Relevant bibliographies by topics / Cowboys, language

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cowboys, language'

Author: Grafiati
Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Cowboys, language"

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MacCarthy, Catherine Phil. "Cowboys and Indians." College English 58, no. 7 (November 1996): 836. http://dx.doi.org/10.2307/378418.

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Lodares, Juan Ramon. "Lo que hablaban los cowboys." Hispania 72, no. 2 (May 1989): 445. http://dx.doi.org/10.2307/343173.

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Coulson, Seana, and Els Severens. "Hemispheric asymmetry and pun comprehension: When cowboys have sore calves." Brain and Language 100, no. 2 (February 2007): 172–87. http://dx.doi.org/10.1016/j.bandl.2005.08.009.

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Grieshop, Herbert, and Deniz Gokturk. "Kunstler, Cowboys, Ingenieure... Kultur- und mediengeschichtliche Studien zu deutschen Amerika-Texten 1912-1920." Modern Language Review 96, no. 2 (April 2001): 576. http://dx.doi.org/10.2307/3737460.

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HOLMGREN, BETH. "Cossack Cowboys, Mad Russians: The Emigre Actor in Studio-Era Hollywood." Russian Review 64, no. 2 (April 2005): 236–58. http://dx.doi.org/10.1111/j.1467-9434.2005.00359.x.

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Allmendinger, Blake. "Queer Cowboys: And Other Erotic Male Friendships in Nineteenth‐Century American Literature. Chris Packard. New York: Palgrave Macmillan, 2006. Pp. ix+144." Modern Philology 106, no. 2 (November 2008): 324–27. http://dx.doi.org/10.1086/598564.

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Oroskhan, Muhammad Hussein, and Bahee Hadaeg. "Psychosocial or Mythological: Sam Shepard’s Kicking a Dead Horse as a Liberal Ironist." International Journal of Applied Linguistics and English Literature 10, no. 3 (May 31, 2021): 68. http://dx.doi.org/10.7575/aiac.ijalel.v.10n.3p.68.

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American West has conjured up a shining image in the media but a complex subject in the research studies. Among the iconic elements that represent the American West, the image of cowboy has occupied a unique place. Relatively, mythological or psychosocial methods may contribute to the comprehension of the image of cowboy. In this vein, an examination of cowboy with regard to the aforementioned perspectives are studied but proved insufficient because it is almost impossible to draw a fine distinction between these two matters. Nevertheless, the core of this study by attributing to one of Shepard’s late plays entitled Kicking a Dead Horse tries to address the issue of cowboy with regard to Richard Rorty’s liberal ironist to prove that neither mythological nor psychosocial approach is appropriate enough to study the image of cowboy whereas Shepard’s emphasis on self-creation as buttressed by Richard Rorty’s liberal ironist is the suitable method for analyzing the image of cowboy.
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McArthur, Tom, and John Pint. "Riders of the Purple Page." English Today 2, no. 4 (October 1986): 34–35. http://dx.doi.org/10.1017/s0266078400002479.

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Hiramoto, Mie. "Anime and intertextualities." Pragmatics and Society 1, no. 2 (November 17, 2010): 234–56. http://dx.doi.org/10.1075/ps.1.2.03hir.

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Cowboy Bebop, a popular anime series set in the year 2071 onboard the spaceship Bebop, chronicles the bohemian adventures of a group of bounty hunters. This paper presents how the imaginary characters and their voices are conventionalized to fit hegemonic norms. The social semiotic of desire depicted in Cowboy Bebop caters to a general heterosexual market in which hero and babe characters represent the anime archetypes of heterosexual normativity. Scripted speech used in the anime functions as a role language which indexes common ideological attributes associated with a character’s demeanor. This study focuses on how ideas, including heterosexual normativity and culture-specific practices, are reproduced in media texts in order to negotiate the intertextual distances that link the characters and audience.
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BORIS, EILEEN. "On Cowboys and Welfare Queens: Independence, Dependence, and Interdependence at Home and Abroad." Journal of American Studies 41, no. 3 (October 24, 2007): 599–621. http://dx.doi.org/10.1017/s002187580700401x.

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Against a historiography that too often considers domestic policy apart from foreign policy, this essay suggests connections based on two cultural/political archetypes, the cowboy and the welfare queen, which were or are simultaneously gendered and racialized. The cowboy as a symbol of white male individualism has represented worthy American manhood; the welfare queen has stood for a despised black womanhood. Behind the image of the cowboy stands the workings of empire; behind the portrait of the welfare queen lies the punishment of poor women, often African American or Latina, for their motherhood, sexuality, and lack of dependence on husbands. The problem with the welfare queen is that she parlayed her dependence on the state into independence from men and employment (that is, work as commonly understood.) Like the enemies without, who would make the nation dependent through withholding a vital resource – oil – and require disciplining through “cowboy diplomacy,” welfare dependents have become the primitive other, politically assaulted, responsible for national decline, who need taming through cowboy social policy. Drawing upon newspaper accounts, blogs, speeches, and iconographic representations, this essay traces the ways that modern Presidents, including Theodore Roosevelt, Johnson, Nixon, Reagan, and Bush II, deployed these icons to push independence as a national virtue in spite of their apparently different political positions. The languages of independence and dependence provided an easy vocabulary for policymaking that aspires to moral heights, leading to a performativity that traps those who utter the tropes of their predecessors into policy grooves not necessarily of their own choosing.
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Dissertations / Theses on the topic "Cowboys, language"

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Kelly, Nicholas M. "The freedom of information hacked: console cowboys, computer wizards, and personal freedom in the digital age." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/6778.

