War Monuments Research Articles

Memory and Amnesia. The Role of the Spanish Civil War in Transition to Democracy

Acronyms Glossary Acknowledgements Acknowledgements for the English Edition Foreword for the English Edition Preface Chapter 1. Regarding Memory, Learning and Amnesia The Generational Question Theoretical and Conceptual Framework Presentism Taxidermism Amnesia Learning Ceremonies and Monuments Methodology and Sources Chapter 2. From the Justification of War to the exaltation of Peace: The Development of Official Discourse during the Franco Period Alternating Legitimacy Origin-based Legitimacy and Performance-based Legitimacy Champions of Francoist Legitimacy From War to Peace Sources of Political Socialisation No-Do Historical Narrative Commemorations of the Civil War Monuments of the Victors Legendary Sites of the Defeated Policies of Reconciliation and Policies of Vengeance From Punishment to Forgiveness From Munich to the Organic Law of State Symbols and Myths Relating to the Civil War Towards the Convergence of Interpretations Mythical Constructions of Francoism Regarding the Civil War Regarding Reconciliation and the Defeated Chapter 3. The Memory of War and the Lessons of Peace in the Democratic Transition Economic and Social Characteristics of the Transition History as Magistra Vitae Institutional Structure Reconciliation Consensus Conclusion Bibliography Tables Graphs Appendices Index

From Heroes' Groves to Parks of Peace: Landscapes of remembrance, protest and peace

The public space surrounding war memorials and military monuments has always been important in the iconography of remembrance. In the 19th century these spaces often took the form of garden cemeteries and memorial plantations; after the First World War large tracts of former battlefield were preserved as sacred spaces which were essential to the process of ritual pilgrimage. After 1945 there was a considerable shift in the landscapes of war: memorial schemes more often took a pragmatic and utilitarian form, and desolated cities such as Hiroshima (and to a lesser extent Dresden and Coventry) became the cornerstone for anti-war movements in the late 1950s and 1960s. This period saw the emergence of a symbolic landscape of protest, which often co-existed uncomfortably as a place of tourism. Through a study of such sites the various types of 'peace landscape' are analysed, from environmental schemes such as trans-border parks to political interventions in the form of peace gardens. In the final section a recent design competition for a peace park in Turkey is examined and compared with similar complex environments in the US and Northern Ireland.

Testament to Union: Civil War Monuments in Washington, D.C.

Although the monuments of Washington, D.C., honor more than two centuries of history and heroes, five years of that history produced more of the city's public commemorative sculpture than all the others combined. The heroes of the Civil War command Washington's choicest vantage points and most visible parks, lending their names to the city's most familiar circles and squares-Scott, Farragut, Logan, Sheridan, Dupont, and others. In Testament to Union, Kathryn Allamong Jacob tells the stories behind the many District of Columbia statues that honor participants in the Civil War, predominantly Union, and testify to their sacrifice and valor. In her introduction, Jacob puts these monuments in historical context, describing the often bitter battles over control of historical memory, the postwar monument business (a lone soldier-in-granite model could cost a community as little as 1,000), and the rise of the movement that transformed Washington. She then offers individual descriptions of forty-one sculptures, providing a lively and informative guide to some of Washington's most beautiful and moving works of art. Organized geographically for easy use on walking or driving tours, the entries begin by listing the subject or title of the memorial along with its sculptor, medium, date, and location. Jacob describes its various elements and symbols, and she notes who commissioned the sculpture, who paid for it (or failed to pay in several cases), and who approved its design and placement. She also includes anecdotes and controversies that bring the monuments and their colorful history more fully to life. Admiral David Farragut's statue, for example, is cast from the propeller of his ship the U.S.S. Hartford, from whose rigging he shouted, Damn the torpedoes! Full speed ahead! during the battle of Mobile Bay. At the dedication of Lincoln Park's Emancipation Monument in 1876, the largest assembly of African-American to date, speaker Frederick Douglass shocked white listeners with thinly veiled criticism of the martyred Lincoln. Edwin Remsberg's photographs of the monuments capture striking images of war and sacrifice-the straining horses and terrified men of the cavalry grouping at the Grant Monument; the vivid tomb effigy of young John Meigs, depicting him as he was found dead in a field; the Pension Building frieze with its hundreds of finely detailed terra cotta soldiers and sailors marching and rowing across the face of the building. Along with swashbuckling generals atop pedestals bristling with cannon, unexpected subjects appear. A statue of John Ericsson, the Swedish-American who designed the Monitor and perfected the screw propeller for the Union Navy, is hidden in a circle of shrubbery beside the Potomac. A bas-relief of twelve nuns dedicated to the memory of various religious orders who nursed the wounded during the Civil War sits beside noisy Rhode Island Avenue. In addition to the enormous white temple to Lincoln on the Mall, four smaller statues of that president can be found in the city where he was assassinated. Washington's Civil War sculptures bear silent witness to the struggle to preserve the Union. They are the fruit of conscious efforts to shape the nation's memory of that struggle. For tourists and long-time residents, and for anyone interested in the Civil War or public art, Testament to Union is a wonderful guide to these tangible connections to the nation's past and an era when public monuments packed powerful messages.

