DOCSLIB.ORG

Still Fighting the Civil

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Still Fighting the Civil “ A solid introduction to the history of the Confederacy and to the ways in which southerners have used and misused that history.” —Washington Post Book World “ A startling but delightful analysis of the post–Civil War South.” —James I. Robertson, Jr., Richmond Times-Dispatch “ [Goldfield] writes with considerable authority and grace, and he is most ar- resting when dealing with skirmishes in the contemporary South such as those found in fundamentalist churches, country music, and arguments over the Confederate flag.” —Journal of American History “ Changing perceptions of the South is an important theme to historian David Goldfield, who is rapidly getting a reputation as the heir-apparent to deceased southern analysts Wilbur J. Cash and C. Vann Woodward. Still Fighting the Civil War has stirred controversies among conservatives and diehard region- alists while earning accolades from others for insights, corrective facts, and engaging prose. Goldfield has obviously discovered that there is much spiritually nourishing and intellectually delectable to be devoured by south- erners uncomfortable in living on southern barbecue alone.” —Southern Seen This page intentionally left blank WINNER OF THE JULES AND FRANCES LANDRY AWARD FOR 2002 This page intentionally left blank updated edition Still Fighting the Civil War The American South and Southern History DAVID GOLDFIELD Louisiana State University Press baton rouge Louisiana State University Press Copyright © 2002 by David Goldfield All rights reserved Manufactured in the United States of America Louisiana Paperback Edition, 2004 Designer: Barbara Neely Bourgoyne Typeface: Janson Text Typesetter: Coghill Composition, Inc. “The Mill Mother’s Song” by Ella May Wiggins is from American Folksongs of Protest, ed. John Greenway. Copyright © 1953 University of Pennsylvania Press. Reprinted by permission. “The Tall Men” by Donald Davidson is from his Poems 1922–1961 (University of Minnesota Press, 1966). Reprinted by permission. Excerpt from John Brown’s Body by Stephen Vincent Benet. Copyright © 1927, 1928 by Stephen Vincent Benet. Copyright renewed © 1955 by Rosemary Carr Benet. Reprinted by permission of Brandt & Hochman Literary Agents, Inc. Library of Congress Cataloging-in-Publication Data Goldfield, David R., 1944– Still fighting the Civil War : the American South and Southern history / David Goldfield. — Updated edition. pages cm Includes bibliographical references and index. ISBN 978-0-8071-5215-7 (paper : alkaline paper) — ISBN 978-0-8071-5216-4 (pdf) — ISBN 978-0-8071-5217-1 (epub) — ISBN 978-0-8071-5218-8 (mobi) 1. Southern States— Civilization. 2. Southern States—Social conditions. 3. Southern States—History—Philosophy. 4. United States—History—Civil War, 1861–1865—Influence. I. Title. F209.G65 2013 975—dc23 2012048188 The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. ∞ for Erik and Eleanor This page intentionally left blank Contents Preface to the Updated Edition xi Acknowledgments xiii Introduction 1 1 The Past Is 15 New Traditions 20 The Orthodox Church 28 Counterculture 37 2 God-Haunted 43 Blessed Defeat 50 Rituals of Faith 54 Making Good Christians 57 Black Branches 63 Dissenters 64 Civil Religion and Civil Rights 69 3 Culture Protestants 76 4 Pretty Women 89 The Woman’s War 93 Support and Sacrifice 96 Masks 103 Beneath the Pedestal 108 Keepers of the Past with an Eye to the Future 111 Suffering Suffrage 116 5 Lady Insurrectionists 137 The Opening 138 Clubbing 140 Women’s Work 145 False Chivalry 150 Lifting As We Climb 152 6 A Woman’s Movement 162 Off the Pedestal 163 Daughter of the Confederacy 165 Freedom’s Midwives 170 Take It Like a Man 177 Gender Agenda 181 7 Colors 187 Fluid Dynamics 191 Redeemed, Again 195 Exile 201 Reading, Writing, and Race 208 Alabaster Cities 214 Mirror Images 216 8 Sharings 239 Revelation 244 The Offering 249 Signs 252 9 New Battlegrounds, Old