Bibliografías temáticas / Buffalo Bill

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Literatura académica sobre el tema "Buffalo Bill"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 27 de julio de 2024

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Artículos de revistas sobre el tema "Buffalo Bill"

1

Toerien, Barend J. y Breyten Breytenbach. "Buffalo Bill". World Literature Today 59, n.º 3 (1985): 479. http://dx.doi.org/10.2307/40141069.

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Rulli, Daniel. "Buffalo Bill". Teaching History: A Journal of Methods 31, n.º 2 (1 de septiembre de 2006): 90–95. http://dx.doi.org/10.33043/th.31.2.90-95.

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When I was growing up, the most famous and popular building in my hometown of Sheridan, Wyoming, was the Sheridan Inn because it was once owned by William F. "Buffalo Bill" Cody. Nearly everything he was associated with became as well known as he. "Perhaps no popular idol ever lived who is so well known as "Buffalo Bill" reads the document featured in this article, an advertisement for Buffalo Bill's three-reel film biography that appeared in the 1912 issue of The Moving Picture World magazine. With the announcement of the film in May of 1912, The Moving Picture World stated," ... no doubt with the great popularity of Wm. F. Cody, who is retiring to private life after having toured the world for thirty years as America's representative frontiersman and Wild West hero, these pictures, depicting actual happenings in the life of the Last of the Great Scouts, should prove to be one of the most successful features yet offered to the showmen of America." According to the magazine's January 4, 1913, issue, "the 'Life of Buffalo Bill' has re-awakened great interest in the western productions of a historical nature ... playing to record breaking houses .... shown after school hours, the picture seems to appeal chiefly to school children." This document advertised not only Buffalo Bill Cody's film biography but his life as well for Cody embodied the West for millions of Americans. He helped create an image of the West that was part of a national myth about frontier life. Elements of that myth still exist today.
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Murphy, J. T. "Buffalo Bill Cody". Annals of Iowa 79, n.º 1 (enero de 2020): 95. http://dx.doi.org/10.17077/0003-4827.12647.

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I Komang Arsa Adi Winarta, Ni Wayan Suastini y I Gusti Agung Sri Rwa Jayantini. "FLOUTING MAXIM AS SHOWN BY CHARACTERS IN A NOVEL ENTITLED BUFFALO BILL, THE BORDER KING". ELYSIAN JOURNAL : English Literature, Linguistics and Translation Studies 2, n.º 1 (27 de abril de 2022): 119–29. http://dx.doi.org/10.36733/elysian.v2i1.3707.

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This study aims to determine the types of flouting maxim found in Buffalo Bill's novel and to find out the reasons for the characters to flouting the maxims. The researcher used the theory by Grice (1975) to find out the types of maxims in Buffalo Bill's novel, and Cutting (2002) theory to find out the strategies of characters in Buffalo Bill's novel violate these maxims. The data is collected from the novel Buffalo Bill, The Border King where the novel tells the reader about the life story of William F. Cody or known as Buffalo Bill during the Civil War. It was written by Colonel Ingraham and Ned Buntline and published by STREET & SMITH in 1907. The story focuses on the journey of Buffalo Bill. As a result of the analysis of research data, four types of maxim violations were committed by the characters in the novel Buffalo Bill. There is a flouting of maxim of quantity, flouting of maxim of quality, flouting of maxim of relevance, and flouting of maxim of manner. There are a total of twenty records found in Buffalo Bill's novel. flouting of maxim of quantity appears 10 times (47.7%), flouting of maxim of quality does not occur (0%), flouting of maxim of relevance appears 9 times (47.7%), and maxim of manner appears once (4,6%). In the strategy of the characters in the novel Buffalo bill violating the maxims, there are five types of causes for the characters to violate the maxims.
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5

Herman, Daniel Justin. "God Bless Buffalo Bill". Reviews in American History 29, n.º 2 (2001): 228–37. http://dx.doi.org/10.1353/rah.2001.0029.

