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dc.contributor.advisorDavis, Janet M.en
dc.creatorMellard, Jason Deanen
dc.date.accessioned2009-11-10T18:33:54Zen
dc.date.available2009-11-10T18:33:54Zen
dc.date.created2009-05en
dc.date.issued2009-11-10T18:33:54Zen
dc.identifier.urihttp://hdl.handle.net/2152/6695en
dc.descriptiontexten
dc.description.abstractThis dissertation investigates the figure of “the Texan” during the 1970s across local, regional, and national contexts to unpack how the “national” discourse of Texanness by turns furthered and foreclosed visions of a more inclusive American polity in the late twentieth century. The project began in oral history work surrounding the cultural politics of Austin’s progressive country music scene in the decade, but quickly expanded to encompass the larger transformations roiling the state and the nation in the 1970s. As civil rights and feminist movements redefined hegemonic notions of the representative Texan, icons of Anglo-Texan masculinity—the cowboy, the oilman, the wheeler-dealer—came in for a dizzying round of celebration and critique, satire and ritual performance. Such Seventies performances of “the Texan” as took place in Austin’s “cosmic cowboy” subculture provided an imaginative space to refigure Anglo-Texan identity in ways that responded to and internalized the decade’s identity politics. From the death of Lyndon Johnson to Willie Nelson’s picnics, from the United Farm Workers’ marches on Austin to the spectacle of Texas Chic on the streets of New York City, Texas mattered in these years not simply as a place, but as a repository of longstanding American myths and symbols at a historical moment in which that mythology was being deeply contested. This dissertation maps the messy ground of the 1970s in Texas along several paths. It begins some years prior with the Centennial Exposition of 1936 and the regionalism of J. Frank Dobie, Walter Prescott Webb, and Roy Bedichek before proceeding to the challenges to their vision of “the Texan” on the part of the African American civil rights, Chicano, and women’s movements. The dissertation’s central chapters then address the melding of countercultural forms and the state’s traditional Anglo-Texan iconography and music in spaces like Austin’s Armadillo World Headquarters. Popular music, art, film, journalism, and literature evoke this attempted revisioning of Anglo-Texan masculinity in dialogue with the decade’s identity politics.en
dc.format.mediumelectronicen
dc.language.isoengen
dc.rightsCopyright is held by the author. Presentation of this material on the Libraries' web site by University Libraries, The University of Texas at Austin was made possible under a limited license grant from the author who has retained all copyrights in the works.en
dc.subjectTexannessen
dc.subjectTexasen
dc.subjectIdentityen
dc.subjectCultural politicsen
dc.subjectAustinen
dc.subject"Cosmic cowboy"en
dc.subjectAnglo-Texanen
dc.subjectMasculinityen
dc.subjectIdentity politicsen
dc.subjectCountercultureen
dc.subject1970sen
dc.titleCosmic cowboys, armadillos and outlaws: the cultural politics of Texan identity in the 1970sen
dc.description.departmentAmerican Studiesen
thesis.degree.departmentAmerican Studiesen
thesis.degree.disciplineAmerican Studiesen
thesis.degree.grantorThe University of Texas at Austinen
thesis.degree.levelDoctoralen
thesis.degree.nameDoctor of Philosophyen


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