scholarly journals ‘This ‘Merikay War’: Poetic Responses in Lancashire to the American Civil War

2020 ◽  
Vol 25 (1) ◽  
pp. 126-143
Author(s):  
Simon Rennie

Abstract This article examines Lancashire commentary on the American Civil War during the Cotton Famine of 1861–65 through poetry which has recently been recovered from local newspapers. The complexity and variety of the often labouring-class subjectivities figured in the texts works to further disrupt the conventional historical view of a region united in moral and political sympathy with the Union cause, as exemplified by discourses surrounding Lincoln’s letter to the region in 1863. Much of this poetry displays an acute awareness of its place in the world. Labouring-class Lancashire people were forced by economic circumstances to confront the nature of a Victorian globalization which had proved its instability, and many began to see themselves in terms of a global subjectivity for the first time. This poetic discourse may have been materially and culturally adjacent to journalistic comment on the crisis, but poetry’s imaginative freedom and ability to compress language and hence cultural meaning often represented an amplification, distortion, or even contradiction of implied editorial comment. Nowhere was this more apparent than in the sometimes febrile context of Lancashire commentary on the American Civil War and its domestic effects. Even when no particular resolution was offered as an option the ability of Lancashire poets to represent the voice of their fellow sufferers with some degree of authenticity served to reflect the ever more intimate relationship between the Victorian global and the local which the effects of the American war demonstrated in such stark terms.

1987 ◽  
Vol 61 (4) ◽  
pp. 551-581 ◽  
Author(s):  
Shin'ichi Yonekawa

In this wide-ranging article, Professor Yonekawa identifies and examines in detail the burst of cotton spinning company formation that occurred in the late nineteenth century among the major cotton-producing nations of the world. His comparative approach allows him to focus on key local factors responsible for the company flotation booms in the areas discussed. He is also able to compare the effects of more general circumstances in the industry, such as trends in the price of raw cotton and the disruption during the American Civil War, on the various locations. Finally, his multinational approach brings to light many intriguing questions and illuminates areas for productive future research.


2017 ◽  
Vol 6 (1) ◽  
pp. 37-56
Author(s):  
Dario Vidojković

This article deals with the cinematic representations of warfare violence and with its aestheticization in early films. It argues, in particular, that the patterns and narrative structures of (anti-)war movies were laid out during the First World War. Among the first films establishing those patterns and rules were D.W. Griffith's The Birth of a Nation, a film on the American Civil War, and Hearts of the World, showing the war on the western front, produced in 1918. Films such as these offered the main elements that would mark, henceforth, how anti-war movies would portray violence. With the up-coming of sound, moviegoers would be able not only to see, but also to hear what a war sounded like. Lewis Milestone's All Quiet on the Western Front (1930), one of the first sound films, exposed the audiences to a series of (calculated) audio/visual distortions, including explosions, screams, and the monotone sound of machinegun fire.


2015 ◽  
Vol 84 (3) ◽  
pp. 625-629
Author(s):  
Alexandra Kaloyanides

Like many historians, I am working on a ghost story. This one begins in 1813, the beginning of the American Baptist mission to Burma. Like those told by John Modern and Mark Noll, this story is contoured by war—the American Civil War and a series of Anglo-Burmese Wars waged between 1824 and 1885. Its specters appear in missionary letters and diaries, newspapers reports, illustrated travelogues, and concurrently produced Burmese royal chronicles and ritual networks. As I chase these ghosts, I am continually haunted by a bellow I hear coming from historians who have reclaimed evangelicalism as the determining subject of American religious history.


Author(s):  
Gerald Pratley

JOHN FRANKENHEIMER'S LATERST FILM, ANDERSONVILLE, opened recently in the USA on the Turner Television Network to excellent reviews and a highly favourable audience response. His 31st motion picture, it takes place during the American Civil War and depicts for the first time on film the terrible suffering of Northern soldiers imprisoned in an overcrowded poorly managed camp run by the army of the South. An atrocity from the past, it also speaks graphically of the barbarities of the present war in Bosnia-Herzegovina and gives terrible meaning once again to the memories of the Holocaust. Implicit in Frankenheimer's treatment and graphic images of man's ever-present brutality towards mankind is the awareness of the powerful forces controlling the lives of certain individuals motivated by power and greed -- a theme underlining much of his work and informing the actions of so many of his characters. Andersonville In 1864, more than 32,000...