Review: Written in Stone: Public Monuments in Changing Societies, by Sanford Levinson and Testament to Union: Civil War Monuments in Washington, D.C., by Kathryn Allamong Jacobs

Review: <i>Written in Stone: Public Monuments in Changing Societies</i>, by Sanford Levinson and <i>Testament to Union: Civil War Monuments in Washington, D.C.</i>, by Kathryn Allamong Jacobs

A Utopian Experiment in Kentucky: Integration and Social Equality at Berea, 1866-1904 (review)

BOOK REVIEWS269 the location ofalmost every official Confederate general. The value ofthe source is its photographs of headstones or markers and sometimes obscure portrait images. Traveling extensively through twenty-one states, the District of Columbia , and Mexico and Germany was a labor of love. Two similar books are Confederate Generals Buried in Louisiana and Lest We Forget: A Guide to Civil War Monuments in Maryland, and a third book in preparation about Civil War monuments in NewYork states suggests there is a particularmarket in the physical legacy of the Civil War. The book complements Ezra Warner's Generals in Gray, Jon L. Wakelyn's Biographical Dictionary ofthe Confederacy, and James Spencer's compilation, Civil War Generals. Generals At Rest provides the burial location of almost every Confederate general. The single location that contains the greatest number of Confederate generals is Richmond's Hollywood Cemetery, with twentysix burial sites. Twenty-six generals are buried outside the former Confederacy and boarder states, and the exact locations of graves of generals are either unknown or disputed. The book contains twenty-one chapters arranged alphabetically by state. Each chapter has an outline state map showing the location of burial sites—by county, or city or town, then alphabetically by general. Otherwise the biographical sketches contain basic information. The price is high for the information contained, but the information is unique. Unfortunately, the text lacks the exact locations, particularly in larger public and church cemeteries (section, plot, and lot) of grave sites. Additional information as to how to contact cemetery offices would also be helpful. Some generals are buried on private property and require permission from the landowners to view the grave; however, the authors did include an appendix for nineteen "Hard-To-Find Grave Sites," which describes in detail the location of the more obscure sites. For the Southern history enthusiast and researcher, this source may be too good to pass up. Alan C. Aimone U.S. Military Academy Library A Utopian Experiment in Kentucky: Integration and Social Equality at Berea, 1866-1904. By Richard Sears. (Westport, Conn.: Greenwood Publishing, 1996. Pp. xi, 272. $59.95.) The devourer of all things Civil War will likely ignore this book because of the title's subject matter and time frame. The high cost (not justified by image or print quality) will further restrict its ownership and consequently its readership. This is unfortunate; this work is an important contribution to the history of American slavery, the abolitionist movement's role in the education of former slaves, and most importantly, the vision and forty-year-long successful operation of the only fully integrated community and educational experiment in the South following the Civil War. That vision was Berea College, and its associated 270CIVIL WAR HISTORY community and church, which sought to promote "black autonomy and self government" in a fully integrated social setting. Sears's work is primarily the story ofthe vision and life work of Reverend John Gregg Fee, a staunch abolitionist who was forced out of Kentucky in 1 859 but returned to Camp Nelson in the fall of 1 863, where he laid the groundwork for Berea College, which he and others established in 1 866. Sears traced Fee's prewar story in KentuckyAbolitionists in the Midst ofSlavery , published in 1986, and both works should be read—given that much preparatory material appears only in the first volume. While that work concludes with the year 1 864, this sequel takes up the tale with the establishment ofCamp Nelson, the key Federal training and black recruitment cantonment in central Kentucky, in August 1 863 and devotes three of its eleven chapters to that camp. The U.S. War Department found itself the unwilling steward for the welfare of thousands of former slaves at this and similar bases throughout the South, and with the conclusion of hostilities, largely black communities evolved as the military sought to shut the bases down. A black community and academy struggled on at Camp Nelson until the early years of the next century; and that community, along with literally hundreds of schools and churches, black and white, located throughout central Kentucky, formed a broader support community for Berea College and received the...

