de l'écriture de l'histoire et du processus de renouvellement historique, en prenant pour cas d'étude l'histoire de l'Ouest américain. De la théorie de la Frontière, développée par Frederick Jackson Turner à la fin du dix-neuvième siècle, à la « New Western History », apparue dans les années 1980, le sujet a fait l'objet de diverses interprétations au cours du vingtième siècle. Sa complexité réside en outre dans la mythologie véhiculée par la culture populaire, ainsi que la place centrale de l’Ouest dans l’inconscient collectif américain. Très controversées, les réécritures de la Nouvelle Histoire de l’Ouest ont redonné de l’intérêt et du dynamisme au domaine de recherche, tout en suscitant des débats passionnés, dont la médiatisation fut tout à fait inédite. Enfin, l’analyse de la transmission de ces réécritures au grand public, à travers l’enseignement et l’histoire publique, permet d’évaluer l’impact du mouvement au-delà des frontières universitaires et, de fait, offre une meilleure compréhension des enjeux et défis de la discipline historique. / Taking the history of the American West as a case study, the aim of this dissertation is to analyze the complex way in which history is written and rewritten over the years. From the first historian of the Frontier, Frederick Jackson Turner, to the “New Western History”, born in the 1980s, the Frontier and the American West have generated different interpretations and revisions over the course of the twentieth century. The subject is all the more complex as the West has a special place in the American psyche, and its myths pervade popular culture. Not only did the emergence of the New Western History revive a field of study that had become dated, it also triggered debates that were so heated that they received ample coverage in the American press. Studying the way the New Historians’ reinterpretations were transmitted to the general public, through teaching and public history, allows an assessment of the impact of the New Western History on a lay audience and, thus, a better understanding of the complex mechanics of history-making.

L'objectif de cette étude est de mettre en lumière la complexité de l'écriture de l'histoire et du processus de renouvellement historique, en prenant pour cas d'étude l'histoire de l'Ouest américain. De la théorie de la Frontière, développée par Frederick Jackson Turner à la fin du dix-neuvième siècle, à la " New Western History ", apparue dans les années 1980, le sujet a fait l'objet de diverses interprétations au cours du vingtième siècle. Sa complexité réside en outre dans la mythologie véhiculée par la culture populaire, ainsi que la place centrale de l'Ouest dans l'inconscient collectif américain. Très controversées, les réécritures de la Nouvelle Histoire de l'Ouest ont redonné de l'intérêt et du dynamisme au domaine de recherche, tout en suscitant des débats passionnés, dont la médiatisation fut tout à fait inédite. Enfin, l'analyse de la transmission de ces réécritures au grand public, à travers l'enseignement et l'histoire publique, permet d'évaluer l'impact du mouvement au-delà des frontières universitaires et, de fait, offre une meilleure compréhension des enjeux et défis de la discipline historique.

In 1976 two young photographers, Mark Klett and JoAnn Verburg, and a photo-historian named Ellen Manchester came together with an idea to rephotograph sites in the American West that had originally been documented by survey photographers such as William Henry Jackson and Timothy O'Sullivan. By the spring of 1977 and with the support of various organizations they began a project that spanned the next three years and would eventually become known as the Rephotographic Survey Project (RSP). In many ways, the RSP represents an important moment in the history of photography and the representation of the American West. Through analysis of their work, archival documents, contemporary sources, and interviews with the original members of the RSP and several others, this dissertation examines the activities of the project and its various members, which also included Gordon Bushaw and Rick Dingus. More than the RSP, this dissertation also focuses on the growing culture of photography that boomed in the 1970s. Photography was no longer seen as an outsider to the world of art but was benefiting from newfound opportunities and growth. Without such a culture, this work argues, it would not have been possible for the RSP to take place. By the end of their project, however, photography was undergoing another important transition as modernism was giving way to the more critical climate of postmodernism. When the RSP finally published their work In 1984, their project and the community of photography that fostered their ideas was undergoing profound changes. This study also closely examines the RSP's fieldwork in the American West and the various discourses that the project encountered in this meaningful space. Like photography, the West was undergoing significant changes that the RSP was able to observe and document. Through their process that matched images from the past with photographs of their present, the RSP was able to record diverse landscapes that had or had not changed over the subsequent century. Furthermore, it also provided insight into the ways in which the West had been represented and perceived over time and in a new history of the West.

