The American Frontier in Popular Culture
The exploration, settlement, exploitation, and conflicts of the "American Old West" form a unique tapestry of events, which has been celebrated by Americans and foreigners alike—in art, music, dance, novels, magazines, short stories, poetry, theater, video games, movies, radio, television, song, and oral tradition—which continues in the modern era. Levy argues that the physical and mythological West inspired composers Aaron Copland, Roy Harris, Virgil Thomson, Charles Wakefield Cadman, and Arthur Farwell.
The Frontier Thesis of Wisconsin historian Frederick Jackson Turner, proclaimed in 1893, established the main lines of historiography which fashioned scholarship for three or four generations and appeared in the textbooks used by practically all American students.
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“Like other secret lovers, many speak mockingly about popular culture to conceal their passion for it.”
—Mason Cooley (b. 1927)
“Speed is scarcely the noblest virtue of graphic composition, but it has its curious rewards. There is a sense of getting somewhere fast, which satisfies a native American urge.”
—James Thurber (1894–1961)
“What is an artist? A provincial who finds himself somewhere between a physical reality and a metaphysical one.... It’s this in-between that I’m calling a province, this frontier country between the tangible world and the intangible one—which is really the realm of the artist.”
—Frederico Fellini (b. 1920)
“O, popular applause! what heart of man
Is proof against thy sweet, seducing charms?”
—William Cowper (1731–1800)
“In society, in the best institutions of men, it is easy to detect a certain precocity. When we should still be growing children, we are already little men. Give me a culture which imports much muck from the meadows, and deepens the soil,—not that which trusts to heating manures, and improved implements, and modes of culture only!”
—Henry David Thoreau (1817–1862)