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Comments from the editor of Flag Research Quarterly
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This article discusses the use of Confederate-flag discourse in popular music.
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This article introduces the new publication of Flag Research Quarterly and explains its significance to NAVA. It summarizes the main articles in the issue and acknowledges contributors.
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On October 10, 2013, as vexillologists began descending on Salt Lake City for the Association’s 47th Annual Meeting, Utah’s capital hosted another event of great interest to flag scholars. A small group of local historians and archivists, together with invited vexillologists who had travelled to NAVA 47, gathered at the Conservation Laboratory of the LDS Church Archives to examine a unique piece of U.S. political and religious history -- the Nauvoo Legion Life Guard Flag.
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Comments from the editor of Flag Research Quarterly
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Published in Chicago in 1861, “Down with the Traitors’ Serpent Flag” is one of thousands of political parlor songs from the American Civil War. Many of these songs are unremarkable musically and were preserved in homes, archives, and museum collections largely for their vibrant illustrations. In my presentation I examine this song’s lithographic cover illustration—a Union soldier grinding a Confederate flag into the dust—within a broader discourse of Civil War flag imagery taken from songs, political cartoons, and cartes-de-visite. Compelling secrets exist within this colorful image that may not first meet the eye; to uncover these meanings along with the ways in which they operated for 19th-century audiences, I address how citizens used flags as material objects and signs in a wider social context. I argue that this defiled flag can be seen as a symbol of nation and state, as a reminder of the female presence in war, and as a surrogate for the wounded or even deceased human body. By utilizing flag culture to interrogate objects in an art historical or visual culture context, this presentation argues that vexillology should be accepted by the larger scholarly community not only as an independent discipline but as a theoretical approach to the allied fields of art history, material culture, and cultural studies.
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This dissertation engages America's illustrated sheet music through topical analyses of political and social ruptures from the Civil War to World War I. In so doing, it demonstrates that music illustrations fit into larger networks of American picture making, participating in the recording and redirecting of contemporary American anxieties. Chapter 1: Bloody Banner, Silent Drum: The Material Wounded on Civil War Sheet Music argues that violated flags and drums in music illustrations transcended their martial functionality to signify loss of innocence and life; in so doing, they took on their own subjectivity. Chapter 2: Banjos, Rifles, and Razors: Picturing American Blackness investigates the transition from black-face minstrel songs to the "coon song craze" of the 1880s and 1890s, arguing that the stock character's razor, a weapon frequently figured in the songs, was not only a symbol of violence but of white fears of black social mobility. Chapter 3: Hoopskirts and Handlebars: Gender Construction and Transgression in Victorian America offers two case studies, one of cross-dressing pictures after the Civil War, the other of gendered bicycle images, arguing that the American public between the war and the turn of the century enjoyed contemplating the flexibility of gender roles and boundaries. Chapter 4: "There Were Giants in the Earth": Monsters of the First World War argues that popular pictures of American giants and monstrous war machines engaged in symbolic battle with monstrous Huns, who symbolized German atrocity for a Euro-American public uncomfortable with the idea of war with European peoples. At the same time, giants represented the common belief of America's special role in international peace, as neutrality gave way to declared war. Sheet music illustration was a vibrant part of American visual culture. By assessing the layered meanings of these often ignored pictures, my dissertation seeks to recover and restore lost memories of America's usual but fraught visual romance with popular song.
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Comments from the editor of Flag Research Quarterly
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Comments from the editor of Flag Research Quarterly
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Comments from the editor of Flag Research Quarterly
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- Conference Paper (1)
- Journal Article (8)
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- A. J. Higgins (1)
- Alexandria, Virginia (1)
- American Civil War (2)
- American studies (1)
- art history (1)
- Brad Paisley (1)
- Brigham Young (1)
- C. C. Flint (1)
- Charles Shober and Co. (1)
- Church of Jesus Christ of Latter-day Saints (LDS) (1)
- Colonel Elmer Ellsworth (1)
- Confederacy (1)
- Confederate Flags (1)
- Country Music (1)
- Currier & Ives (1)
- Down with the Traitor’s Serpent Flag (1)
- Edward B. Kaye (Ted Kaye) (1)
- First World War (1)
- flag (1)
- flag as a feminine presence (1)
- Flag Clothing (1)
- flag conservation (1)
- Flag Patches (1)
- Flag Research Center (FRC) (1)
- Flag Research Quarterly (1)
- Flag Research Quarterly (publication) (1)
- flag use during the US Civil War (1)
- flags in art (1)
- flags in illustrations (1)
- Gwen Spicer (1)
- Harper’s Weekly (1)
- Hip-hop (1)
- historic flags (1)
- historical flags (1)
- interdisciplinary studies (2)
- James Ferrigan (1)
- Jim Ferrigan (1)
- John Hartvigsen (1)
- Kanye West (1)
- Katie Smith (1)
- LDS flags (1)
- LDS history (1)
- LL Cool J (1)
- Marshall House (1)
- Mormon Battalion (1)
- Mormon flags (1)
- Mormon history (1)
- music (1)
- Nauvoo Legion Life Guard Flag (1)
- NAVA publications (1)
- patriotic illustrations (1)
- patriotic sheet music (1)
- patriotism (1)
- Peter Ansoff (1)
- political symbols (1)
- Popular Music (1)
- propaganda (1)
- Rap Music (1)
- rituals of war (1)
- serpent flag (1)
- sheet music illustrations (1)
- South Carolina (1)
- The Battle Cry of Freedom (1)
- The Battle Hymn of the Republic (1)
- Union (1)
- US Civil War (1)
- vexillological publications (1)
- vexillology (2)
- Virginia (1)
- visual culture (1)
- Whitney Smith (2)
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- writing submissions (1)