abstract: This study examines history museums in Arizona and New Mexico to determine whether New Western History themes are prevalent, twenty years after the term was conceived. Patricia Limerick is credited with using the expression in the 1980s, but she had to promote the concept frequently and for many years. There was resistance to changing from the Frederick Jackson Turner thesis of looking at the frontier as an expansion from the East, even while others were already writing more current historiography. Limerick’s four “Cs”—continuity, convergence, conquest, and complexity—took a view of the West from the West, worthy of a separate perspective. These themes also allowed historians to reflect on what was happening locally, how and why various people were interacting, how there was less of a benevolent imbuing of European culture on Native Americans than there was a conquest of indigenous people, and how resource extraction created complex situations for all living things. While scholarly works were changing to provide relevant material based on these themes, museums were receiving thousands of visitors every year and may have been providing the Anglo-centric view of events or creating more inclusive displays. Label texts could have been either clarifying or confusing to a history loving audience. Three types of museums were visited to determine whether there was a difference in display based on governing body. National Park Service sites, state sponsored institutions, and local city-based museums served as the study material. The age of the existing long-term exhibits ranged from brand new to fifty-one years extant. As important to the use of New Western History themes as the term of the current exhibit was the type of governing body. Monographs, essays, and museum exhibits are all important to the dissemination of history. How they relate and how current they are to each other creates an opportunity for both academic and museum professional historians to reflect on the delivery systems used to enlighten a history-loving public. / Dissertation/Thesis / Doctoral Dissertation History 2015

Durante as décadas de 1980 e 1990, a Western History, campo de estudos que se dedica à história do Oeste norte-americano, enfrentou uma tormenta intelectual de proporções pouco vistas antes em suas searas. O motivo para tal inquietação foi o surgimento da assim chamada “New Western History”, movimento que tinha por principal meta reescrever a história regional a partir de uma completa reestruturação de suas bases intelectuais, para tentar salvar o campo de uma suposta crise de identidade surgida ainda nos anos 1960. Neste caso, o principal alvo destes revisionistas foi a antiga historiografia constituída à imagem das teses de Frederick Jackson Turner sobre a fronteira norteamericana. Aqui, a idéia era substituir uma narrativa histórica considerada excessivamente otimista por uma que realçasse os aspectos trágicos do avanço norte-americano em direção ao Pacífico. Esta tentativa, contudo, de se escrever uma história trágica encontrou forte oposição não só entre segmentos da historiografia profissional, mas também entre elementos da opinião pública, num debate que tinha mais a ver com a própria identidade dos Estados Unidos do que com questões meramente historiográficas. / During the 1980s and 1990s, the Western History, field of studies dedicated to the the history of the American West, went through a intellectual storm of proportions seldom seen before in its midst. The motive for such unrest was the arrival of the so-called “New Western History”, a movement whose main aim was the rewriting of the history of the West from the standpoint of a total reestructuring of the field’s intellectual foundations, in an attempt to save it from a crisis of identity that emerged still in the 1960s. In this case, the revisionists’ main target was the old historiography constituted in the image of Frederick Jackson Turner’s theses about the American frontier. Here, the idea was to substitute a historical narrative considered to be excessively optimistic for one that highlighted the tragic aspects of the American advance to the Pacific. However, this attempt to write a tragic history was met with a fierce opposition not only from segments of the professional historiography, but also from the public opinion itself, in a debate that had more to do with the very identity of the US and less with “mere” historiographical questions.

