The Antebellum Press: Setting the Stage for Civil War reveals the critical role of journalism in the years leading up to America's deadliest conflict by exploring the events that foreshadowed and, in some ways, contributed directly to the outbreak of war. This collection of scholarly essays traces how the national press influenced and shaped America's path towards warfare. Major challenges faced by American newspapers prior to secession and war are explored, including: the economic development of the press; technology and its influence on the press; major editors and reporters (North and South) and the role of partisanship; and the central debate over slavery in the future of an expanding nation. A clear narrative of institutional, political, and cultural tensions between 1820 and 1861 is presented through the contributors' use of primary sources. In this way, the reader is offered contemporary perspectives that provide unique insights into which local or national issues were pivotal to the writers whose words informed and influenced the people of the time. As a scholarly work written by educators, this volume is an essential text for both upper-level undergraduates and postgraduates who study the American Civil War, journalism, print and media culture, and mass communication history.

Following the suggestion of the historian Peter Parish, these essays probe "the edges" of slavery and the sectional conflict. The authors seek to recover forgotten stories, exceptional cases and contested identities to reveal the forces that shaped America, in the era of "the Long Civil War," c.1830-1877. Offering an unparalleled scope, from the internal politics of southern households to trans-Atlantic propaganda battles, these essays address the fluidity and negotiability of racial and gendered identities, of criminal and transgressive behaviors, of contingent, shifting loyalties and of the hopes of freedom that found expression in refugee camps, court rooms and literary works.

"A remarkable act of personal history: brave, revelatory and unflinchingly honest" WILLIAM BOYD "There is no-one writing in English like this: engaged humanity achieving a hard-won wisdom" DAVID MILLS, The Times Lord of All the Dead is a courageous journey into Javier Cercas' family history and that of a country collapsing from a fratricidal war. The author revisits Ibahernando, his parents' village in southern Spain, to research the life of Manuel Mena. This ancestor, dearly loved by Cercas' mother, died in combat at the age of nineteen during the battle of the Ebro, the bloodiest episode in Spain's history. Who was Manuel Mena? A fascist hero whose memory is an embarrassment to the author, or a young idealist who happened to fight on the wrong side? And how should we judge him, as grandchildren and great-grandchildren of that generation, interpreting history from our supposed omniscience and the misleading perspective of a present full of automatic answers, that fails to consider the particularities of each personal and family drama? Wartime epics, heroism and death are some of the underlying themes of this unclassifiable novel that combines road trips, personal confessions, war stories and historical scholarship, finally becoming an incomparable tribute to the author's mother and the incurable scars of an entire generation.

In 1864, Union soldier Charles George described a charge into battle by General Phil Sheridan: "Such a picture of earnestness and determination I never saw as he showed as he came in sight of the battle field . . . What a scene for a painter!" These words proved prophetic, as Sheridan's desperate ride provided the subject for numerous paintings and etchings as well as songs and poetry. George was not alone in thinking of art in the midst of combat; the significance of the issues under contention, the brutal intensity of the fighting, and the staggering number of casualties combined to form a tragedy so profound that some could not help but view it through an aesthetic lens, to see the war as a concert of death. It is hardly surprising that art influenced the perception and interpretation of the war given the intrinsic role that the arts played in the lives of antebellum Americans. Nor is it surprising that literature, music, and the visual arts were permanently altered by such an emotional and material catastrophe. In The Arts and Culture of the American Civil War, an interdisciplinary team of scholars explores the way the arts - theatre, music, fiction, poetry, painting, architecture, and dance - were influenced by the war as well as the unique ways that art functioned during and immediately following the war. Included are discussions of familiar topics (such as Ambrose Bierce, Peter Rothermel, and minstrelsy) with less-studied subjects (soldiers and dance, epistolary songs). The collection as a whole sheds light on the role of race, class, and gender in the production and consumption of the arts for soldiers and civilians at this time; it also draws attention to the ways that art shaped - and was shaped by - veterans long after the war.