Strategies 256 Voting Rights and Wrongs 257 Schools: Burdens of Race and History 266 Natural and Unnatural 269 Work: Ebb and Flow 273 10 Measures 281 Southerners 283 Silences 289 11 Histories 298 Not Forgotten 301 Inclusion 305 12 The Real War 320 Notes 339 Index 369 Illustrations following page 120 Dedication of Robert E. Lee Equestrian Statue, 1890 Poster advertising Birth of a Nation, 1915 Old Catawba Hydroelectric Station, 1904 Mill air conditioning, 1907 Pyramid at Hollywood Cemetery, 2001 Confederate Memorial Day, 1920 United Daughters of the Confederacy (UDC), 1904 Colored Methodist Episcopal Church (CME), 1925 Friday night football in Icard, North Carolina, 2000 The Ten Commandments, Gastonia City Hall, 2001 Parade for woman’s suffrage, 1913 Young Women’s Christian Association (YWCA) Women’s Education Parade, 1908 Textile worker, Union Point Mill, 1941 Mrs. M. LaBlanc washing dishes, 1938 1918 graduates of the Atlanta School of Social Work Charlotte Hawkins Brown instructing pupils, 1947 Septima Clark and Rosa Parks at the Highlander Folk School, late 1950s White woman protesting hiring practices, 1963 following page 224 Citadel cadets celebrating the resignation of female cadet Shannon Faulkner, 1996 Harper’s Weekly illustration of whites’ perception of freed slaves, 1862 Advertisement for Luzianne coffee, 1918 Ben Tillman regaling voters, ca. 1900 Educating the South, 1925 Photo montage from Richmond promotional brochure, 1932 Segregation on public transit, 1933 Blues passed down from generation to generation, 1935 Voting in Jackson, Mississippi, 1966 Monument to African Americans, Columbia, South Carolina, 2001 Waving the Confederate battle flag at Woodlawn High School, 1963 Porfirio Fuentes cradles his son, 1998 Casual interracial contact in Birmingham’s Linn Park, 2001 Gone With the Wind premiere, 1939 Reinterment of Confederate sailors from the submarine CSS Hunley, 2000 The Confederate battle flag ‘‘compromise,’’ Columbia, South Carolina, 2000 The capitol grounds in Columbia, South Carolina, 2001 Preface to the Updated Edition The Civil War continues to fester in the South more than in other places. Place still matters here and the war was fought on this ground. Its scars are still visible in some areas, and where they are not, memorial markers and statues keep that history alive. It surrounds us, not as obtrusively as it once did, but its presence is still palpable. It is an ill-fitting cloak among the bank towers of Charlotte, the freeways of Atlanta, and the chic restaurants of Dallas and dozens of other cities. The Civil War sesquicentennial commemoration, beginning in 2010, offers an opportunity to calibrate how far southerners have journeyed in reconciling memory with history since the appearance of the first edition of Still Fighting the Civil War in 2002. Three trends are evident. First, it has been a relatively low-key anniversary. Second, the museum exhibits, the symposia, and the re- interpretations of historic sites have a common theme of inclusiveness. The stories of African Americans and women, and their respective roles in the war, are much more evident now than they were at the centennial commemora- tion. Third, even with the inclusion of new stories, public history displays often lack an interpretive framework. The public receives two contradictory messages, neither of which reflects the historical reality of the war. One message is the moral equivalency of both sides. The other is that the war was a glorious battle cry of freedom, a triumph of good over evil. Lost in these messages is the war itself, the real war, the bloody war that took 752,000 lives. Rather than raising questions about the war itself, the sesquicentennial commemoration either abdicates a point of xi xii Preface to the Updated Edition view or, in the numerous conferences dedicated to the anniversary, regurgitates the historiographical narrative of the past fifty years. It is a war without tears. Even with these flaws, the inclusiveness of