The massive mortality rates of the American Civil War challenged mid-nineteenth century Americans' understandings and relationship with death. Faced with inadequate methods of individual identification and record-keeping that were unable to keep up with the overwhelming mobilization of both men and resources that the war demanded, many soldiers simply disappeared or were buried under a stone marked "unknown." Even soldiers who kept their names died far from home, away from family, in a manner that challenged nineteenth century traditions of death. These factors caused many soldiers to seek some manner of permanence to ensure that their name would not be forgotten following death. This project examines the ways in which soldiers used visual culture, particularly graffiti, drawings, and studio photographs, to find permanence amidst the destruction and death of war. By looking at the subjects of and the ways that soldiers used the visual culture they created, this thesis seeks to understand the value of visual culture as both an outlet for soldiers of the Civil War and as an invaluable source for historical research today. This project first explores the role of religion as both a subject of and an influence on visual culture. It then moves on to examine how soldiers used visual culture as a means finding permanence, including as a means of claiming a place in and piece of the war and as a form of memorialization. By examining the power of visual culture for finding permanence, this project provides insight into the ways in which soldiers sought to remember each other and their own experiences while also adding to the human conversation on mortality. / Master of Arts

Master of Arts / Department of History / Charles W. Sanders, Jr. / Today, Walt Whitman is considered a famous nineteenth-century American poet. At the outbreak of the American Civil War however, he was underrated and underappreciated by American readers. Three editions of his book of poetry, Leaves of Grass, were not received well by American readers and his future in writing looked bleak. This was despite the fact that Whitman’s literary friend, Ralph Waldo Emerson, wrote an encouraging review of the first edition, which Whitman included in the second and third iterations. Ironically, Whitman’s career made a turn for the better when his brother, George Washington Whitman, was reported to be among the wounded or killed in the Battle of Fredericksburg on December 13, 1862. A dedicated family man, Whitman immediately boarded a train in New York and headed for Falmouth, Virginia, to check on his brother’s wellbeing. Whitman visited several makeshift hospitals before coming across Chatham Mansion, the temporary Union Hospital Headquarters. He saw at the base of a tree a pile of human limbs that had been tossed out of a first floor window following amputations. The scene was horrific and he paused to record what he saw in his diary. This experience forever changed Whitman the man and Whitman the poet and the transformation was evident in his subsequent writing, as Whitman first took on the persona of what I have designated as the Wound Dresser and years after the war the Good Gray Poet. This evolution changed the public perception of Whitman, and it occurred in phases. The initial phase was before the war, his work was considered obscene among American society due to his previous publications. The second transformation in Whitman was initiated by fear of personal loss when his brother was listed among the wounded and dead at Fredericksburg and the sight of the amputated limbs at Chatham Mansion. Had Whitman been exposed to the war slowly over time, the effect might not have been so profound, but Chatham was an earth shattering event in his life, as he admitted. The third phase was the result of daily exposure for years to the wounded and dying in the hospitals. He developed a personal connection with the men and was determined to stay with them, despite direct orders from hospital doctors that he should return home for his own physical and emotional recovery. His experience in the hospitals had transformed from a middle aged healthy man to a frail and brittle shell, evident in photographs of him during these years. The final phase was marked by the transformation in his writing. It was in this phase that Whitman created the most memorable and remarkable Civil War poetry that is still celebrated today. It was this poetry that caused American’s to revere him as the “Good Gray Poet.”

This project examines source materials, methods, and instruments required for creating an informed period performance of military brass band music from the American Civil War. The rapid development of brass bands in America combined with the volatility of the war meant that much of the development of these styles were not formally documented. To compound this problem an instrumentalist trained on modern instruments who plays on an instrument from the period will produce a sound highly colored and influenced by their sound concept on a modern instrument. Experience with the instrument and attention to their idiosyncrasies will offer the closest possible sound to bands in the Civil War era. This project examines primary musical sources as well as considerations on how to properly approach a period performance of brass band music of this era. Central to this examination is the author's training and experience as a member of the Civil War period performance ensemble Saxton's Cornet Band.

The Remembering, an original drama set in rural Georgia in 1864, is about three ex-slaves, two men and an old woman, all runaways, whose fictional encounter in a deserted church sets off a series of conflicts and, significantly, incidents of remembering past conflicts which lead them to an understanding of the war, slavery, freedom, and individual responsibility. Many of the events which the slaves, naive witnesses to a great moment in history when mobilized modern warfare was being born, and the nearby Union soldiers remember reflect upon the pervasiveness, speed, and destructiveness of the new campaign. The efforts of the characters to survive in that harsh and bitter war represent one of the primary concerns of this dramatic study.

