Spain in My Heart: Songs of the Spanish Civil War. 2014. Written and compiled by Jürgen Schebera. Bear Family Records, book, CDs (7), DVD, BCD 16093.

This dissertation is a social and cultural history about the ways that African Americans contributed to national debates about race, slavery, and emancipation by constructing and performing their own representations of slavery for the public. Scholars often portray these larger debates as a contest of ideas among whites, but African Americans played an important and still understudied role in shaping the white public’s understandings of race and slavery throughout the nineteenth century, especially in the North. Moving from from the 1830s to the early 1900s, my dissertation identifies several critical moments when African Americans, especially former slaves, gained new access to the public stage and seized opportunities to represent their own identities, histories, and experiences in different forums. Chapter One focuses on the unique contribution that fugitive slave activists made to the abolition movement. I place the published slave narratives in a larger performative context that includes public appearances and speeches; singing and dramatic readings; and oral testimony given in more private settings. In contrast to the sympathetic but frequently disempowering rhetoric of white abolitionists, fugitive activists used their performances to construct a positive representation of black manhood and womanhood that showed slaves not as benevolent objects in need of rescue but as strong men and women ready to enter freedom on equal terms. Chapter Two focuses on the Civil War, when runaway slaves had new opportunities to communicate their understandings of slavery and freedom to the Northerners who sent south during the war, as soldiers, missionaries, and aid workers. “Contraband” slaves’ testimony revealed the prevalence of violence and family separation, as well as slaves’ willingness to endure great hardship in pursuit of freedom. Contraband men and women also worked to publicly assert their new identities as freedpeople when they preemptively claimed the rights of citizenship and power over their own bodies. Their testimony and actions challenged white Northerners to embrace emancipation as an explicit Union war aim. Chapter Three of my dissertation examines black performance on the formal stage, 1865-1890s, by focusing on three groups of black performers: African American minstrels, the Hyers Sisters Dramatic Company, and the Fisk Jubilee Singers. Capitalizing on Northerners’ increased interest in slavery and “authentic” black performers, these groups offered their own representations of slavery and emancipation to the public, sometimes disrupting whites’ romanticized image of the “old plantation” in the process. During an era when the country moved toward reconciliation and reunion, these performances kept the issue of slavery before the public and, in some cases, contributed to an emancipationist memory of the war which challenged contemporary Northerners to protect the rights of freedpeople. My final chapter focuses on the autobiographies written and published by formerly enslaved women post-1865. My analysis of the women’s narratives as a body of work challenges the prevailing notion that post-bellum slave narratives were focused on regional reconciliation and the writer’s successful life in freedom. Women writers continued to remember and represent slavery as a brutal institution and revealed the ways that it continued to shape their lives in freedom, challenging contemporary images of the “old plantation” and devoted, self-sacrificing “Mammy.” Through their writing, these women represented African American women as central actors in stories of resistance, survival, and self-emancipation. With sustained attention to the deeply gendered nature of these representations, my dissertation sheds new light on the unique ways that African American women participated in these larger social debates and contributed to the public’s understanding of race and slavery before, during, and after the Civil War. Moving beyond the traditional periodization of U.S. slavery and emancipation and the typical focus on actors within a single, organized social movement, my project uncovers the breadth and diversity of African Americans’ public representations of slavery and freedom in contexts that were simultaneously social, cultural, and political. Using a broad range of published and unpublished archival materials, my work reveals African Americans’ distinct contribution to national debates regarding slavery’s place in the nation and the future of the men and women held within it.