the sesquicentennial commemo- ration has given the public a more complex view of the Civil War than here- tofore. Complexity is good. Ambiguity is even better. If we can begin to look upon the Civil War more critically as a conflict for which both sides were re- sponsible and in which both sides paid a heavy price in the deaths of hundreds of thousands of men, then we can find some common bond between all south- erners and, in fact, all Americans. We would then excise the present from the past and at last move forward to a future less encumbered by a mythical past. The objective is not to forget the past but to remember it better. Charlotte, North Carolina, September 2012 Acknowledgments This book has many parents. It rests on the work of scholars, journal- ists, and novelists. If I listed them all here, I would inevitably leave someone out, not to mention that I would reduce the pool of potential reviewers sig- nificantly. Embalmment of my sources in the endnotes is the best I can do. Some of the professionals whose work is evident in this book are not ac- knowledged in the notes. Copy editor Sarah Richards Doerries made splendid suggestions that improved the flow of the manuscript. Archivists in the North Carolina Collection at the University of North Carolina at Chapel Hill, the Library of Congress, the Duke Divinity School Library, Clemson University, and the Virginia Historical Society shared their expertise. Don Veasey of the Birmingham Public Library, Jim Willard of North Carolina Historical Sites, Michael Rose and Betsy Ricks of the Atlanta History Center, Cathy Mundale and Karen Jefferson of the Robert W. Woodruff Library at the Atlanta Uni- versity Center, and Heather A. Whitacre of the Museum of the Confederacy were particularly helpful. Staff at the Charlotte Observer, especially Don Hin- shaw and talented artists Kevin Siers and Diedra Laird, and Mic Smith and Tom Spain at the Charleston (S.C.) Post & Courier offered generous support to my project. And speaking of support, there is no finer staff to work with than the folks at LSU Press.
Load more

Recommended publications
  • Vita I. Academic/Professional
    VITA I. ACADEMIC/PROFESSIONAL BACKGROUND A. Name Title Mark Bayless Busby, Professor of English B. Educational Background (Years, Degrees, Universities, Majors, Thesis/Dissertation) August 1977 Ph.D. University of Colorado, Boulder Dissertation: “The Merging Adam-Christ Figure in Contemporary American Fiction” Director: James K. Folsom January 1969 M.A. Texas A&M University-Commerce Thesis: “Recent Trends in Marxist Literary Theory” Director: Thomas A. Perry May 1967 B.A. Texas A&M University-Commerce Majors: English and Speech C. University Experience (Dates, Positions, Universities,) Sept. 1994-Present Professor of English, Texas State University, San Marcos, TX August 1991-Sept. 1994 Associate Professor of English, Texas State University, San Marcos, TX August 2002-2012 Director, Southwest Regional Humanities Center, Texas State University, San Marcos, TX August 1991-2012 Director, Center for the Study of the Southwest, Texas State University, San Marcos, TX August 1983-July 1991 Associate Professor of English, Texas A&M University, College Station, TX August 1977-Aug. 1983 Assistant Professor of English, Texas A&M University, College Station, TX August 1972-May 1977 Instructor of English, University of Colorado, Boulder, CO June-August 1974, 1975 Instructor of English, Black Education Program, University of Colorado, Boulder, CO September 1970-June 1972 Associate Faculty Instructor of English, Indiana-Purdue University, Indianapolis, IN D. Relevant Professional Experience (Dates, Position, Entity,) September 1970-Dec. 1971 Communicative Arts Instructor, U.S. Army Adjutant General School, Fort Harrison, IN September 1967-May 1969 Teaching Assistant in English, Texas A&M University-Commerce, TX II. TEACHING A. Teaching Honors and Awards: 2012 Named Alpha Chi Favorite Professor, Texas State University 2008- Named Jerome H.
