04121nam 2200733 a 450 991078287400332120230721005236.00-292-79404-510.7560/718074(CKB)1000000000720622(OCoLC)648341908(CaPaEBR)ebrary10273746(SSID)ssj0000114397(PQKBManifestationID)11143093(PQKBTitleCode)TC0000114397(PQKBWorkID)10125225(PQKB)11627301(MiAaPQ)EBC3443371(OCoLC)967523909(MdBmJHUP)muse50724(Au-PeEL)EBL3443371(CaPaEBR)ebr10273746(DE-B1597)588533(OCoLC)1280943752(DE-B1597)9780292794047(EXLCZ)99100000000072062220070921d2008 ub 0engurcn|||||||||txtccrBranding Texas[electronic resource] performing culture in the Lone Star State /Leigh Clemons1st ed.Austin University of Texas Press20081 online resource (202 p.) Bibliographic Level Mode of Issuance: Monograph0-292-71807-1 Includes bibliographical references (p. [125]-155) and index.Introduction : Texas and the performance of regionality -- "Deep in the heart" : the architectural landscapes of Texan cultural memory -- Teaching "Texan" : the pedagogical function of the Texas revolution -- "What's the matter with you people?" : the performance of authentic behavior in small-town Texan plays -- Selling Texas : the political branding of Texan cultural identity -- Conclusion : "our flag still waves proudly from the walls".Ask anyone to name an archetypal Texan, and you're likely to get a larger-than-life character from film or television (say John Wayne's Davy Crockett or J. R. Ewing of TV's Dallas) or a politician with that certain swagger (think LBJ or George W. Bush). That all of these figures are white and male and bursting with self-confidence is no accident, asserts Leigh Clemons. In this thoughtful study of what makes a "Texan," she reveals how Texan identity grew out of the history—and, even more, the myth—of the heroic deeds performed by Anglo men during the Texas Revolution and the years of the Republic and how this identity is constructed and maintained by theatre and other representational practices. Clemons looks at a wide range of venues in which "Texanness" is performed, including historic sites such as the Alamo, the battlefield at Goliad, and the San Jacinto Monument; museums such as the Bob Bullock Texas State History Museum; seasonal outdoor dramas such as Texas! at Palo Duro Canyon; films such as John Wayne's The Alamo and the IMAX's Alamo: The Price of Freedom; plays and TV shows such as the Tuna trilogy, Dallas, and King of the Hill; and the Cavalcade of Texas performance at the 1936 Texas Centennial. She persuasively demonstrates that these performances have created a Texan identity that has become a brand, a commodity that can be sold to the public and even manipulated for political purposes.Popular cultureTexasHistoryGroup identityTexasHistoryFolkloreTexasHistoryPerforming artsTexasHistoryTheaterTexasHistoryTexasHistoriographyTexasCivilizationTexasHistoryRevolution, 1835-1836DramaTexasHistoryRepublic, 1836-1846DramaPopular cultureHistory.Group identityHistory.FolkloreHistory.Performing artsHistory.TheaterHistory.306.09764Clemons Leigh1967-1539550MiAaPQMiAaPQMiAaPQBOOK9910782874003321Branding Texas3790495UNINA