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Datta, Venita. "Buffalo Bill Goes to France". French Historical Studies 41, n.º 3 (1 de agosto de 2018): 525–55. http://dx.doi.org/10.1215/00161071-6682156.

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Buckley, Peter G. "The Case Against Ned Buntline: The “Words, Signs, and Gestures” of Popular Authorship". Prospects 13 (octubre de 1988): 249–72. http://dx.doi.org/10.1017/s0361233300005299.

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Today few people read the works of E. Z. C. Judson, better known as “Ned Buntline”; at least one might have made that claim with confidence before the recent reprinting of his Adventures of Buffalo Bill (1870). He is now remembered as an early practitioner of Western scouting tales, the first promoter of “Buffalo Bill,” before William Cody jettisoned him as a liability, and as the inventor of long-barrelled six-guns, the “Buntline Specials.”
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Buckley, Peter G. "The Case Against Ned Buntline: The “Words, Signs, and Gestures” of Popular Authorship". Prospects 13 (octubre de 1988): 249–72. http://dx.doi.org/10.1017/s0361233300006748.

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Today few people read the works of E. Z. C. Judson, better known as “Ned Buntline”; at least one might have made that claim with confidence before the recent reprinting of his Adventures of Buffalo Bill (1870). He is now remembered as an early practitioner of Western scouting tales, the first promoter of “Buffalo Bill,” before William Cody jettisoned him as a liability, and as the inventor of long-barrelled six-guns, the “Buntline Specials.”
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9

Rogers, Brent M. "When Buffalo Bill Came to Utah". Utah Historical Quarterly 87, n.º 2 (1 de abril de 2019): 116–31. http://dx.doi.org/10.5406/utahhistquar.87.2.0116.

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Evans, Michael. "Buffalo Bill Was Not My Hero". Chicago Review 40, n.º 2/3 (1994): 77. http://dx.doi.org/10.2307/25305849.

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Tesis sobre el tema "Buffalo Bill"

1

Düker, Ronald. "Als ob sich die Welt in Amerika gerundet hätte". Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2008. http://dx.doi.org/10.18452/15707.

