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| * (In)equality in American Westerns | * (In)equality in American Westerns | ||
| * Regeneration through violence in Hollywood Westerns | * Regeneration through violence in Hollywood Westerns | ||
| + | * American Wars and the Western | ||
| * Discuss the following statement: "“The Western’s Indian does not stand in the way of American progress so much as he stands in the way of the coming-to-be of the American.” Armando J. Prats, ''Invisible Natives: Myth and Identity in the American Western'', Ithaca and London: Cornell University Press, 2002, p. 10. | * Discuss the following statement: "“The Western’s Indian does not stand in the way of American progress so much as he stands in the way of the coming-to-be of the American.” Armando J. Prats, ''Invisible Natives: Myth and Identity in the American Western'', Ithaca and London: Cornell University Press, 2002, p. 10. | ||
| * Discuss the following statement: “[S]ince the Western offers itself as a myth of American origins, it implies that its violence is an essential and necessary part of the process through which American society was established and through which its democratic values are defended and enforced.” Richard Slotkin, ''Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America'' [1992], Norman: University of Oklahoma Press, 1998, p. 352. | * Discuss the following statement: “[S]ince the Western offers itself as a myth of American origins, it implies that its violence is an essential and necessary part of the process through which American society was established and through which its democratic values are defended and enforced.” Richard Slotkin, ''Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America'' [1992], Norman: University of Oklahoma Press, 1998, p. 352. | ||
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| * Discuss the following statement: “As America’s foundation ritual, the Western projects a formalized vision of the nation’s infinite possibilities and limitless vistas, thus serving to “naturalize” the policies of westward expansion and Manifest Destiny.” Thomas Schatz, ''Hollywood Genres: Formulas, Filmmaking and the Studio System'', New York: Random House, 1981, p. 47. | * Discuss the following statement: “As America’s foundation ritual, the Western projects a formalized vision of the nation’s infinite possibilities and limitless vistas, thus serving to “naturalize” the policies of westward expansion and Manifest Destiny.” Thomas Schatz, ''Hollywood Genres: Formulas, Filmmaking and the Studio System'', New York: Random House, 1981, p. 47. | ||
| * Discuss the following statement: “It seems to me that the cattle town experience points toward a remarkable truth: despite all the mythologizing, violent fatalities in the Old West tended to be rare rather than common. Does that mean it was a wholesome tranquil place? Probably not. But it was clearly a safer – and one heck of a lot saner – West than ever dreamt of in our national imagination.” Robert R. Dykstra, “Field Notes: Overdosing on Dodge City,” ''Western Historical Quarterly'', 27, Winter 1996, in Clyde A. Milner II, Anne M. Butler & David Rich Lewis, ''Major Problems in the History of the American West: Documents and Essays'', New York: Houghton Mifflin Company, 1997, p. 221. | * Discuss the following statement: “It seems to me that the cattle town experience points toward a remarkable truth: despite all the mythologizing, violent fatalities in the Old West tended to be rare rather than common. Does that mean it was a wholesome tranquil place? Probably not. But it was clearly a safer – and one heck of a lot saner – West than ever dreamt of in our national imagination.” Robert R. Dykstra, “Field Notes: Overdosing on Dodge City,” ''Western Historical Quarterly'', 27, Winter 1996, in Clyde A. Milner II, Anne M. Butler & David Rich Lewis, ''Major Problems in the History of the American West: Documents and Essays'', New York: Houghton Mifflin Company, 1997, p. 221. | ||
| + | * Discuss the following statement: ‘Trying to grasp the enormous human complexity of the American West is not easy under any circumstances, and the effort to reduce a tangle of many-sided encounters to a world defined by a frontier line only makes a tough task even tougher.’ (Patricia Nelson Limerick, ‘The Adventures of the Frontier in the Twentieth Century’, in James R. Grossman (ed.), ''The Frontier in American Culture'', Berkeley, CA: University of California Press, 1994, p. 73.) | ||
| ===Contre-culture=== | ===Contre-culture=== | ||
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Agrégation Externe : annales des sujets de leçon de civilisation
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