Doctor of Philosophy / Department of History / Robert D. Linder / A religious revival movement occurred in the Union Army during the American Civil War (1861-1865). The revivals began to appear with some regularity at the end of 1862 and continued until the end of the conflict. Union soldiers also widely adopted Protestant evangelical values during this time of religious enthusiasm. Two groups in particular played a pivotal, yet often unheralded, role in the substantial growth of religious fervor among northern soldiers during the Civil War: Union military chaplains and the United States Christian Commission. The thesis of this work is that Union chaplains and the United States Christian Commission developed a close and effective wartime partnership that significantly facilitated their ability to promote Protestant evangelical Christianity among Union soldiers during the Civil War. This wartime association substantially aided their efforts to advance their theological and moral views among the troops. Union chaplains and Commission representatives gained considerable influence over the army’s spiritual and moral environment during the war and were primarily responsible for initiating the widespread revivals that occurred within the Union Army. Although they began the conflict as two distinct organizations, Union chaplains and the Christian Commission collaborated with increasing frequency as the war progressed. Their affiliation brought a number of advantages to each organization and significantly increased their ability to promote their evangelical beliefs with the soldiers. This dissertation contributes to studies on religion and the Civil War by analyzing the religious leadership provided by Union chaplains and the Christian Commission and explains how they shaped the Union Army’s religious environment during the war.

In this paper I will analyze the film, Whistling Dixie, as it relates to filmmaking principles such as: development, pre-production, production, and post-production. After evaluating all these aspects of the film, I will then make conclusions based on goals I had and how successful or unsuccessful I was in reaching these goals. I will include notes from unbiased audience members in evaluating this film.

Thesis advisor: Seth Jacobs / The most decisive campaign of the American Civil War was waged in neither Virginia, nor Pennsylvania, nor along the Mississippi River, but rather in Great Britain. Northern military advantages in the prosecution of the war effort could have been completely negated by a serious diplomatic setback in Great Britain. In order to win the Civil War, the North had to prevent Great Britain from entering the conflict. British intervention (which would have also included France), whether in the form of actually entering the war on the side of the South, official recognition of the Confederacy, foreign mediation, or a call for an armistice followed by peace negotiations, would have been a diplomatic disaster for the North and a fatal blow in its attempt to re-unify the nation. Military setbacks on the battlefield were not nearly as threatening as diplomatic setbacks abroad. The North had greater manpower, a stronger and more balanced economy, an industrial infrastructure, and a better equipped army; yet, in order for these advantages to translate into military victory at home, the North first needed to ensure that the domestic conflict did not spread to an international war. / Thesis (BA) — Boston College, 2003. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: History. / Discipline: College Honors Program.

War ranged in the mountains during the four years of the American Civil War. Campaigns intended to capture the Cumberland Gap and the vital railroad line leading out of Knoxville, Tennessee became a prerogative. However, these campaigns evolved from large infantry units to mobile mounted units that allowed them to operate in the mountainous region of Southern Appalachia. First commanders in the area experimented with using the common infantry units, as they would in any military campaign, but they soon found that large infantry units ate out the surrounding communities. Commanders found that mounted units could quickly move through the mountains and to their destination, thereby living off the land for a shorter amount of time and accomplishing their missions more successfully.

This thesis considers the experiences that motivated the creation of an 1863 painting by American artist Eastman Johnson entitled The Lord is My Shepherd. An examination of the painting—which depicts a black man reading a Bible—reveals multiple artistic, social, political, and spiritual influences. Created in the midst of the American Civil War, the painting's inspiration derived from Johnson's New England childhood, training in Europe, encounters with the Transcendentalist movement, and his abolitionist views. As a result, The Lord is My Shepherd is a culminating work in Johnson's oeuvre that was prompted by years of experience and observations in an age of rampant racism and civil war. It is also argued that The Lord is My Shepherd has diaristic qualities in that Johnson explored significant social and political issues of the day such as slavery through his work. Before now, this painting has been considered a relatively minor work within Johnson's oeuvre. This thesis seeks to change that perception and raise awareness of the contextual significance of The Lord is My Shepherd.

In placing Joy Harjo and Natasha Trethewey in conversation with each other, my dissertation analyzes - alongside their poetry and prose - monuments, paintings, television, film, photographs, and performance as connected to understanding the impact of historical legacies on lived experiences within the empire of U.S. America. Toni Morrison's concept of recovering the "unwritten interior life" of the slave experience - a life hidden within slave narratives - assists in understanding the historical poetics of Joy Harjo and Natasha Trethewey as artists engaged in similar projects of reclamation. For Harjo this entails shedding a light on the weight of Native American histories for the descendants of survivors while contesting the myths that abound within popular culture regarding Native peoples. Trethewey's work intervenes within the public memory of the nation by centering on the inner-lives of African Americans as well as other people of color, stressing their various gendered and racialized experiences. The gaps within the records that each poet illuminates do not constitute a failure of history, per se, but rather emphasize limitations concerning traditional methodologies of history-writing. In order to further expand on this argument, throughout my work I rely upon certain ideas from 20th century ethical philosopher Emmanuel Levinas regarding our obligations to the past of the Other as well as the potential violence inherent within Western philosophical rhetoric regarding the Other. "Tending to the Past" argues that due to the gaps within the archival records we need multiple ways of approaching our history. The absence within the archives of the "emotional truths" or "interior lives" of historical subjects proves to emphasize the necessity for the poetic interventions of Joy Harjo and Natasha Trethewey.