Durante as décadas de 1980 e 1990, a Western History, campo de estudos que se dedica à história do Oeste norte-americano, enfrentou uma tormenta intelectual de proporções pouco vistas antes em suas searas. O motivo para tal inquietação foi o surgimento da assim chamada “New Western History”, movimento que tinha por principal meta reescrever a história regional a partir de uma completa reestruturação de suas bases intelectuais, para tentar salvar o campo de uma suposta crise de identidade surgida ainda nos anos 1960. Neste caso, o principal alvo destes revisionistas foi a antiga historiografia constituída à imagem das teses de Frederick Jackson Turner sobre a fronteira norteamericana. Aqui, a idéia era substituir uma narrativa histórica considerada excessivamente otimista por uma que realçasse os aspectos trágicos do avanço norte-americano em direção ao Pacífico. Esta tentativa, contudo, de se escrever uma história trágica encontrou forte oposição não só entre segmentos da historiografia profissional, mas também entre elementos da opinião pública, num debate que tinha mais a ver com a própria identidade dos Estados Unidos do que com questões meramente historiográficas. / During the 1980s and 1990s, the Western History, field of studies dedicated to the the history of the American West, went through a intellectual storm of proportions seldom seen before in its midst. The motive for such unrest was the arrival of the so-called “New Western History”, a movement whose main aim was the rewriting of the history of the West from the standpoint of a total reestructuring of the field’s intellectual foundations, in an attempt to save it from a crisis of identity that emerged still in the 1960s. In this case, the revisionists’ main target was the old historiography constituted in the image of Frederick Jackson Turner’s theses about the American frontier. Here, the idea was to substitute a historical narrative considered to be excessively optimistic for one that highlighted the tragic aspects of the American advance to the Pacific. However, this attempt to write a tragic history was met with a fierce opposition not only from segments of the professional historiography, but also from the public opinion itself, in a debate that had more to do with the very identity of the US and less with “mere” historiographical questions.

Durante as décadas de 1980 e 1990, a Western History, campo de estudos que se dedica à história do Oeste norte-americano, enfrentou uma tormenta intelectual de proporções pouco vistas antes em suas searas. O motivo para tal inquietação foi o surgimento da assim chamada “New Western History”, movimento que tinha por principal meta reescrever a história regional a partir de uma completa reestruturação de suas bases intelectuais, para tentar salvar o campo de uma suposta crise de identidade surgida ainda nos anos 1960. Neste caso, o principal alvo destes revisionistas foi a antiga historiografia constituída à imagem das teses de Frederick Jackson Turner sobre a fronteira norteamericana. Aqui, a idéia era substituir uma narrativa histórica considerada excessivamente otimista por uma que realçasse os aspectos trágicos do avanço norte-americano em direção ao Pacífico. Esta tentativa, contudo, de se escrever uma história trágica encontrou forte oposição não só entre segmentos da historiografia profissional, mas também entre elementos da opinião pública, num debate que tinha mais a ver com a própria identidade dos Estados Unidos do que com questões meramente historiográficas. / During the 1980s and 1990s, the Western History, field of studies dedicated to the the history of the American West, went through a intellectual storm of proportions seldom seen before in its midst. The motive for such unrest was the arrival of the so-called “New Western History”, a movement whose main aim was the rewriting of the history of the West from the standpoint of a total reestructuring of the field’s intellectual foundations, in an attempt to save it from a crisis of identity that emerged still in the 1960s. In this case, the revisionists’ main target was the old historiography constituted in the image of Frederick Jackson Turner’s theses about the American frontier. Here, the idea was to substitute a historical narrative considered to be excessively optimistic for one that highlighted the tragic aspects of the American advance to the Pacific. However, this attempt to write a tragic history was met with a fierce opposition not only from segments of the professional historiography, but also from the public opinion itself, in a debate that had more to do with the very identity of the US and less with “mere” historiographical questions.