No description available.

acase@tulane.edu

Cette thèse doctorale analyse la représentation de la guerre civile espagnole dans les bandes dessinées publiées en Espagne et dans le reste du monde entre 1976 et 2015, soit environ 350œuvres et un peu plus de 7000 pages consacrées au conflit. La spécificité du média et la taille du corpus imposent un retour théorique sur la communication par la bande dessinée, sur sa transmission du sens et sur ses modes de confrontation des représentations de l'auteur et du lecteur. Ceci conduit à proposer une méthode standardisée d'analyse statistique fondée sur un vocabulaire et une grammaire de l'image spécifiques au contenu traité, analogue à la lexicométrie pour le texte. Les résultats structurent le corpus en trois dimensions principales stables et indépendantes : le degré de provocation du lecteur (entre raconter la guerre et susciter la réflexion, l'émotion ou l'engagement), la légitimité du conflit (entre un combat juste et une guerre folie qu'aucune raison ne peut justifier) et la polémique (deux Espagne qui s'affrontent encore). Ces résultats mettent aussi en évidence des différences et des évolutions significatives de la représentation du conflit espagnol compatibles avec les conclusions des travaux sur la mémoire du conflit menés à partir d'autres matériaux historiques et culturels. La période étudiée se divise ainsi en phases de construction, de cristallisation et d'abandon d'une première représentation du conflit entre les années 70 et 90, puis de construction et de cristallisation d'une seconde représentation plus polémique à partir de la seconde moitié des années 90 et dans les années 2000. La bande dessinée montre enfin que certains aspects de la guerre, comme la violence aux civils, le rôle de l'Église, la prison et l'exil, la place de la République dans le conflit, sont des thèmes encore non conclus. À la fois récits d'histoire et objets historiques, les bandes dessinées nous renseignent ainsi non seulement sur la guerre civile espagnole, mais aussi sur les sociétés et les époques qui se la remémorent / This doctoral thesis analyzes the representation of the Spanish civil war in comics published in Spain and over the world between 1976 and 2015, i.e. about 350 comics and more than 7000 pages dedicated to the conflict. The specificity of the media as well as the size of the sample require investigating some theoretical issues such as the way comics communicate, transmit meaning and confront author's and reader's representations. This leads to propose a standardized method of statistical analysis build on the creation of topic-related lexicon and grammar for comic images,comparable to text data-mining. Results structure the corpus according to three main stable and independent dimensions: the degree of provocation of the reader (between only recording events and sparking thought, emotion or commitment), the legitimacy of the conflict (between a just fight and a mad war that no reason can justify) and polemics (two still opposed Spains). These results also point out significant differences and evolutions of the representation of the Spanish war,compatible with the conclusions of other works about the memory of the conflict based on different historical and cultural sources. Studied period can be divided into times of construction, crystallization and abandonment of a first representation between the 70s and the mid-90s, then of construction and crystallization of a second more polemical representation from the second half of the 90s to nowadays. Comics also show that some aspects of the war, such as violence towards civilians, the role of Catholic church, prison and exile, the place of the Republic during the conflict, are still inconclusive. Being both historical records and historic objects, comics inform us not only on the Spanish civil war, but also on the societies and times that remember it

Troops, requested by the federal government for the security during the Civil War of the overland mail, telegraph, and emigrant routes, were provided by California for those portions of the routes which crossed the territories of Utah and Nevada. A force, never exceeding 1, 200 in strength, commanded by Patrick Edward Connor, was assigned a geographic responsibility, the Military District of Utah. Connor's California Volunteers established principal troop locations at Fort Churchill and Fort Ruby in Nevada, and at Camp Douglas and Fort Bridger in Utah Territory during mid-1862. Major actions were conducted against the Indians at the battle of Bear River and by the campaign of Spanish Fork canyon, both in early 1863. Thereafter, a series of treaties achieved peace with various Indian tribes. Connor also utilized his troops in a variety of activities peripheral to his primary military mission. Important examples were a colonization effort at Soda Springs, continued and thorough area reconnaissance, and early efforts to develop the territorial mineral resources. Considerations of Mormon intentions, often believed by Connor to be inimical to Union interests, occupied much of Connor's time. Many writers record a generally unfavorable impression of Connor in Utah. However, it is the view of this author that the missions assigned to the federal troops in the District of Utah during the Civil War were important and were effectively carried out.

