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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“If we can “boondoggle” ourselves out of this depression, that word is going to be enshrined in the hearts of the American people for years to come.”
—Franklin D. Roosevelt (1882–1945)
“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.”
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“We live under continual threat of two equally fearful, but seemingly opposed, destinies: unremitting banality and inconceivable terror. It is fantasy, served out in large rations by the popular arts, which allows most people to cope with these twin specters.”
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“A culture may be conceived as a network of beliefs and purposes in which any string in the net pulls and is pulled by the others, thus perpetually changing the configuration of the whole. If the cultural element called morals takes on a new shape, we must ask what other strings have pulled it out of line. It cannot be one solitary string, nor even the strings nearby, for the network is three-dimensional at least.”
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