Wonderfully entertaining. Let legendary author Johanna Lindsey capture your heart with her unforgettable romance. Billy the Kid. Butch Cassidy. When these bold men walked into town with six-shooters in their holsters, most people fled quickly. That is, except for the lawmen willing to take them on. Although lawmen and outlaws stood for very different ideals, they did share one thing in common, gunfighting. To live in the Wild West, especially as a bank robber or sheriff, handling a gun was necessary.
Author Jeff Savage discusses the dangerous world of the gunfighter. Based on both fictional and authenticated facts, his notorious life has become the stuff of legend. The legendary Texas gunfighter led the life of ten mortal men and was a walking contradiction.
At times, he was the polite southern gentleman, whom the girls loved, to a two-gun, fast draw sharpshooter who feared no one and would kill at the drop of a hat.
Even as a teenager, he became the lightning rod for pro-southern sentiment, which was still festering in the Texas Reconstruction Era more than ten years after the Civil War. To many, he was considered a hero for standing up to the Federal Army and State Police occupation of the Texas land that they had fought and died for, but to others, he was a villain.
In truth, he was a little of both. But even with all of his confrontations, enemies, and adversaries, John Wesley Hardin never faced a more significant opponent or more serious threat to his life than his own formidable self. While claiming his, every violent act was out of the "first law of nature: self-preservation," again and again, he made choices that jeopardized his life due to his fiery temper and eventually led to his destruction.
Hardin was a prime example of that particular breed of men known as a gunfighter and took pride in the fact of being the fastest draw and most accurate shooter of any living man. He knew that firing a gun in self-defense or anger did not make one an accomplished gunfighter and was proud of his lightning-fast draw and accurate marksmanship.
We all know that the Western gunfight seldom if ever occurred the ways it's been commonly portrayed in movies: the mannerly encounter at high noon, revolvers holstered until the very last second, giving one's opponent a chance for a fair draw, guns shot out of hands without a bloody shattering of fingers and palms or apologizing to a downed hombre with a dusty drawl. However, it is a fact. Score: 5.
Weight Levels. Running Levels. Today, paper books are not as popular as a couple of decades ago due to the emergence of electronic books ebooks. He begins the journey.
Gunfighters, Highwaymen, and Vigilantes. From the Preface:On the frontier, says conventional wisdom, a structured society did not exist and social control was largely absent; law enforcement and the criminal justice system had limited, if any, influence; and danger--both from man and from the elements--was ever present. This view of the frontier is projected by. The Gunfighters. Period photographs and documents, along with eyewitness accounts and personal reminiscences, present a fascinating journey into the Old West, offering portraits of the frontier's most famous--and infamous--gunfighters.
The growing recognition that ethnicity is not fixed and inherent, but elastic and constructed, fuels the essays in this collection. Regarding identity as a dynamic, on-going, formative and transformative process,We Are a Peopleconsiders narrative—the creation and maintenance of a common story—as the keystone in building a sense of peoplehood.
Myths of origin, triumph over adversity, migration, and so forth, chart a group's history, while continual additions to the larger narrative stress moving into the future as a people. Still, there is more to our stories as individuals and groups. Most of us are aware that we take on different roles and project different aspects of ourselves depending on the situation.
Some individuals who have inherited multiple group affiliations from their families view themselves not as this or that but all at once. So too with ethnic groups. The so-called hyphenated Americans are not the only people in the world to recognize or embrace their plurality. This relatively recent acknowledgment of multiplicity has potentially wide implications, destabilizing the limited and limiting categories inscribed in, for example, public policy and discourse on race relations.
We Are a Peopleis a path-breaking volume, boldly illustrating how ethnic identity works in the real world. Elise Marubbio examines the sacrificial role in which a young Native woman allies herself with a white male hero and dies as a result of that choice.
As such, the Native American woman is a racialized and sexualized other. A conquerable body, she represents both the seductions and the dangers of the American frontier and the Manifest Destiny of the American nation to master it. This book explores that question by analyzing how the Planet of the Apes films functioned both as entertaining adventures and as apocalyptic political commentary.
Informative and thought provoking, the book demonstrates how this enormously popular series of secular myths used images of racial and ecological crisis to respond to events like the Cold War, the race riots of the s, the Civil Rights movement, the Black Power movement, and the Vietnam War.
The work utilizes interviews with key filmmakers and close readings of the five Apes films and two television series to trace the development of the series' theme of racial conflict in the context of the shifting ideologies of race during the sixties and seventies. The book also observes that today, amid growing concerns over race relations, the resurgent popularity of Apes and Twentieth Century--Fox's upcoming film may again make Planet of the Apes a pop culture phenomenon that asks who we are and where we are going.
Jeffrey Richards develops and broadens our understanding of Ford's film-making oeuvre by studying his non-Western films through the lens of Ford's life and abiding preoccupations.
Ford's other cinematic worlds included Ireland, the Family, Catholicism, War and the Sea, which share with his westerns the recurrent themes of memory and loss, the plight of outsiders and the tragedy of family breakup. In all, this collection provides a diverse selection of chapters that represent current thinking on this enduring genre. In Savage Perils, Sharp examines the racial underpinnings of American culture, from the early industrial age to the Cold War.
He explores the influence of Darwinism, frontier nostalgia, and literary modernism on the history and representations of nuclear weaponry. Taking into account such factors as anthropological race theory and Asian immigration, he charts the origins of a worldview that continues to shape our culture and politics. Citing George W.
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