The half-century before the Civil War was beset with conflict over equality as well as freedom. Beginning in 1803, many free states enacted laws that discouraged free African Americans from settling within their boundaries and restricted their rights to testify in court, move freely from place to place, work, vote, and attend public school. But over time, African American activists and their white allies, often facing mob violence, courageously built a movement to fight these racist laws. They countered the states' insistences that states were merely trying to maintain the domestic peace with the equal-rights promises they found in the Declaration of Independence and the Constitution. They were pastors, editors, lawyers, politicians, ship captains, and countless ordinary men and women, and they fought in the press, the courts, the state legislatures, and Congress, through petitioning, lobbying, party politics, and elections. Long stymied by hostile white majorities and unfavorable court decisions, the movement's ideals became increasingly mainstream in the 1850s, particularly among supporters of the new Republican party. When Congress began rebuilding the nation after the Civil War, Republicans installed this vision of racial equality in the 1866 Civil Rights Act and the Fourteenth Amendment. These were the landmark achievements of the first civil rights movement. Kate Masur's magisterial history delivers this pathbreaking movement in vivid detail. Activists such as John Jones, a free Black tailor from North Carolina whose opposition to the Illinois "black laws" helped make the case for racial equality, demonstrate the indispensable role of African Americans in shaping the American ideal of equality before the law. Without enforcement, promises of legal equality were not enough. But the antebellum movement laid the foundation for a racial justice tradition that remains vital to this day.

In Stepdaughters of History, noted scholar Catherine Clinton reflects on the roles of women as historical actors within the field of Civil War studies and examines the ways in which historians have redefined female wartime participation. Clinton contends that despite the recent attention, white and black women's contributions remain shrouded in myth and sidelined in traditional historical narratives. Her work tackles some of these well-worn assumptions, dismantling prevailing attitudes that consign women to the footnotes of Civil War texts. Clinton highlights some of the debates, led by emerging and established Civil War scholars, which seek to demolish demeaning and limiting stereotypes of southern women as simpering belles, stoic Mammies, Rebel spitfires, or sultry spies. Such caricatures mask the more concrete and compelling struggles within the Confederacy, and in Clinton's telling, a far more balanced and vivid understanding of women's roles within the wartime South emerges. New historical evidence has given rise to fresh insights, including important revisionist literature on women's overt and covert participation in activities designed to challenge the rebellion and on white women's roles in reshaping the war's legacy in postwar narratives. Increasingly, Civil War scholarship integrates those women who defied gender conventions to assume men's roles, including those few who gained notoriety as spies, scouts, or soldiers during the war. As Clinton's work demonstrates, the larger questions of women's wartime contributions remain important correctives to our understanding of the war's impact. Through a fuller appreciation of the dynamics of sex and race, Stepdaughters of History promises a broader conversation in the twenty-first century, inviting readers to continue to confront the conundrums of the American Civil War.

Despite over 20,000 published books on the Spanish civil war, it remains the case that the social and cultural dimensions of the conflict have been relatively under-researched. Ruptura focuses on how nationalism, and extremist conceptions and projects, defined daily life experiences in both the battlefield and civilian cities and towns. A principal objective is to demonstrate that the civil war was not a struggle waged between ideologies disconnected from the preoccupations and daily lives of the Spanish people. A tripartite division of the chapter contributions -- Construction of the war; Wartime experiences; Memory and legacies -- brings to light the climate of violence, the social and symbolic transformations resulting from political divergence, and the widespread uncertainty that shaped the behavior, attitudes, lifestyles, practices and experiences of both combatants and civilians. New theoretical approaches on so-called war studies are addressed and engaged with. Several contributions frame their analyses within the international context of radicalization and political violence of interwar Europe. However, attention to the European frame does not diminish the importance accorded throughout the volume to the events that occurred in Spain. Without an understanding of the development of extremist projects, ideologies and attitudes in their particular and international dimensions it is impossible to explain the atmosphere of severe social radicalization and the unprecedented levels of violence reached during and after the civil war. In present times, when the relationship of extremism and nationalism to civil war is once again at the heart of public discourse and a preoccupation of media and governments, an historical perspective on these questions could not be more timely or necessary. Published in association with the Canada Blanch Centre for Contemporary Spanish Studies.