L'Œuvre romanesque de Calixthe Beyala: Le Renouveau de l'Ecriture feminine en Afrique francophone sub-saharienne (review)

L'Esprit Créateur credited only with the appearance of chauvinism (de Puymège). By contrast, in the years from 1870 to 1914, the invention of tradition appears to have been a major industry, fueled by textbooks (Nora on "Lavisse, the Nation's Teacher," Jacques and Mona Ozouf on Le Tour de France par deux enfants, and Jean-Yves GuÃ-omar, "Vidal de la Blache's Geography of France") and the ingenuity of commercial entrepreneurs (Georges Vigarello, "The Tour de France"). The 1920s lived on this rich heritage, contributing only its war monuments (Prost) and Marcel Proust's classic literary treatment of the theme of memory (Antoine Compagnon). The past 60 years, which contributed mightily to the earlier volume of Realms of Memory on "conflicts and divisions," get minor billing here. At best, they saw the dying out of older traditions, such as the country's rootedness in peasant agriculture , and the rampant commercialization of others, such as the Tour de France. Despite the contributors' determination to analyze rather than celebrate, a perfume of nostalgia pervades this rich, if uneven, volume: a nostalgia not just for the particular traditions it catalogues but for the very notion of tradition itself, which seems increasingly jeopardized by an inevitable cultural pluralism on the one hand and the rising power of marketing and the mass media, on the other. Jeremy D. Popkin University of Kentucky Rangira Béatrice Gallimore. L'ÂŒuvre romanesque de Calixthe Beyala: Le renouveau de l'ecriture féminine en Afrique francophone suB-SAHARiENNE. Paris: L'Harmattan , 1997. Pp. 220. In her monograph, L'ÂŒuvre romanesque de Calixthe Beyala, Prof. Gallimore makes a notable contribution to the study of feminist writing in French-speaking Africa. Though Beyala has been treated in chapters of some critical works on Francophone African women writers (Borgomano, D'Almeida, Lee) and in some critical articles, to my knowledge Gallimore holds the distinction of publishing the first full-length monograph on this important author. The first three chapters of Gallimore's work examine in detail the subversive aspect of Beyala's writing in regard to the condition of African women and their oppression within patriarchal African societies, in particular the Camerounian society about which Beyala writes. That condition involves the dispossession of women of both their voice and (control over) their body, the marginalization and afflictions confronting women, who have been deprived of education, shamefully submitted to exactions to prove virginity, to excision and like practices that often result in psychological trauma, and, in marriage, to bride price (leading to reification) and polygamy. Chap. I argues how Beyala's work is inseparable from the socio-political world out of which it grows (primarily that of lower-class Camerounian society), how it defines itself and reacts against that world. Gallimore goes beyond most studies of Beyala that treat her "feminine side" exclusively, without exploring the social-political implications of her work, and that fail to suggest the extent to which female adolescents are prostituted and oppressed. Chap. 2 discusses the way in which African women have begun to protest against the reification of their body, against demeaning social practices—by militantly speaking out and refusing institutionalized marriage, by insisting on choice and occasionally rejecting marriage and childbearing, and even by prostitution. Gallimore shows how Beyala sets out to déstructure the mother and matrilinear tendencies—the "matrophobia" conceptualized by Adrienne Rich—that privilege the law of the father (85-86), and to de-eroticize sex. Gallimore makes us privy to Beyala's aggressivity conveyed by her (Beyala's) occasional Jl8 Spring 1998 Book Reviews recourse to crude and direct expression, which plunges us into "l'univers carcéral et scatalogique où le corps de la femme des bidonvilles est enfermé" (99). Chap. 3 continues the examination of Beyala's efforts at the linguistic liberation of women's word and the valorization of their voice. In my opinion the most engaging aspect of Gallimore's work is found in Chap. 4 ("Une écriture polymorphe"), where she locates Beyala's work in terms of the renewal of African feminist literature, not just in theme but in form. So far as the latter is concerned, Beyala creates a "double narrative" that...