    [Show full text]
  • Robert E. Lee, Jefferson Davis, Stonewall Jackson, and the Archetypes of American Masculinity
    Template Created By: Damen Peterson 2009 KNIGHTS, PURITANS, AND JESUS: ROBERT E. LEE, JEFFERSON DAVIS, STONEWALL JACKSON, AND THE ARCHETYPES OF AMERICAN MASCULINITY By Wilm Kirk Strawbridge A Dissertation Submitted to the Faculty of Mississippi State University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in History in the Department of History Mississippi State, Mississippi April 2011 Template Created By: Damen Peterson 2009 Copyright by Wilm Kirk Strawbridge 2011 Template Created By: Damen Peterson 2009 KNIGHTS, PURITANS, AND JESUS: ROBERT E. LEE, JEFFERSON DAVIS, STONEWALL JACKSON, AND THE ARCHETYPES OF AMERICAN MASCULINITY By Wilm Kirk Strawbridge Approved: __________________________________ __________________________________ Jason Phillips Anne Marshall Associate Professor of History Assistant Professor of History (Dissertation Director) (Committee Member) __________________________________ __________________________________ James Giesen William Hay Assistant Professor History Associate Professor of History (Committee Member) (Committee Member) __________________________________ __________________________________ Peter Messer Gary Myers Associate Professor of History Dean of the College of Arts & Sciences (Graduate Coordinator) Template Created By: Damen Peterson 2009 Name: Wilm Kirk Strawbridge Date of Degree: April 30, 2011 Institution: Mississippi State University Major Field: History Major Professor: Dr. Jason Phillips Title of Study: KNIGHTS, PURITANS, AND JESUS: ROBERT E. LEE, JEFFERSON DAVIS, STONEWALL JACKSON, AND THE ARCHETYPES OF AMERICAN MASCULINITY Pages in Study: 257 Candidate for Degree of Doctor of Philosophy I interpret Civil War romanticism by looking at well-known archetypal characters such as the knight, the Puritan, and the Christ figure. I argue that sectional reunion occurred, in part, because Americans shared a common celebration of the Christian/chivalrous hero expressed through stories about the lives and personalities of leading figures of the Civil War.
    [Show full text]
  • Art for Whose Sake?: Defining African American Literature
    Georgia State University ScholarWorks @ Georgia State University African-American Studies Theses Department of African-American Studies Summer 7-17-2012 Art for whose Sake?: Defining African American Literature Ebony Z. Gibson Follow this and additional works at: https://scholarworks.gsu.edu/aas_theses Recommended Citation Gibson, Ebony Z., "Art for whose Sake?: Defining African American Literature." Thesis, Georgia State University, 2012. https://scholarworks.gsu.edu/aas_theses/17 This Thesis is brought to you for free and open access by the Department of African-American Studies at ScholarWorks @ Georgia State University. It has been accepted for inclusion in African-American Studies Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. ART FOR WHOSE SAKE?: DEFINING AFRICAN AMERICAN LITERATURE by EBONY Z. GIBSON Under the Direction of Jonathan Gayles ABSTRACT This exploratory qualitative study describes the criteria that African American Literature professors use in defining what is African American Literature. Maulana Karenga’s black arts framework shaped the debates in the literature review and the interview protocol; furthermore, the presence or absence of the framework’s characteristics were discussed in the data analysis. The population sampled was African American Literature professors in the United States who have no less than five years experience. The primary source of data collection was in-depth interviewing. Data analysis involved open coding and axial coding. General conclusions include: (1) The core of the African American Literature definition is the black writer representing the black experience but the canon is expanding and becoming more inclusive. (2) While African American Literature is often a tool for empowerment, a wide scope is used in defining methods of empowerment.
