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Geographical features and cultural traits influence the character of big-mountain tourism in Alaska. This research considers the intersectionality of wilderness and frontier concepts on tourism culture, examines guides' and clients' motivations for participation, and relates these influences to the larger phenomena of tourism generally and nature tourism specifically. The findings show that Alaska's big-mountain tourism is globalized in its political and economic scope. Guides imagine themselves as pioneers on a last frontier of mountain pursuits, notions that relate well to images depicted of the region in literature and promoted by the tourism industry. Clients, on the other hand, come to Alaska because of its exceptional geography and unique mountain sporting culture, but are not as enamored with the mythos of the frontier. [ABSTRACT FROM AUTHOR]

This article examines the first tour of Buffalo Bill's Wild West in Italy and the so-called ' sfida dei butteri ' (the challenge of the Italian cowboys of the Pontine marshes), which took place in Rome in March 1890. Analysing nineteenth-century Italian newspapers and photographs, I demonstrate that populist, anti-capitalist, and anti-American sentiments marked the Italian media's responses to the American show. In the historical context of Italy's socioeconomic crisis and of the first phase of colonial expansion in Africa (1870–1922), the mixed reception of Buffalo Bill's Wild West , amplified by the media event of the sfida , shaped the fate of the western genre in Italy. [ABSTRACT FROM AUTHOR]

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Background:  LGBTQ+ people have long used digital media for self-representation but platforms present specific affordances and constraints for sexual identity expression. Analysis:  This article applies the identity modulation framework to TikTok and the account of a user whose representation of lesbian identity is prominent. Conclusions and implications:  While TikTok allows users to control their personal identifiability, it incentivizes them toward a far reach. The platform's algorithm favours posts with a high salience of sexual identity, though only within the bounds of TikTok's vague policies on acceptable self-expression. This case study illustrates how one user navigates these platform dynamics. [ABSTRACT FROM AUTHOR]

The document titled "Author Index" from the journal Vox Sanguinis provides a comprehensive list of authors and their corresponding articles. The index includes a wide range of authors from various backgrounds and disciplines. [Extracted from the article]

The article discusses an art exhibit called "Cowboy" at the Museum of Contemporary Art Denver. The exhibit explores the history and symbolism of the cowboy figure through the work of twenty-seven artists. Divided into three sections, the exhibit aims to present a more authentic and diverse representation of the cowboy. However, it is criticized for not adequately addressing the historical and material conditions of settler colonialism and imperialism. The exhibit highlights the cultural contributions and histories of marginalized communities, such as queer Latinx cowboys, Black rodeo performers, Filipinx Rough Riders, and Indigenous cowboys. It also addresses issues of land, colonization, and identity. The article emphasizes the importance of recognizing and celebrating these lesser-known subcultures and their resilience in the face of violence and erasure. [Extracted from the article]

The article, titled "Cowboy Charity," recounts a personal experience of the author, Justin Goodson, who learned about charity from a cowboy he met in Wyoming. Despite their differences in personality and beliefs, Goodson and the cowboy, named Paul, got along well until a disagreement arose during a camping trip. However, a month later, Paul approached Goodson and apologized, demonstrating an act of charity. This experience taught Goodson the importance of kindness and understanding, even in the face of disagreements. Unfortunately, Paul later took his own life, highlighting the significance of reaching out and reciprocating acts of charity. Goodson concludes that empathy and basic kindness are essential components of charity, connecting all individuals through their shared human experience. [Extracted from the article]