Acknowledgments

Acknowledgments

Monuments of war: defining England's 20th-century defence heritage

The editor of ANTIQUITY remembers travelling, as a child, on the main A1 highway to see relatives in southeast England, watching the banks of sharp-nosed Bloodhound missiles ranged close by the road – pointing east, to meet incoming Soviet bombers. The obsolete monuments of the Cold War, and before that of the Second World War, are history now, famously the Berlin Wall (Baker 1993 in ANTIQUITY). Many, like the concrete runways of the airfields, are so solidly built they are not lightly removed. These remains of England's 20th-century defence heritage are not well understood. However, and contrary to popular belief, they do have a large documentation; and it is this, the authors argue, that should form the basis for systematic review.

Mass Graves, Stagnating Identification, and Violence: A Case Study in the Local Sources of "The War" in Bosnia Hercegovina

Bosnia Hercegovina is the site of a striking number of World War II monuments erected on or near mass graves. Unlike war monuments and war graves elsewhere in Europe, these memorials are bones of contention and they generate violent inter-ethnic animosity. This article describes the trials and tribulations surrounding one of these war monuments and the Serb and Croat communities involved. It addresses an aspect of ethnic cleansing that has hitherto been the focus of very little research, that is, the destruction of mass graves. It is hypothesized that mass graves and the related commemorative ceremonies are a key to understanding the stagnating ethnic identification and the recent revival of violence in rural Bosnia Hercegovina. The article advocates a more systematic inquiry into the local sources of the war in this part of the former Yugoslavia.

Commemorating a Rural African-American Family at a National Battlefield Park

The Robinson House site is situated within the Manassas National Battlefield Park in northern Virginia. The original Robinson House was constructed in the 1840s and was occupied until 1936 by the same free African-American family. The National Park Service recognizes and interprets the Robinson House since it was part of the Civil War battlefield landscape during the First and Second Battles of Manassas. The original house went through a series of structural additions and alterations in the late 1800s and early 1900s. The house stood until 1993 when arsonists burned it, causing 60% damage to the structure. Today, the east chimney and the stone foundations remain. Amidst the many Civil War monuments at the battlefield park the interpretation of a century of occupation by the Robinson family through the remaining foundations adds meaning and depth to the area's local history. The Robinson House remains symbolize an African-American family's way of life as well as their struggle to survive during Reconstruction and the Jim Crow era. The foundations and site are a steadfast symbol of African-American cultural persistence that has prevailed for over 100 years on a battlefield landscape.

