A history of U.S. Civil War monuments that shows how they distort history and perpetuate white supremacy The United States began as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Standing Soldiers, Kneeling Slaves explores how the history of slavery and its violent end was told in public spaces—specifically in the sculptural monuments that came to dominate streets, parks, and town squares in nineteenth-century America. Looking at monuments built and unbuilt, Kirk Savage shows how the greatest era of monument building in American history took place amid struggles over race, gender, and collective memory. Standing Soldiers, Kneeling Slaves probes a host of fascinating questions and remains the only sustained investigation of post-Civil War monument building as a process of national and racial definition. Featuring a new preface by the author that reflects on recent events surrounding the meaning of these monuments, and new photography and illustrations throughout, this new and expanded edition reveals how monuments exposed the myth of a "united" people, and have only become more controversial with the passage of time.

Traces the history of the National Mall in Washington, D.C., discussing its plan and structures, and considering how the concept of memorials and memorial space has changed since the nineteenth century.

The United States originated as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Historian Kirk Savage explores how that history of slavery and its violent end was recognized in public--specifically in the sculptural monuments that dominated streets, parks, and town squares in 19th-century America. 67 photos.

"Proceedings of the symposium "The Civil War in Art and Memory," organized by the Center for Advanced Study in the Visual Arts, National Gallery of Art, and sponsored by the Arthur Vining Davis Foundations. The symposium was held November 8-9, 2013, in Washington."

From Storyville brothels and narratives of turn-of-the-century New Orleans to plantation tours, Bette Davis films, Elvis memorials, Willa Cather's fiction, and the annual prison rodeo held at the Louisiana State Penitentiary at Angola, Jessica Adams considers spatial and ideological evolutions of southern plantations after slavery. In Wounds of Returning, Adams shows that the slave past returns to inhabit plantation landscapes that have been radically transformed by tourism, consumer culture, and modern modes of punishment--even those landscapes from which slavery has supposedly been banished completely. Adams explores how the commodification of black bodies during slavery did not disappear with abolition--rather, the same principle was transformed into modern consumer capitalism. As Adams demonstrates, however, counternarratives and unexpected cultural hybrids erupt out of attempts to re-create the plantation as an uncomplicated scene of racial relationships or a signifier of national unity. Peeling back the layers of plantation landscapes, Adams reveals connections between seemingly disparate features of modern culture, suggesting that they remain haunted by the force of the unnatural equation of people as property.

The war against the Ottomans, on Gallipoli, in Palestine and in Mesopotamia was a major enterprise for the Allies with important long-term geo-political consequences. The absence of a Turkish perspective, written in English, represents a huge gap in the historiography of the First World War. This timely collection of wide-ranging essays on the campaign, drawing on Turkish sources and written by experts in the field, addresses this gap. Scholars employ archival documents from the Turkish General Staff, diaries and letters of Turkish soldiers, Ottoman journals and newspapers published during the campaign, and recent academic literature by Turkish scholars to reveal a different perspective on the campaign, which should breathe new life into English-language historiography on this crucial series of events.

Twentieth Anniversary Edition with a new preface and afterword From the removal of Confederate monuments in New Orleans in the spring of 2017 to the violent aftermath of the white nationalist march on the Robert E. Lee monument in Charlottesville later that summer, debates and conflicts over the memorialization of Confederate “heroes” have stormed to the forefront of popular American political and cultural discourse. In Written in Stone Sanford Levinson considers the tangled responses to controversial monuments and commemorations while examining how those with political power configure public spaces in ways that shape public memory and politics. Paying particular attention to the American South, though drawing examples as well from elsewhere in the United States and throughout the world, Levinson shows how the social and legal arguments regarding the display, construction, modification, and destruction of public monuments mark the seemingly endless confrontation over the symbolism attached to public space. This twentieth anniversary edition of Written in Stone includes a new preface and an extensive afterword that takes account of recent events in cities, schools and universities, and public spaces throughout the United States and elsewhere. Twenty years on, Levinson's work is more timely and relevant than ever.