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“The Freedom of Information Hacked: Console Cowboys, Computer Wizards, and Personal Freedom in the Digital Age” examines depictions of computer hackers in fiction, the media, and popular culture, assessing how such depictions both influence and reflect popular conceptions of hackers and what they do. In doing so, the dissertation demonstrates the central concerns of hacker stories—concerns about digital security, privacy, and the value of information—have become the concerns of digital culture as a whole, hackers laying bare collective hopes and fears regarding digital networks.
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Gros, Camille. "The Myths of the Self-Made-Man: Cowboys, Salesmen and Pirates in Tennessee Williams' the Glass Menagerie and Arthur Miller's Death of a Salesman." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_theses/61.

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Most books written about American drama concern definitions of masculinity, the American dream, and the family in a society that encourages people to surpass their competences and limits. American playwrights of the twentieth century reveal the anxiety and insecurity of men who do not rise up to the standards of the American dream. In concentrating on these themes, most critics have analyzed the main characters and plots but have left aside hints about other myths. This study aims to analyse the extended use of the cowboy, of salesman, and of pirate in Tennessee Williams’s The Glass Menagerie and Arthur Miller’s Death of a Salesman. The recurrence of these three myths touches on the core of American drama that playwrights and critics have tried to define endlessly: the definition of the male in the American society.
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Books on the topic "Cowboys, language"

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Cowboys talk right purty! Phoenix, AZ, USA: Golden West Publishers, 1995.

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2

Cowboy lingo. Boston: Houghton Mifflin, 2000.

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Cowboy language: The original lingo of the cow town frontier. Chandler, Ariz: Coast Aire Publications, 2001.

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4

Potter, Edgar R. Cowboy slang. Phoenix, AZ, USA: Golden West Publishers, 1986.

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5

The cowboy dictionary: The chin jaw words and whing-ding ways of the American West. New York: Perigee Books, 1993.

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Trejos, Hugo Mantilla. Diccionario llanero. [Colombia: s.n., 1990.

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7

Nat Love: African American cowboy. New York: Rosen Central Primary Source, 2004.

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Hannah, Jack. Read, 'rite, and recite. Fresno, Calif: Diamond R. Pub., 2000.

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9

Prowse, Philip. Kate yn dial. Aberystwyth: Y Ganolfan Astudiaethau Addysg, 1999.

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10

Hassrick, Peter H. Remington, Russell and the language of Western art. Washington, D.C: Trust for Museum Exhibitions, 2000.

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Book chapters on the topic "Cowboys, language"

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Lodares, Juan R. "Hispanic tracks in English: cowboys and goldrushers in the Old West." In Spanish Loanwords in the English Language, edited by Félix Rodríguez Gonzáles. Berlin, Boston: De Gruyter, 1996. http://dx.doi.org/10.1515/9783110890617-009.

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Gott, Michael. "Mapping the Hybrid European Road: French Connections, European Traditions and American Influence?" In French-language Road Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748698677.003.0002.

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This chapter set the stage for an exploration of contemporary French-language European road movies by tracing the interwoven lines of the tradition in its American and European iterations back to the 1960s, the period during which the template for contemporary road cinema crystalized. It argues that the contours of the road movie tradition are not strictly the product of a direct lineage from seminal American films from the late 1960s, such as Easy Rider (Dennis Hopper, 1969, USA), but the result of complex transnational interactions within European cinemas and between European and American cultures. The films covered are Il Sorpasso (Dino Risi, 1962, Italy), Le corniaud/The Sucker (Gérard Oury, 1965, France/Italy) Les petits matins/Hitch-Hike (Jacqueline Audry, 1962, France), Im Lauf der Zeit/Kings of the Road (Wim Wenders, 1977, West Germany), Leningrad Cowboys Go America (Aki Kaurismäki,1989, Finland/Sweden) and Lisbon Story (Wim Wenders, 1994, Germany/Portugal).
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Gott, Michael. "Cowboys, Icebergs, Anarchists and Toreadors: The Paradoxes and Possibilities of the Francophone Belgian Road Cinema." In French-language Road Cinema. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748698677.003.0004.

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This chapter attempts to answer the questions: ‘what, and where, is Belgian road cinema?’ Doing so involves considering the European-ness of Belgian film as well as its national specificity and connection to wider French-language cultural categories and industries. This chapter analyses five films: Eldorado (Bouli Lanners, 2008), L'iceberg (Dominique Abel, Fiona Gordon and Bruno Romy, 2005), Quand la mer monte (Jeanne Moreau and Gilles Porte, 2004), Les folles aventures de Simon Konianski/Simon Konianski (Micha Wald, 2008) and Aaltra (Gustave de Kervern and Benoît Delépine, 2004, France/Belgium).Although these voyages generally engage with national culture – or cultures, in the case of Belgium – the limits of the nation-state no longer adequately contain the cultures and spaces explored in Belgian road cinema. Citizenship in contemporary Belgium is reframed as inherently linked to mobility, a stance that rejects fixed, monolithic identity formulations and the closed spaces associated with national identities and conceptions of Fortress Europe.
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Swartwood, Jeffrey. "Frijoles and Cowboys from Richard Henry Dana, Jr., to Cormac McCarthy: Exploring the Roots of Spanish Language Use in the Literature of the American Southwest." In (Se) construire dans l’interlangue, 177–90. Presses universitaires du Septentrion, 2015. http://dx.doi.org/10.4000/books.septentrion.18652.

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Conference papers on the topic "Cowboys, language"

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Mokbel, Sahar. "The Development of the Western Cowboy Hero in Movies." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31239.

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