"Lest We Forget": A Guide to Civil War Monuments in Maryland (review)

book reviews269 from First Bull Run to Appomattox, with considerable emphasis on Gettysburg, the subject of sixteen pictures, alternate with meticulous studies of single figures dressed in the precisely rendered uniforms of their units. Every picture exhibits Troiani's painstakingly archaeological approach to his craft. Determined to "Paint it how it was," Troiani carefully studies the uniforms, weapons, and paraphernalia in his own extensive collection and visits historical museums to examine battle flags and the remains of uniforms before beginning a composition . Not surprisingly, an artist ofsuch conscientiousness has little patience with the work of earlier artists in the field such as Gilbert Gaul and William T. Trego, who frequently painted arms and equipment in a historically inaccurate manner. Born in New York City in 1 949, Troiani began to collect military equipment at age eleven, and his fondness for old uniforms became a passion when a year later, while on a family vacation in Paris, he spent an entire day by himself at the Musée de l'Armée. He received his first formal art training at the Pennsylvania Academy of the Fine Arts and then during subsequent summers at New York's Art Students League, but prejudices against realist art he encountered at those schools made it necessary for him to teach himself through an intense personal study of nineteenth-century art. Like Frederic Remington, another American illustrator with a commitment to historical accuracy, Troiani gained much from studying the work and working methods of the French military painter Jean-Bapriste Détaille (1848-1912). And like Détaille (and Remington, for that matter) Troiani often dresses and outfits his models from his own collection, sets their pose and photographs them, and uses the photographs as the basis for his compositions. This exacting scholarly approach, in which details are built up incrementally with a consistently sharp focus, often results in dry and static compositions that stand in sharp contrast to such stirring pictures as Winslow Homer's Inviting a Shot before Petersburg, in which details are subordinated to the total dramatic impact. But Civil War enthusiasts who have been reluctant thus far to invest in one or more of Troiani's limited edition prints will be pleased that a collection of dozens of his best pictures has been brought together in this handsome and affordable book. Ben Bassham Kent State University "Lest We Forget": A Guide to Civil War Monuments in Maryland. By Susan Cooke Soderberg. (Shippensburg, Pa.: White Mane Publishing Company, 1 995. Pp. xxx, 195. $29.95.) Lee's surrender to Grant at Appomattox may have ended the Civil War, but memories of the battles and the men who fought in them continue to persist. Marylanders, living in a border state and contributing soldiers to both sides as well as experiencing the actual ebb and flow of battle from 1 862 through 1 864, 270CIVIL WAR HISTORY have expressed their sorrow, elation, and the remembrance of that trauma in numerous memorials. Beginning with the erection of the first one in honor of Capt. John P. Gleeson in 1 866, some sixty-five have been dedicated, the last one in 1 993 in honorofGen. Samuel Garland, Jr. As Susan Cooke Soderberg asserts, "Monuments are testaments to the important events and people of our national past and how we interpret them affects our national identity" (xi). In "Lest We Forget" she chronicles that expression in a book designed both as a guide and as a historical reference for "people interested in Maryland and in architectural history, and social historians" (vii). Reflective of commemorative monuments from the late nineteenth century until the 1920s, they bear the imprint of a "Renaissance aesthetic of beauty" (xxiii). The most popular forms were the statue of the solitary soldier and the obelisk embellished with romantic and classical inscriptions. Larger monuments , in demanding more intricate sculptures, as Soderberg asserts, "gave new life to artistic sculpture in America" (xxiv). Contrary to the assumption that the "soldier-at-parade-rest" was mass produced, the statue was actually tailored from a standard model to meet local demands. By 19 15 the number of companies engaged in their production had grown to sixty-three. Soderberg sees three...