African American women enslaved by the Cherokee, Choctaw, Chickasaw, Seminole, and Creek Nations led lives ranging from utter subjection to recognized kinship. Regardless of status, during Removal, they followed the Trail of Tears in the footsteps of the slaveholders, suffering the same life-threatening hardships and poverty. As if Removal to Indian Territory weren't cataclysmic enough, the Civil War shattered the worlds of these slave women even more, scattering families, destroying property, and disrupting social and family relationships. Suddenly free, they had nowhere to turn. Freedwomen found themselves negotiating new lives within a labyrinth of federal and tribal oversight, Indian resentment, and intruding entrepreneurs and settlers. Remarkably, they reconstructed their families and marshaled the skills to fashion livelihoods in a burgeoning capitalist environment. They sought education and forged new relationships with immigrant black women and men, managing to establish a foundation for survival. Linda Williams Reese is the first to trace the harsh and often bitter journey of these women from arrival in Indian Territory to free-citizen status in 1890. In doing so, she establishes them as pioneers of the American West equal to their Indian and other Plains sisters.

The twenty essays collected here explore the Virginia story throughout the Civil War era. Some contributors examine Robert E. Lee and the issues confronting his men, such as soldier morale and religious conversion. Others emphasize the wartime home front--in some cases reexamining its connection with the battlefront--or explore questions of gender, race, or religion. Several essays extend the story into the postwar years and consider various Virginia individuals or groups in the context of the conflict's aftermath. Building on current knowledge, but often contesting conventional thinking, the essays give the most comprehensive view yet of Civil War Virginia and suggest avenues of inquiry that remain to be explored.

Contributors: Ian Binnington * Theodore C. DeLaney * Michael Fellman * Lisa Tendrich Frank * Monte Hampton * Wayne Wei-siang Hsieh * Charles F. Irons * Caroline E. Janney * Suzanne W. Jones * Ervin L. Jordan Jr. * Charles Joyner * Daniel Kilbride * Susanna Michele Lee * Lucinda H. MacKethan * John M. McClure * Amy Feely Morsman * Jason Phillips * David G. Smith * Emory M. Thomas * Peter Wallenstein * Bertram Wyatt-Brown

This work provides an authoritative illustrated examination of the second day of the Battle of Gettysburg, analyzing both grand strategy, and the tactical decisions of Day Two and the ensuing combat. July 2, 1863 was the bloodiest and most complicated of the three days of the Battle of Gettysburg. On this day, the clash involved five divisions of Confederate infantry and their accompanying artillery battalions, as well as a cavalry skirmish at nearby Hunterstown. The bulk of the Union army engaged on the second day of fighting, including men from the 2nd, 3rd, 5th, 6th, 11th and 12th Corps. Assisted by superb maps and 3D diagrams, this fascinating work describes the tactical play-by-play, the customary "who did what" of the battle. Among the famous actions covered are Hunterstown and Benner's Hill, Little Round Top, Devil's Den, the Rose Wheatfield, the Peach Orchard, and Culp's and Cemetery hills. The critical decisions taken on the second day are examined in detail, and why the commanders committed to them. Gettysburg was-first and foremost-a soldier's battle, full of raw emotion and high drama, and this work also examines the experience of combat as witnessed by the rank and file, bringing this to life in stunning battlescene artworks and primary accounts from common soldiers.

Katherine Franke makes a powerful case for reparations for Black Americans by amplifying the stories of formerly enslaved people and calling for repair of the damage caused by the legacy of American slavery. Repair invites readers to explore the historical context for reparations, offering a detailed account of the circumstances that surrounded the emancipation of enslaved Black people in two unique contexts, the Sea Islands of South Carolina and Davis Bend, Mississippi, Jefferson Davis' former plantation. This is an updated second edition of the original book with new material from the author.

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor's Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole's Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale's Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.