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Die Arbeit folgt dem Frontier-Mythos, einer Narration, die für die US-amerikanische Kultur von grundlegender Bedeutung ist. Der Gang von Ost nach West, den die Erschließung und Kultivierung des Kontinents beinhaltete, formierte auf verschiedenen Feldern eine mythologische Erzählung: in der Literatur- und Politikgeschichte und in einer Unterhaltungskultur, die um die Mitte des 19. Jahrhunderts in Form von Groschenromanen oder Wild-West-Shows entstand. Die thematischen Hauptaspekte der Arbeit richten sich auf Geographie, Technologie und Verkehr. Buffalo Bill''s Wild-West-Show, die die Geschichte der frontier als Kampf zwischen Zivilisation und Natur, also modernen Amerikanern und indianischen Ureinwohnern, erzählt, stellt dazu den Cowboy, personifiziert durch den Show-Impresario William F. Cody, in den Mittelpunkt. Der selbst in Bewegung befindliche Showbetrieb korrespondiert dabei der Geschichte, die er erzählt. Mehrere Tourneen nach Europa leisten zudem einen Mythentransport zwischen Alter und Neuer Welt. Dabei geht es insbesondere um die Betonung einer Differenz zwischen zeitlicher Vertikale und räumlicher Horizontale: also zwischen der statisch organisierten Ordnung des europäischen Königshofes (Ahnentafel) und der dynamisch verfassten sowie auf Brüderlichkeit gegründeten amerikanischen Demokratie (moving frontier). Dieses Muster diskutiert die Arbeit anhand von Mark Twains Roman "A Yankee from Connecticut on King Arthur''s Court" und Herman Melvilles "Moby Dick". Letzterer belegt, wie die phantasmatische Energie des Frontier-Mythos auch dann noch insistiert, als der Kontinent erschlossen und der Pazifik erreicht ist: als Kreiselbewegung um den Globus selbst. Hier scheint bereits ein imperialistisches Muster auf, das die USA im Zentrum einer neuen Weltordnung sieht. "Als ob sich die Welt gerade in Amerika gerundet hätte", dieses titelgebende Diktum entstammt Deleuze/Guattaris "Mille Plateaux", das im Hinblick auf seine psychogeographischen Implikationen eine Rahmentheorie der Arbeit bildet. Wie sehr die grundlegende mythische Narration vom Wilden Westen weltpolitische Konsequenzen zeitigt, belegt exemplarisch der letzte Teil der Arbeit, der den Einsatz des Hollywoodregisseurs und Westernspezialisten John Ford in Diensten des Auslandsgeheimdienstes OSS während des Zweiten Weltkriegs zum Thema hat.
The study examines the frontier myth, a narration that is of fundamental importance for the culture of the United States. The path from East to West, which includes the conquering and cultivation of the continent, forms on various levels a mythological narration: in literary and political history as well as in the entertainment culture that arose in the middle of the nineteenth century through penny novels and Wild West shows. The study’s main thematic areas focus on geography, technology, and transportation. In Buffalo Bill’s Wild West show, which narrates the history of the frontier as the battle between civilization and nature (i.e., between modern Americans and Native Americans), the cowboy as personified by the show’s impresario William F. Cody takes center stage. American show business, which was literally underway, thus corresponded with the story/history it told. Several tours to Europe additionally succeeded in transporting the myth from the new to the old world. In particular, this myth-transportation emphasizes a difference between temporally vertical and spatially horizontal planes, i.e., between the static order of the European royal court (family tree) and the dynamically conceptualized American democracy founded on fraternity (moving frontier). The study discusses this model through Mark Twain’s novel A Yankee from Connecticut on King Arthur’s Court and Herman Melville’s Moby Dick. The latter novel evinces how the phantasmagoric energy of the frontier myth even persists when the continent has been conquered and the Pacific Ocean reached – persists as the circular movement around the globe itself. An imperial model thus comes to light that sees the USA at the center of a new world order. The title of this study – “As if the world first became round in America” – comes from Deleuze and Guattari’s Mille Plateaux and its psycho-global implications offers a guiding theory for the work. The extent to which the foundational, mythical narration of the Wild West bears world-political consequences is demonstrated in the last part of the study, which investigates the deployment of the Hollywood director and Western specialist John Ford in the foreign secret service (OSS) during the Second World War.
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2

Slagle, Jefferson D. "In the flesh authenticity, nationalism, and performance on the American frontier, 1860-1925 /". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150295077.

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Quinney, Charlotte Louise. "(DIS)ARTICULATING THE FRONTIER BODY: ARTIFACTS, APPENDAGES, AND SPECTRES IN THE DISCOURSE OF THE AMERICAN WEST". Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1308525892.

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Hughes, Erika Elizabeth. "Authenticity, acting and Americana a history of the Buffalo Bill combination /". 2003. http://catalog.hathitrust.org/api/volumes/oclc/52475931.html.

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Thesis (M.A.)--University of Wisconsin--Madison, 2003.
Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 80-83).
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Shealy, Gregory P. "Buffalo Bill in Germany gender, heroism, and the American West in imperial Germany /". 2003. http://digital.library.wisc.edu/1793/7309.

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Thesis (M.A.)--University of Wisconsin--Madison, 2003.
Typescript. Title from title screen (viewed May 3, 2007). Includes bibliographical references (leaves 87-92). Online version of the print original.
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6

Morkel, Anita. "Buitebladontwerpe as bydrae tot teksinterpretasie van Breyten Breytenbach se Buffalo Bill in die Ongedanste dans / Anita Morkel". Thesis, 1992. http://hdl.handle.net/10394/16500.