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Mashhad Al-Nasr: Monuments of War and Victory in Medieval Islamic Art

Mashhad Al-Nasr: Monuments of War and Victory in Medieval Islamic Art

Rural Religious Landscape Constituents and Social Structure

Social geographical studies concerned with rural societies in Japan until the 1970's dealt almost exclusively with the relationship between settlement forms and social structure (distribution of social groups or strength of social unity). Although religious landscape as place has attracted new attention since the 1980's in order to elucidate the symbolic meaning of space, most of the existing literature has not taken relation between landscape and social structure into consideration so far. Keeping such a drawback in mind, this article seeks to clarify the relation by grouping social functions of constituents of rural landscape, which are represented by religious objects, for instance, shrines, jizo (guardian deity statues) and graveyards. Note that the term social structure in this study concerns comprehensive relations associated with intra-settlement social groups and traditional rural households.To pursue this aim, Aso, a mountain village located in the western part of Shiga Prefecture, Japan, was selected as the study field. With respect to the time span, the period from the Edo period to the present is taken up to examine historical changes of landscape. Based on remarkable changes in the local municipality's boundary and landscape, the four periods were established. There are various possible subjects associated with rural landscape, but the main focus here is restricted to social groups in the village.The second section is devoted to an investigation of relationships between social group systems and social structure in the village under consideration. Social groups of hongo (formerly influential hamlets) are classified into the three different hierarchical levels: mura (self-government organizations), Kami/Shimo (organizations for supporting agricultural and Buddhist-temple activities) and kumi (mutual aid organizations). The social groups Kami/Shimo, as well as the four kumis check each other. The three edago (hamlets formerly subordinated to hongo) generally belonged to the kumi level, but it is considered that an edago evolved to the mura level. Moreover, there was a strict social hierarchy of households, especially until the prewar period. This is an outline of the social structure in the study field.In the third and fourth sections, specific functions of social landscape constituents are identified in relation to social life, social structure-mentioned in the second section-and location of constituents themselves concerned with these. The term “social landscape constituent” here is used to denote landscape elements owned, managed and used by a social group. The functions of the constituents can be classified into five categories: mental unification, self-assertion, mutual understanding, territory declaration and memorial services for the dead. Due attention is not paid to such functions as community properties, production facilities and infrastructure, because of lack of enough information. From this procedure, however, the matrices of social landscape constituents are prepared for every period defined earlier.Interrelations between social change and the matrices are explored in the fifth section. 1) the Edo period (1605-1873): edago seldom had social landscape constituents, suggesting their subordination to hongo. 2) the prewar period (1874-1946): the matrix shows that an edago, a Rokuro-kumi, strengthened its social unification, and became so competitive as to be regarded as an independent community. 3) the postwar period (1947-1964): Rokuro-kumi and Kumanobata-kumi were separated from the hongo and formed the new Kijiyama district. The appearance of war monuments represented the defeat and decline of the communities under analysis. 4) after the period of high economic growth (1965-1993): this period witnessed the most drastic change among the four.