Often relegated to a backseat by action in the Eastern Theater, the Western Theater is actually where the Federal armies won the Civil War. In the West, General Ulysses S. Grant strung together a series of victories that ultimately led him to oversee Robert E. Lee's surrender at Appomattox Court House and, eventually, two terms in the White House. In the West, the fall of Atlanta secured Lincoln's reelection for his own second term. In the West, Federal armies split the Confederacy in two - and then split it in two again. In the West, Federal armies inexorably advanced, gobbling up huge swaths of territory in the face of ineffective Confederate opposition. By war's end, General William T. Sherman had marched the "Western Theater" all the way into central North Carolina. In the Eastern Theater, the principal armies fought largely within a 100-mile corridor between the capitals of Washington, D.C., and Richmond, Virginia, with a few ill-fated Confederate invasions north of the Mason-Dixon Line. The Western Theater, in contrast, included the entire area between the Appalachian Mountains and the Mississippi River, from Kentucky in the north to the Gulf of Mexico in the south - a vast geographic expanse that, even today, can be challenging to understand. The Western Theater of War: Favorite Stories and Fresh Perspectives from the Historians at Emerging Civil War revisits some of the Civil War's most legendary battlefields: Shiloh, Chickamauga, Franklin, the March to the Sea, and more.

The history of the Moroccan troops in the Spanish Civil War (1936-1939) is the story of an encounter between two culturally and ethnically different people, and the attempts by both sides, Moroccan and Spanish, to take control of this contact. This book shows to what extent colonials could participate in negotiating limits and taboos rather than being only on the receiving end of them. The examination of this encounter, in its military, religious, as well as sexual aspects, sheds new light on colonial relations, and on how unique or typical the Spanish colonial case is in comparison to other European ones.

This title, first published in 1995, explores the history of the American Missionary Association (AMA) - an abolitionist group founded in New York in 1846, whose primary focus was to abolish slavery, to promote racial equality and Christian values and to educate African Americans. This title will be of interest to students of history and education.

"More Civil War Curiosities" contains strange but true stories from the four-year conflict that raged across a one-thousand-mile battle front with more than three million men in uniform. Anything could and often did happen. Webb Garrison recounts instances of friendly fire casualties, the unperfected art of spying, banishments and deportings, grisly tales of missing limbs, name changes for both people and ships, disguises that worked (and some that did not), and many "firsts" and "lasts."

Fragging, or purposely killing a fellow soldier, was the probable cause of the death of Thomas Wilson, a tyrannical Federal general. He died in action at the battle of Baton Rouge when, according to one account, he was seized by a group of his own men who held him in front of a cannon before it was fired at the enemy.

When Confederate Gen. Jubal Early marched on Frederick, Maryland, he offered not to torch the town for a payment of $200,000. It took the townspeople a day to borrow the money―and 87 years to pay it back. When Chambersburg, Pennsylvania, failed to raise a ransom of $500,000, Early's subordinate, Gen. John McCausland, burned the town to the ground.

The arm of Confederate Gen. Stonewall Jackson was amputated when he was wounded at the battle of Chancellorsville. Following the operation, Jackson's corps chaplain gave the arm a respectful burial―complete with a gravestone―in his family's cemetery. When the general died a week later, the rest of him was buried in Lexington, Virginia.

Hiram Ulysses Grant was mistakenly listed as Ulysses Simpson Grant by the congressman appointing him to West Point. Grant did not protest, and the name stayed with him all the way to the presidency of the United States.

Visual Propaganda, Exhibitions, and the Spanish Civil War is a history of art during wartime that analyzes images in various media that circulated widely and were encountered daily by Spaniards on city walls, in print, and in exhibitions. Tangible elements of the nation's past"monuments, cultural property, and art-historical icons"were displayed in temporary exhibitions and museums, as well as reproduced on posters and in print media, to rally the population, define national identity, and reinvent distant and recent history. Artists, political-party propagandists, and government administrators believed that images on the street, in print, and in exhibitions would create a community of viewers, brought together during the staging of public exhibitions to understand their own roles as Spaniards. This book draws on extensive archival research, brings to light unpublished documents, and examines visual propaganda, exhibitions, and texts unavailable in English. It engages with questions of national self-definition and historical memory at their intersections with the fine arts, visual culture, exhibition history, tourism, and propaganda during the Spanish Civil War and immediate post-war period, as well as contemporary responses to the contested legacy of the Spanish Civil War. It will be of interest to scholars in art history, visual and cultural history, history, and museum studies.

