This volume narrates the major battles and campaigns of the conflict, conveying the full military experience during the Civil War. The military encounters between Union and Confederate soldiers and between both armies and irregular combatants and true non-combatants structured the four years of war. These encounters were not solely defined by violence, but military encounters gave the war its central architecture. Chapters explore well-known battles, such as Antietam and Gettysburg, as well as military conflict in more abstract places, defined by political qualities (like the border or the West) or physical ones (such as rivers or seas). Chapters also explore the nature of civil-military relations as Union armies occupied parts of the South and garrison troops took up residence in southern cities and towns, showing that the Civil War was not solely a series of battles but a sustained process that drew people together in more ambiguous settings and outcomes.

Scholarly essays on the achievements of female artists working in and inspired by the American South Looking back at her lengthy career just four years before her death, modernist painter Nell Blaine said, "Art is central to my life. Not being able to make or see art would be a major deprivation." The Virginia native's creative path began early, and, during the course of her life, she overcame significant barriers in her quest to make and even see art, including serious vision problems, polio, and paralysis. And then there was her gender. In 1957 Blaine was hailed by Life magazine as someone to watch, profiled alongside four other emerging painters whom the journalist praised "not as notable women artists but as notable artists who happen to be women." In Central to Their Lives, twenty-six noted art historians offer scholarly insight into the achievements of female artists working in and inspired by the American South. Spanning the decades between the late 1890s and early 1960s, this volume examines the complex challenges these artists faced in a traditionally conservative region during a period in which women's social, cultural, and political roles were being redefined and reinterpreted. The presentation—and its companion exhibition—features artists from all of the Southern states, including Dusti Bongé, Anne Goldthwaite, Anna Hyatt Huntington, Ida Kohlmeyer, Loïs Mailou Jones, Alma Thomas, and Helen Turner. These essays examine how the variables of historical gender norms, educational barriers, race, regionalism, sisterhood, suffrage, and modernism mitigated and motivated these women who were seeking expression on canvas or in clay. Whether working from studio space, in spare rooms at home, or on the world stage, these artists made remarkable contributions to the art world while fostering future generations of artists through instruction, incorporating new aesthetics into the fine arts, and challenging the status quo. Sylvia Yount, the Lawrence A. Fleischman Curator in Charge of the American Wing at the Metropolitan Museum of Art, provides a foreword to the volume. Contributors: Sara C. Arnold Daniel Belasco Lynne Blackman Carolyn J. Brown Erin R. Corrales-Diaz John A. Cuthbert Juilee Decker Nancy M. Doll Jane W. Faquin Elizabeth C. Hamilton Elizabeth S. Hawley Maia Jalenak Karen Towers Klacsmann Sandy McCain Dwight McInvaill Courtney A. McNeil Christopher C. Oliver Julie Pierotti Deborah C. Pollack Robin R. Salmon Mary Louise Soldo Schultz Martha R. Severens Evie Torrono Stephen C. Wicks Kristen Miller Zohn

A handsome and critical addition to the library of every historian, genealogist, and Civil War buff, this rare two-volume set is the official record of Minnesota's participation in the Civil and Dakota Wars. Published in two parts in the 1890s and written by the men who fought in battle, Minnesota in the Civil and Indian Wars contains regimental rosters (names lists with ages, muster dates, transfers, and remarks) as well as detailed narratives describing the wartime service of each regiment, battery, battalion, and brigade--their marches, campaigns, battles, surrenders, wounded lists, furloughs, reenlistments, and return to Minnesota. Letters, telegrams, and descriptions related to the development of the Dakota War, including dispatches written from the field, offer a personal face to this wartime history. Included for the first time is a 144-page index to all the regimental rosters, making this an invaluable research tool. Together, these volumes are the essential reference for Minnesota's troops and their campaigns.

Dispelling much of what he terms the 'mythology' of the Scotch-Irish, James Leyburn provides an absorbing account of their heritage. He discusses their life in Scotland, when the essentials of their character and culture were shaped; their removal to Northern Ireland and the action of their residence in that region upon their outlook on life; and their successive migrations to America, where they settled especially in the back-country of Pennsylvania, Virginia, the Carolinas, and Georgia, and then after the Revolutionary War were in the van of pioneers to the west.

A bibliographical guide to recently published Civil War diaries, journals, letters, and memoirs.

A chronicle of battle and bravery in the Civil War, as Polish officers who had lost their own country remained determined to fight for their new one, and for the ideals they had always upheld, whether freedom or independence, or whether North or South . . .

Today's moviegoers and critics generally consider some Hollywood products--even some blockbusters--to be legitimate works of art. But during the first half century of motion pictures very few Americans would have thought to call an American movie "art." Up through the 1950s, American movies were regarded as a form of popular, even lower-class, entertainment. By the 1960s and 1970s, however, viewers were regularly judging Hollywood films by artistic criteria previously applied only to high art forms. In Hollywood Highbrow, Shyon Baumann for the first time tells how social and cultural forces radically changed the public's perceptions of American movies just as those forces were radically changing the movies themselves. The development in the United States of an appreciation of film as an art was, Baumann shows, the product of large changes in Hollywood and American society as a whole. With the postwar rise of television, American movie audiences shrank dramatically and Hollywood responded by appealing to richer and more educated viewers. Around the same time, European ideas about the director as artist, an easing of censorship, and the development of art-house cinemas, film festivals, and the academic field of film studies encouraged the idea that some American movies--and not just European ones--deserved to be considered art.