As cultures are mainly divided into collectivistic and individualistic, members tend to emphasize, through communication, either their position as part of their group or their independence from the group. This emphasis is manifested in using the pragmatic concepts of positive politeness and negative politeness. The present study looks into the reflection of these two cultures in Rockstar's renowned video game, Red Dead Redemption 2 (2018). It aims at identifying the two cultures as present in the game and showing their significance to its narrative. It fills the gap in the studies of language used within video games as well as its cultural reflections. The study addresses the following question: What are the positive and negative politeness strategies used in Red Dead Redemption 2 (2018), and what are the implications of using these strategies in its narrative? By adopting Brown and Levinson's (1987) politeness theory, the researcher analyzed the positive and negative politeness used in the scripted dialogue of the in-game cutscenes through the mixed methods approach. The researcher hypothesized that the protagonist shows adherence to a collectivistic culture using positive politeness, and he begins transitioning towards an individualistic culture using negative politeness. The results showed that 75% of the protagonist's interactions contained positive politeness while only 25% contained negative politeness. This transition explains the protagonist's loss of trust and loyalty to his group as he begins to witness the futility of maintaining such loyalty. It also supports the overall narrative of the game as well as its cultural foundations. [ABSTRACT FROM AUTHOR]

Across the social sciences, there is a growing recognition that rural innovation and entrepreneurship are at the frontlines of responding to increasing dynamism and complexity in social, cultural, and economic environments. Yet, a reviewof the disparate literatures on rural venturing reveals that this research has largely escaped the attention of management and entrepreneurship scholars. Our analysis suggests that scholarly progress has been forestalled by three interconnected research practices: gap-spotting scholarship, decontextualized theory-building, and an allegiance to binary oppositions. In response to the challenges posed by these practices, this article identifies three alternative, multiparadigmatic research tools to enhance the effectiveness of management scholars in contributing to multidisciplinary fields of inquiry such as rural entrepreneurship: problematization, hybridization, and contextualization. Through the application of these tools, we develop new avenues to consider the complex interplay between community, space, and place; novel innovation pathways; the power of traditional values and contexts; and the varied nature of modern business venturing. Our work also contributes fresh perspectives on themanner in which management scholars can offer more effective conceptual leadership inmultidisciplinary fields to theorize complex phenomena. [ABSTRACT FROM AUTHOR]

This article examines the position of Andy Adams’ famous work, The Log of a Cowboy, through the lens of Western myth and the concept of coloniality. The novel has been critiqued in a variety of ways over the years, with reviews often citing the same factors in their evaluations. Foremost of these has been Adams’ lack of finesse in his writing style, with his particular attention to what he deemed to be objective truth. In this study, the Log will be re-examined with the aim of providing a fresh insight into how veterans of the Western trails, such as Adams, viewed the dynamic space in which they lived and worked. Therefore, the concept of the frontier, viewed as a stereotypical assumption in both mythological and colonial terms, is used as a lens of investigation in order to critique Adams’ descriptions and viewpoints. The study concludes that although Adams’ intention was to create a work true to life on the trail, he ultimately permitted himself to become another speaker for Western stereotypes. It is proposed that seemingly innocuous literary works such as the Log can be included amongst discussions of colonial fiction in the wider field of American studies and, by extension, in the latter postcolonial sphere, through their construction of stereotypical discourses and the glorifying of trail life.

Arguably the most recognizable figure of Galician manhood on screen today is the aging drug kingpin, as the burgeoning cinematic genre of Galician narco noir exposes global audiences to Galicia’s key role as a gateway for the steady flow of cocaine into Europe. This article engages with current debates in aging, masculinities and disability studies to examine the depiction of the elderly male drug lords in two recent works pertaining to the Galician narco noir genre; Nemo Bandeira, protagonist of the series Vivir sin permiso (2018–2020), based on a short story by Manuel Rivas, and Antonio Padín from the film Quien a hierro mata (2019), a Galician-Spanish co-production directed by Paco Plaza. It is argued that the intersection of aging masculinities with illness and disability in the representation of older drug lords perpetuates but also renegotiates preconceptions about Galician manhood, reflecting broader issues relating to the representation and commodification of gender, age, illness, disability, and power in popular culture. In the context of the stereotypically “masculine” sphere of organized crime, analysis of how the older male demographic is represented in noir brings insight into the construction of Galician identities on screen more generally, signaling to perceptions of the wider societal impact of crime, corruption, and impunity in Galician society. [ABSTRACT FROM AUTHOR]

