it's not your country any more'. contested national narratives and the columbus Day parade protests in Denver abStract This article explores long-standing American Indian opposition to Columbus Day in Denver. In 2007, Glenn Morris, a leading activist from the American Indian Movement of Colorado, stated that the rejection of the racist philosophy behind Columbus Day 'may be the most important issue facing Indian country today'. Activism aimed at Columbus Day and the parades is a struggle over identity and historical memory, and Denver forms a distinctive, complex and emotive stage. The ideological nature of American Indian opposition to the holiday is examined and discussed as a blend of patriotic counter-narrative and nationalistic counter-memory. The opposition aims to highlight the historical actions of Columbus, but this is ultimately less important than confronting the way in which a conservative, individualistic myth of Columbus infuses itself into American society and psyche; the crux of activism revolves around the legacy of Columbus and the wider issues of decolonization that this raises.
Aims and ScopeWide-ranging in scope, this journal explores how war has affected culture in the twentieth and twenty-first centuries. In particular, it emphasizes cultural histories and cultural production as significant forces that have shaped experiences, representations and memories of war.
Call for PapersWe invite contributions in the field of cultural history, literary studies, and all forms of visual studies that explore the relationship between war and culture during conflict and its aftermath. Contributions in related aspects of social sciences, and social and political history will also be considered.
This article explores how the mythic, nineteenth-century American frontier is authenticated by postmodern forms of storytelling. The study examines accounts of William Cody’s extensive 1902–1903 Buffalo Bill’ s Wild West tours in the United Kingdom and the futuristic television series, HBO’s Westworld (2016–), which is set in an android-hosted theme park. Comparing the semiotics of the two examples indicates how over a century apart, the authentication of the myth involves repeating motifs of setting, action and character central to tourist fantasies. The research illustrates how some elements of the myth seem to remain fixed but are negotiable. It is suggested that both examples are versions of a ‘hyper-frontier’, a nostalgic yet progressive, intertextual retelling of the American West and its archetypal characters, characterised by advanced technology. The implications for tourism are that simulating the authenticity of the frontier myth creates doubts in its veracity paradoxically due to its lifelikeness.
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