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Civil War-era envelope. Library of Congress, Reproduction Number LC-DIG-ppmsca-26467.
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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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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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Reproduces the abstracts of five articles on varying topics.
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On November 8, 1860, two days after Abraham Lincoln was elected president, the Young Men’s Southern Rights Club in Savannah, Georgia, spread a banner across the Nathanael Greene Monument in Johnson Square. The top of it read: “Our Motto: Southern Rights and the Equality of the States”. Beneath, a rattlesnake twisted above the words “Don’t Tread On Me”. Thousands gathered around the banner to cheer pro-secession speeches, and as reports from Savannah spread nationwide, secessionists raised similar flags throughout the South. Although the “Don’t Tread on Me” flag had symbolized the American colonies’ unified resolve during the colonial era, by the 1860s its message proved so popular among secessionists, the Alabama Beacon referred to it as “the Flag of the Southern Confederacy” while The Morning Democrat in Davenport, Iowa, described the rattlesnake and ”Don’t Tread on Me” pairing as “the Southern Coat of Arms”. Within a year, Unionists were steadily countering with illustrations of rattlers being stomped, stabbed, and eaten by eagles. Northern poets emphasized Jesus’s words in Luke 10:19 (KJV): “Behold, I give unto you power to tread on serpents.” By the end of 1862 Confederates had lowered their rattlesnake flags and embraced the battle flag of the Army of Northern Virginia. Today, most Americans have forgotten the two-year iconographic battle that Unionists fought against the “rattlesnake lords”. This article uses 19th-century newspapers, supplemented with magazines, books, illustrations, and poetry, to tell the full story of this overlooked episode in American history.
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A discussion of the flags of the Confederacy, illustrated by historical flags of the period. Discusses how one flag pattern gained primacy in the South during the Civil War, and how that flag is viewed in contemporary U.S. culture.
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The United States has displayed distinguishing marks on all of its military aircraft, from the observation balloons of the Civil War, through the airplanes of the First and Second World Wars, to today’s cruise missiles. Lavish illustrations show how the U.S. insignia have changed and adapted over time. (1997)
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