This paper analyzes sexual themes in two major works by William Inge, a Kansas playwright and closeted homosexual noted for his sympathetic portrayals of lonely, frustrated women. More specifically, it focuses on the highly differentiated descriptions of male and female characters in Come Back, Little Sheba and Bus Stop, as well as the portrayal of male-male relationships in the latter. Both plays (along with Picnic and The Dark at the Top of the Stairs) were among the remarkable string of Broadway successes enjoyed by Inge during the 1950s. Although Inge's sexuality is not directly mentioned in any of his major plays, there are subtle references to it in these two, at least, especially in the lavish attention shown by Inge to male bodies in the stage directions of both, and the surprisingly tender relationship between the cowboys Bo and Virgil in Bus Stop. Before beginning our analysis of sexual themes in these plays, we shall examine the more forthright treatment of homosexuality in some of Inge's minor works, including several one-act plays and the two novels he wrote towards the end of his life. Inge has been unjustly overlooked in critical and theatrical circles since his death in 1973, and it is hoped that the greater interest being shown today in LGBTQ+ artists may lead to a revival of interest in his work. [ABSTRACT FROM AUTHOR]

This article examines the position of Andy Adams' famous work, The Log of a Cowboy, through the lens of Western myth and the concept of coloniality. The novel has been critiqued in a variety of ways over the years, with reviews often citing the same factors in their evaluations. Foremost of these has been Adams' lack of finesse in his writing style, with his particular attention to what he deemed to be objective truth. In this study, the Log will be re-examined with the aim of providing a fresh insight into how veterans of the Western trails, such as Adams, viewed the dynamic space in which they lived and worked. Therefore, the concept of the frontier, viewed as a stereotypical assumption in both mythological and colonial terms, is used as a lens of investigation in order to critique Adams' descriptions and viewpoints. The study concludes that although Adams' intention was to create a work true to life on the trail, he ultimately permitted himself to become another speaker for Western stereotypes. It is proposed that seemingly innocuous literary works such as the Log can be included amongst discussions of colonial fiction in the wider field of American studies and, by extension, in the latter postcolonial sphere, through their construction of stereotypical discourses and the glorifying of trail life. [ABSTRACT FROM AUTHOR]

Copyright of Investigaciones Historicas is the property of Universidad de Valladolid, Facultad de Filosofia y Letras and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Once overshadowed in a tightly controlled media environment, alternative voices in contemporary Singapore found new avenues through the emerging cyberspace from the 1990s. As irreverent satire, critical commentaries, community networks and knowledge repositories blogs, websites and forums, they came to reflect the digital presence and extension of a nascent, autonomous and enduring digital public culture. Extending the discussion of democratic enclaves within authoritarian political cultures, this article positions such sites as democratic enclaves within alternative digital histories, once alluded by Singapore's Prime Minister Lee Hsien Loong as "cowboy towns." Amidst the creeping trends of "flawed democracies" as historical precedence, these sites are reminder to the precarious democratic foundations, possibilities and networks pioneered over the early years of the internet. [ABSTRACT FROM AUTHOR]

This essay explores how the contemporary drag king deconstructs and appropriates the iconography of the classical Hollywood western to reimagine the cowboy figure through subcultural drag performance. Through a combination of interviews and textual, ideological, and genre analyses, this case study illustrates how one drag king in the Washington, DC drag scene, King Molasses, responds to the western's prescriptive and normative constructions of gender and race by naming them and transforming them into new sites of resistance. Dragging the cinematic cowboy troubles the western's thematic binary oppositions between the individual and society, the masculine and feminine, as well as the cowboy archetype's rigid racial construction. The drag king's embodiment of the Hollywood cowboy renders visible the erasures inherent in the American frontier mythology of this figure, and simultaneously infuses these symbols with new meanings in the context of drag performance to create new subcultural voices and subjectivities. [ABSTRACT FROM AUTHOR]