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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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Raven 3/4, covering 1996 and 1997, appears as a special double issue covering Flags of the Native Peoples of the United States. With 211 text pages, grayscale illustrations throughout, and 16 color plates, the softcover book represents the culmination of 40 years of research by Donald T. Healy. Versions of this work were delivered at the 16th International Congress of Vexillology in Warsaw, Poland in 1995, and at the 17th Congress in Cape Town, South Africa, in 1997. [p. vi]
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