Author(s):  
D. H. Dilbeck

On New Year’s Eve 1863, an anxious George W. Lennard sought blessed assurance of his eternal fate. Lennard began the American Civil War as a private in an Indiana regiment and was eventually commissioned lieutenant colonel of the Fifty-Seventh Indiana Volunteer Infantry. He survived some of the most gruesome fighting of the Western Theater, from Shiloh to Stones River to Missionary Ridge. As another year of war dawned, Lennard confessed in a letter home that he dreaded nothing more than the thought of what awaited him after death. He longed for “a clear and well defined hope that all would be well with me in the world to come.” “You will say,” he wrote his wife, “why dont you be a Christian? I say, how can a soldier be a Christian?” He continued: “Read all Christs teaching, and then tell me whether ...


Author(s):  
Stève Sainlaude

During the American Civil War, European powers understood that the weakening of the United States was likely to affect the geopolitical balance of the world at large. Napoleon III saw the American war as an opportunity for France to regain international influence in the world. The United States featured prominently in Napoleon’s concerns but low in his affections, for after America’s war with Mexico, Napoleon sought to stem U.S. expansion to protect imperial regimes and preserve Catholicism and the Latin world from the Anglo-Saxons. At the outbreak of the Civil War, the French government’s first concern was to find legal responses to various situations. Diplomatic recognition, which the Confederacy sought, was the central question for France’s policy toward America. France had to consider the intrinsic nature of the new republic, its viability, its compatibility with the French agenda in Mexico, its trade arrangements, the disappearance of the Union, and French relations with Washington.


2006 ◽  
Vol 33 (2) ◽  
pp. 282-301 ◽  
Author(s):  
Lytton John Musselman

George Edward Post wrote the first flora of the Middle East in English. His other botanical activities are less familiar. In addition to the flora, this paper discusses his teaching, fieldwork, contribution to Bible dictionaries, relations with the Boissier Herbarium in Geneva, establishment of the herbarium, and letters. Those letters are used here for the first time. Post corresponded with botanical luminaries of his day including Autran, Baker, Balfour, Barbey, Boissier, Bornmüller, Carruthers, Denslow, Haussknecht, Hooker, Schweinfurth, Thistleton-Dyer, Torrey, and Winkler. His long-term relationship with the herbarium at Geneva is highlighted. In addition, some of the lesser understood aspects of his life including chaplaincy during the American Civil War, and missionary to Syria are discussed.


Author(s):  
James P. Byrd

This epilogue examines the central themes of the Bible in the Civil War, including confidence in clear analogies between biblical texts and the war; faith in the war’s redemptive outcome, which, for many in the North, charged the United States with a divine mission in the world; and above all, reverence for the sacred sacrifice of the dead, whose blood had “consecrated” the nation. Through all the death and injury, endless debates over slavery, defenses of secession, and patriotism, the Bible was a constant reference. The American Civil War may not have been “a war of religion,” James McPherson wrote, but we should not forget “the degree to which it was a religious war.” In a similar way, the American Civil War was not primarily a war over the Bible, but it was a biblical war for many Americans.


Author(s):  
Yaroslav Senyk

The article describes correspondence of the world-known artist Jacques Hnizdovsky and the editor Roman Ferencevych, kept in the Manuscript Division of Stefanyk National Scientific Library of Ukraine in Lviv. Thirty three letters of Jacques Hnizdovsky that reveal his creative workshop during the heyday of his artistic talent, as well as twelve letters of Roman Ferencevych are presented to the scholar public for the first time. The Appendix contains six letters of R. Ferentsevych’s correspondence concerning Jacques Hnizdovsky, and also the letter of Stefanie Hnizdovsky. Roman Ferencevych, a printer and then a broadcaster in the Voice of America (Ukrainian service), first met Jacques Hnizdovsky in Svoboda printing plant in Jersey City, N. J. where he made impressions of larger-sized woodcuts. Hnizdovsky made a bookplate woodcut for the book collection of R. Ferencevych in 1979. The artist used the ink roller as a symbol of the noble profession of printing. In 1985 Jacques Hnizdovsky made the second bookplate using the Cyrillic initials «РФ». The following issues were reflected in the correspondence: creativity, directions of activity and various professional interests of the artist, ways of popularizing his art in the USA, Great Britain, Canada, China; his cooperation with art and professional organizations, academic institutions, as well as art galleries in the USA, Canada, and Western Europe; application of the Ukrainian alphabet letters in printing art; activities of Ukrainian art institutions in the US and Canada. Keywords: Jacques Hnizdovsky, Roman Ferencevych, Correspondence, Bookplate (Ex Libris), Woodcut.


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