Thesis (M.A.)--Ohio University, June, 2006. / Title from PDF t.p. Includes bibliographical references (leaves 67-69)

The object of this thesis is to discuss an experimental composite conservation process and its significance for the future of artifact conservation. Composite artifacts are artifacts comprised of multiple materials such as wood, iron, and brass. The experiment was designed around five Civil War Enfield rifles from the wreck of the Civil War blockade runner Modern Greece. The main conservation difficulty for both metal and wood from a saltwater site is the presence of chlorides. If not removed, the chlorides will cause the metals to further corrode. If the chlorides are left within the wood, once the wood dries the chlorides will crystallize and burst remaining cellular structure. The second major problem for wood is the cellular structure itself. Degraded waterlogged wood loses most of its cellular structure while submerged and this must be reinforced prior to drying or partial to total collapse of the wood will occur. Composite artifacts pose one more serious problem, their composite nature. In most instances treatments for one material type are damaging to the other materials present. Disassembly of an artifact often has detrimental effects on the whole artifact whether through initial damage or the inability to reassemble the artifact after stabilization. In 1979, four Enfield rifles from Modern Greece were compositely conserved using either tetraethyl orthosilicate, sucrose, or isopropyl rosin. All three treatments focused on the conservation of the wood, resulting in the current poor condition of the iron elements. The research of this thesis uses the combined treatments of silicone oil (to treat the wood) and electrolytic reduction [ER] (to stabilize the metals), with minimal disassembly. It was discovered that prolonged exposure of the wood elements during ER had deleterious effects, post the silicone oil treatment. This prompted a re-evaluation of the research strategy. It was determined to do a re-treatment of the wood components of four of the rifles with silicone oil after the ER process. It was apparent during the ER process that iron components had loosened and could be removed allowing the wood to be extracted from the ER process earlier than the iron. Even though the experiment did not go as planned and the initial results were undesirable, valuable information was ascertained for treatment strategies and positive results are expected for the final four rifles. The retreatment of the wood with silicone oil should allow the wood to retain its shape, making reassembly possible.

The purpose of this paper is to understand how different fractions of Sweden’s left wing (the Social democrats, the Communists, the Syndicalists and the Socialist party) framed the end of the Spanish Civil War and the defeat of the republicans. To answer the purpose four newspapers Arbetaren (syndicalist), Folkets Dagblad (Socialist party), Ny Dag (communist) and Socialdemokraten (social democratic) have been analyzed qualitatively. The thesis has focused on how the different ideologies have framed the war, how they framed the other labour organizations and themselves plus how they relate to information about the war during the period of February 1st1939 till April 5th1939. The analysis shows that the Social democrats and the Communists framed the war as a conflict between fascism and socialism, whereas the Syndicalists and the Socialist party framed the war as a socialistic revolution. Because each side had their own view, their opinions on what threatened a republican victory differed. The Social democrats were most concerned that a non-democratic movement would win the war and the Communists feared that fragmentation within the republicans would threaten their chances to win. In contrast, the Syndicalists argued that the nonintervention policy would make the revolution impossible and the Socialist party framed the threat as the Communists, because of their non-revolutionary agenda.

The Spanish Civil War is typically presented as a military narrative of the ideological battle between socialism and fascism, foreshadowing World War II. Yet the Spanish war continued trends begun during World War I, notably the use of propaganda posters and the movement of women into visible roles within the public sphere. Employing cultural studies methods to read propaganda poster art from the Spanish war as texts, this thesis analyzes the ways in which this persuasive medium represented extremes of gender discourse within the context of letters, memoirs, and other experiential accounts. This thesis analyzes symbols present in propaganda art and considers how their meanings interacted with the changing gendered identities of Republic and nation. Even within the relatively egalitarian Republic, political factions constructed conflicting representations of femininity in propaganda art, and women’s accounts indicate that despite ideological differences, both sides still shared a patriarchal worldview.