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In his text production the co- producer must realize a total text. It holds good especially in the case of Breyten Breytenbach whose paint- work is printed on the cover designs of his texts. An integrated text interpretation is only possible if the relation between the visual and verbal text is examined. The text signs in the cover design of buffalo bill as "die tweede bundel" in the volume series die ongedanste dans indicates an iconic connection with the verbal text contents. The relation is in the text signs (the colour symbols, the indices and icons), the mode of work and coding’s contained therein. The creative co-production of the total text is brought about visually by an iconic coding of the experience of the big Void, the hiatus, the enso (in Japanese). The hiatuses make the transformation of all the text signs possible so that the political, religious, sexual and Breytenbach's airs poetical coding’s therein overlap one another. The cover designs of buffalo bill and also the other volumes in die ongedanste dans are a visualizing of the hiatuses in which this dynamic transformation process can take place. Thus the text signs in the cover designs of die ongedanste dans are a cryptic expression of the coding’s and mode of work in force. The co-producer's normal expectations about text components are perpetually de construed in the hiatuses and at the same time also construed to form new perspectives. All the infinite possibilities that are gradually discovered, lead to insight, satori so that the text components' true context can be seen. The message that the co-producer can bring to himself, is situated in a consciousness of a continues collapse and reconstruction, of structures. The cover design of buffalo bill is a cryptic expression of a ceaseless redefining of absolutely everything.
Thesis (MA)--PU for CHE, 1992.
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Libros sobre el tema "Buffalo Bill"

1

Portes, Jacques. Buffalo Bill. Paris: Fayard, 2002.

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2

Cody, William Frederick. Buffalo Bill. New York. N.Y: Dorchester Publishing, 1999.

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3

ill, Huff Jeane, ed. Bill Buffalo. Prairie Grove, AR: Ozark Pub., 1998.

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4

Szczypiorski, Andrzej. Buffalo Bill. Lublin: Wydawn. Uniwersytetu Marii Curie-Skłodowskiej, 1998.

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5

Buffalo Bill. New York: F. Watts, 1991.

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6

John, Hamilton. Buffalo Bill Cody. Minneapolis, Minn: Abdo & Daughters Pub., 1996.

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7

Shields, Charles J. Buffalo Bill Cody. Philadelphia: Chelsea House Publishers, 2002.

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8

Buffalo Bill Cody. Hockessin, Delaware: Mitchell Lane Publishers, 2016.

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9

Buffalo Bill Cody. New York: Chelsea House, 2010.

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10

1893-1948, Huidobro Vicente, Huidobro Vicente 1893-1948 y Sanchis Dani 1976-, eds. Buffalo Bill romance. Valencia: Media Vaca, 2013.

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Capítulos de libros sobre el tema "Buffalo Bill"

1

Huxley, David. "Inventing and Selling “Buffalo Bill” in Comic Books, 1949–1957". En Lone Heroes and the Myth of the American West in Comic Books, 1945-1962, 9–32. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-93085-5_2.

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Pöschl, Wolfgang. "Eins". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 13–24. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_1.

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Pöschl, Wolfgang. "Zwei". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 25–32. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_2.

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Pöschl, Wolfgang. "Drei". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 33–38. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_3.

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Pöschl, Wolfgang. "Vier". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 39–48. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_4.

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Pöschl, Wolfgang. "Fünf". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 49–55. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_5.

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Pöschl, Wolfgang. "Sechs". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 56–62. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_6.

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Pöschl, Wolfgang. "Sieben". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 63–70. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_7.

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Pöschl, Wolfgang. "Acht". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 71–77. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_8.

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Pöschl, Wolfgang. "Neun". En Buffalo Bill, Sitting Bull und die Architektur der unsichtbaren Supermärkte, 78–90. Vienna: Springer Vienna, 2012. http://dx.doi.org/10.1007/978-3-7091-1035-5_9.

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