An insignificant crossroads in northeast Mississippi was an unlikely battleground for one of the most spectacular Confederate victories in the western theater of the Civil War. But that is where two generals determined destiny for their men. Union general Samuel D. Sturgis looked to redeem his past military record, while hard-fighting Confederate general Nathan Bedford Forrest aimed to drive the Union army out of Mississippi or die trying. In the hot June sun, their armies collided for control of north Mississippi in a story of courage, overwhelming odds and American spirit. Blue Mountain College professor Stewart Bennett retells the day's saga through a wealth of first-person soldier accounts.

Because of its clandestine nature, much of the history of the Underground Railroad remains shrouded in secrecy--so much so that some historians have even doubted its importance. After decades of research, Tom Calarco recounts his experiences compiling evidence to give credence to the legend's oral history in upstate New York. As the Civil War loomed and politicians from the North and South debated the fate of slavery, brave New Yorkers risked their lives to help fugitive slaves escape bondage. Whites and blacks alike worked together on the Underground Railroad, using ingenious methods of communication and tactics to stay ahead of the slave master and bounty hunter. Especially after the passage of the Fugitive Slave Act, conscientious residents doubled their efforts to help runaways reach Canada. Join Calarco on this journey of discovery of one of the noblest endeavors in American history.

This text caused a major stir when it was first published in 1976. Redirecting scholarly attention to the county communties, it reassessed their role in the events of the 1630s and 1640s, claiming they were far more independent of London and the national leadership than usually supposed, and that provincial opinion was itself a powerful actor in the countdown to civil war. Much work has since appeared to confirm or modify these findings. In this reset second edition the original survives largely untouched; but now includes entirely new histiorographic commentary on the text and supporting documents.

John Morrill has been at the forefront of modern attempts to explain the origins, nature and consequences of the English Revolution. These twenty essays -- seven either specially written or reproduced from generally inaccessible sources -- illustrate the main scholarly debates to which he has so richly contributed: the tension between national and provincial politics; the idea of the English Revolution as "the last of the European Wars of Religion''; its British dimension; and its political sociology. Taken together, they offer a remarkably coherent account of the period as a whole.

Consolidating one of the most complex and multi-faceted eras in American History, this new edition of Jonathan Wells's A House Divided unifies the broad and varied scholarship on the American Civil War. Amassing a variety of research, this accessible and readable text introduces readers to both the war and the Reconstruction period, and how Americans lived during this time of great upheaval in the country's history. Designed for a variety of subjects and teaching styles, this text not only looks at the Civil War from a historical perspective, but also analyzes its ramifications on the United States and American identities through the present day. This second edition has been updated throughout, incorporating new scholarship from recent studies on the Civil War era, and includes additional photographs and maps (now incorporated throughout the text), updated bibliographies, and a supplementary companion website.

Between 1854 and 1861, the struggle between pro-and anti-slavery factions over Kansas Territory captivated Americans nationwide and contributed directly to the Civil War. Combining political, social, and military history, Bleeding Kansas contextualizes and analyzes prewar and wartime clashes in Kansas and Missouri and traces how these conflicts have been remembered ever since. Michael E. Woods's compelling narrative of the Kansas-Missouri border struggle embraces the diverse perspectives of white northerners and southerners, women, Native Americans, and African Americans. This wide-ranging and engaging text is ideal for undergraduate courses on the Civil War era, westward expansion, Kansas and/or Missouri history, nineteenth-century US history, and other related subjects. Supported by primary source documents and a robust companion website, this text allows readers to engage with and draw their own conclusions about this contentious era in American History.