Gauguin, Buffalo Bill, and the Cowboy Hat by Nancy Mowll Mathews

“…In this paper, I show how the French post-impressionist artist Paul Gauguin absorbed Buffalo Bill’s dual cowboy and Indian mythologies from his visits to the Wild West show, which ran alongside the 1889 Paris international exposition. …”
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The South between Two Frontiers: Confederate Cowboys and Savage Rednecks by Hervé Mayer

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Saumade Frédéric et Jean-Baptiste Maudet, Cowboys, clowns et toreros : l’Amérique réversible by Thierry Veyrié

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“I’m Just a Cowboy”: Transnational Identities of the Borderlands in Tommy Lee Jones’ The Three Burials of Melquiades Estrada. by Matthew Carter

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The Frontier in Paris: Artists from the American West in the French Capital, 1890–1900 by James R. Swensen

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Türk Western’ine Yapısalcı Bir Yaklaşım: Yahşi Batı Örneği by Şükrü Sim, Semih Göncü

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Penser éducation au politique et questions environnementales dans la démocratie by Camille Roelens

“…A brief illustrative study of the approach and work of the Canadian music group Les Cowboys fringants (3) shows how this type of informal educator can play an important role to provide resources and porpositions of influence for human autonomy in dealing with environmental issues within the democratic political framework.…”
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“I think it was in poor taste that you were doing Murtaugh in whiteface” – Blackface goes West (and White) in It’s Always Sunny in Philadelphia (FX, 2005-) by Sébastien Lefait

“…To contradict the notion that the blackface tradition can exclusively travel following a South/North axis, this article considers how this tradition has recently applied to the West of cowboys and Indians, and to their contemporary siblings, the cops and villains of action movies. …”
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Cherchez la Femme en The Ox-Bow Incident de Wellman: analizando fractales by Rose Lema

“…Por último, se argumenta que la Geometría Fractal de la Naturaleza conduce a descentralizar el rol de los cowboys que llevan a cabo el linchamiento, mientras que se centra el papel de las mujeres, y, en especial, a visualizar dos personajes femeninos virtuales, gesto que rompe con la aparente linearidad de la trama.…”
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O segredo de Brokeback Mountain e Boi Neon: paisagens, masculinidades e normatividades de genero by Breno César de Almeida da Silva, Rafael De Tilio

“…De manera general, los cowboys del Secreto en la Montaña son hombres hipermasculinizados (viriles, trabajadores y agresivos) que aunque mantienen relaciones sexuales no se consideran homosexuales ya que están casados con mujeres y tienen hijos; y los campesinos presentes en Boi Neon también ejercen papeles típicos de hombres heterosexuales a pesar de tener actitudes y representaciones no siempre consideradas heteronormativas por sus géneros. …”
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The Wandering Character in the Coen Brothers’ Films: When the Southern Gothic Meets the Western by Julie Assouly

“…If the image of the lonesome cowboy traditionally haunts classical Westerns, the bounty hunter chasing outlaws remains a key character of the spaghetti Western, and revisionist Westerns in general. …”
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O poder de denúncia do cordel no cinema: O romance do vaqueiro voador, de João Bosco Bezerra Bonfim e Manfredo Caldas by Sylvie Debs

“…This article aims to discuss some questions: why choose as a character a pot cowboy to wander in the places of the tragedy? Why use a cordel to give origin to another movie?…”
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Too Far Gone: The Psychological Games of Cormac McCarthy’s All the Pretty Horses by Michael Wainwright

“…This article uses Jacques Lacan’s reading of the Freudian fort-dagame to analyze that most American of cultural constructs, the cowboy, at the time of that figure’s fading from the American landscape: the immediate postwar years.  …”
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Racial Violence at the Crossroads of West and South in Rosewood (John Singleton, 1997) by Claire Dutriaux

“…Almost twenty years before Quentin Tarantino’s Django Unchained, African American film director John Singleton’s Rosewood (1997) told the violent racial history of the South during the Jim Crow era and the real suffering they experienced at the hands of Whites, via a combination of a western-style narrative with a black cowboy hero and a historical drama. This article explores the interplay between South and West and examines how Rosewood borrows from the Western genre to explore and rewrite racial history in the American South. …”
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“Helt Texas, Morgan Kane!”: Notes on the Pedagogies of Finding, Documenting, and Teaching the American West in Norwegian Backyards by Stefan Rabitsch

“…For example, the students’ findings included but were not limited to country-specific (re)imaginings of the mythic West in different media, heterotopic spaces of performance, play, consumption and the hyperreal, instances of ‘playing Indian,’ iconographic scatterings, cowboy/Western poetics in music, and more. Ultimately, this article illustrates how that which we study from afar may be found in more local(ized) Norwegian contexts, imaginaries, and cultural practices. …”
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Riding High in the Saddle: African American Subversion in the 1930s Western by Susan Savage Lee

“…In doing so, Williams includes elements of the western that are familiar to audiences, such as the singing cowboy genre. He then pairs this familiar element with subversive ones like the use of dialect and the trickster figure. …”
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Transformations of the American hero in the US media discourse by Svitlana Lyubymova

“…In different periods, the American hero is represented by a first settler, a cowboy, a ranger, a scientist. This stereotype functions as a model pattern for evaluating individuals and social groups. …”
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