In the Shadows of Grant and Sherman: George B. McClellan Revisited

In the Shadows of Grant and Sherman: George B. McClellan Revisited Thomas J. Rowland It stands in metallic silence, impassive to the decades of commercial and residential growth that engulfs it. The statue, like the person it honors, presents a host of perplexing paradoxes. Although visible, the equestrian model remains difficult, almost hazardous, to approach, its access constrained by two major District of Columbia arteries. Much like the man, the memorial rests on an island awash in a sea of confusion. It stands aloof and distant from most other prominent Civil War statuary. Curiously, it marks testimony to a leader who "shielded" the Union from collapse, yet it adorns no rotary circle , graces no park or mall, commands no prominent city square as more and less heralded contemporaries do. Almost by accident will tourists chance to notice it. Its peculiar location reinforces the ambiguity besetting the one who created and first led the Army of the Potomac. And in a final touch of irony, the statue is flanked by such an irregular grid of street construction as to give rise to the amusing, if not judgmental, chestnut that the general was provided three avenues of retreat but only one for advance. Fittingly, both the statue and the man, George Brinton McClellan, strike an enigmatic pose.' Turning to the McClellan historiography, one finds little to dispel the riddle . Early McClellan biographies are generally tainted with either panegyric or vitriol. Alternately vilified as traitor and coward by some or praised as patriot and genius by others, a sober and objective assessment becomes impossible . Recent scholarship focusing on his contemporaries, Ulysses S. Grant, William T. Sherman, and even Abraham Lincoln, has tended to sweep ' The McClellan memorial is situated two miles north of the Mali and is framed by the convergence ofConnecticut Avenue, Columbia Road, and California Street. By comparison. Grant's memorial rests immediately west of the Capitol, while Sherman 's is just behind the Treasury Building, flanked by the White House. For details on the McClellan statuary, see Mildred Baruch and Ellen Eckman, CiVi/ War Monuments (Washington, D.C.: Daughters of Union Veterans of the Civil War, 1978), 24. Civil War History, Vol. XL, No. 3, © 1994 by The Kent State University Press GEORGE B. MCCLELLAN REVISITED203 McClellan into the background. In suppressing the controversy, historians of the second half of the twentieth century have forged a characteristic figure of the man. In finding McClellan's military career essentially an unsuccessful one, they have tended to agree with T. Harry Williams's verdict that McClellan was "not a good general, was even a bad one." Bruce Catton found him to have "all of the virtues necessary in a war except one—he did not like to fight." Kenneth P. Williams blithely dismissed McClellan as the antithesis of a military leader by refusing to consider him a "real general." And while his judgment of McClellan as a "vain and unstable man who sat a horse well" rings somewhat truthfully, Williams distorts McClellan's active military ambitions in claiming he "wanted to be President."2 McClellan remains the "problem child" of the Civil War because his military performance still invites debate. If not a winner, he was not exactly a loser. He is admitted by nearly all historians to be the competent organizer and administrator of an army that had been shattered at First Bull Run. Some point out that, unlike Grant, McClellan had taken on the Confederacy when it was young and strong. Others have seized upon Robert E. Lee's verdict that of all Federal commanders he faced, McClellan was his most difficult adversary . Warren Hassler and James G. Randall speculated that had McClellan's efforts in the Peninsula campaign not been undercut by an antagonistic administration , he might have taken Richmond and convinced the Confederacy of the futility of a protracted war. All of this might have been accomplished nearly three years before Grant finally cornered Lee in about the same location.3 There are formidable obstacles to surmount in approaching McClellan objectively . Joseph Harsh has astutely observed that the more negative appraisals of McClellan became increasingly solidified in the face of a growing acceptance of what he termed the...

Rem(a)inders of G(l)ory: Monuments and Bodies in "Glory" and "In the Year of the Pig"

N o guts, no glory-yet the logic of martial glory despises the body (which it must use) and loves the monument that inscribes a nationalist text of masculine self-presence. At least until the dedication of the Vietnam Memorial in 1982, U.S. war monuments such as the Saint-Gaudens memorial to Colonel Robert Gould Shaw and the Massachusetts Fifty-fourth Regiment (which plays a key structuring role in Edward Zwick's Glory and in Emile

Fallen soldiers: reshaping the memory of the World Wars

Millions were killed and maimed in the senseless brutality of the First World War, but once the armistice was signed the realities were cleansed of their horror by the nature of the burial and commemoration of the dead. In the interwar period, war monuments and cemeteries provided the public with places of worship and martyrs for the civic religion of nationalism. The cult of the fallen soldier blossomed in Germany and other European countries, and people seemed to build war into their lives as a necessary and glorious event - a proof of manhood and loyalty to the flag. Ultimately there was even a process of trivialization, with light comedies, war toys, and battlefield tourism becoming popular. Tracing wartime experience from the Napoleonic Wars to Vietnam, Professor Mosse's chilling study explores why mankind has drawn the sting of death from modern war and transformed it into an acceptable, even sacred, event.

War and Ancient Monuments

War and Ancient Monuments