    [Show full text]
  • The Macgill--Mcgill Family of Maryland
    SEP i ma The MaCgÍll - McGill Family of Maryland A Genealogical Record of over 400 years Beginning 1537, ending 1948 GENEALOGICAL SOCIETÏ OP THE CHURCH OF JlSUS CMOlSI OP UT7Sfc.DAY SAMS DATE MICROFILMED ITEM PROJECT and G. S. Compiled ROLL # CALL # by John McGill 1523 22nd St., N. W Washington, D. C. Copyright 1948 by John McGill Macgill Coat-of-Arms Arms, Gules, three martlets, argent. Crest, a phoenix in flames, proper. Supporters, dexter (right) a horse at liberty, argent, gorged with a collar with a chain thereto affixed, maned and hoofed or, sinister (left) a bull sable, collared and chained as the former. Motto: Sine Fine (meaning without end). Meaning of colors and symbols Gules (red) signifies Military Fortitude and Magnanimity. Argent (silver) signifies Peace and Sincerety. Or (gold) signifies Generosity and Elevation of Mind. Sable (black) signifies Constancy. Proper (proper color of object mentioned). The martlet or swallow is a favorite device in European heraldry, and has assumed a somewhat unreal character from the circumstance that it catches its food on the wing and never appears to light on the ground as other birds do. It is depicted in armory always with wings close and in pro­ file, with no visable legs or feet. The martlet is the appropriate "differ­ ence" or mark of cadency for the fourth son. It is modernly used to signify, as the bird seldom lights on land, so younger brothers have little land to rest on but the wings of their own endeavor, who, like the swallows, become the travellers in their season.
    [Show full text]
  • Survey of African American Literature 1900-2000
    The Harlem RenaissanceSaLois Mailou Jones, Fetish, 1927 Survey of African American Literature 1900-2000 Spring 2014 Dr. Nagueyalti Warren 207 Candler Library [email protected] 7-6058 office 678-343-8858 cell best number to call 770 482-6067 home Office Hours: Monday, Wednesday, Friday 1:45-3:45 and by appointment Text: The Norton Anthology of African American Literature 3rd Edition Course Goals: The goal of this course is to provide an overview of African American literature from 1900 to the present. Students will read and examine writings by major contributors to each decade in the genres of fiction (short story and novel) essay, poetry, and plays. Students will write four five-page critical essays based upon some aspect of their reading and comprehension of the eras covered. The goal of the assignment is to enhance the student’s skills of critical thinking and argument. Each essay will be first submitted as a draft and will not be graded. The submission of the second draft will be graded. The final project will consist of all four papers, revised and compiled as a coherent essay or collection of essays. This course fulfills a writing requirement. Each student is responsible for an oral presentation of primary source material. Oral presentation counts as a quiz grade. Grading: Critical Essays 50% Quizzes 25% Final Project 25% College Plagiarism Statement from the Emory College Honor Code The Use of Sources in Writing Research Paper or Critical Essays in Emory College A writer's facts, ideas, and phraseology should be regarded as his property. Any person who uses a writer's ideas or phraseology without giving due credit is guilty of plagiarism.
    [Show full text]
  • American Book Awards 2004
    BEFORE COLUMBUS FOUNDATION PRESENTS THE AMERICAN BOOK AWARDS 2004 America was intended to be a place where freedom from discrimination was the means by which equality was achieved. Today, American culture THE is the most diverse ever on the face of this earth. Recognizing literary excel- lence demands a panoramic perspective. A narrow view strictly to the mainstream ignores all the tributaries that feed it. American literature is AMERICAN not one tradition but all traditions. From those who have been here for thousands of years to the most recent immigrants, we are all contributing to American culture. We are all being translated into a new language. BOOK Everyone should know by now that Columbus did not “discover” America. Rather, we are all still discovering America—and we must continue to do AWARDS so. The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term “multicultural” not as a description of an aspect of American literature, but as a definition of all American litera- ture. BCF believes that the ingredients of America’s so-called “melting pot” are not only distinct, but integral to the unique constitution of American Culture—the whole comprises the parts. In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restric- tion or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Keith Byerman
    Keith Byerman EDUCATION: Purdue University, Ph.D., 1978; American Studies/English; Major Field: American Literature, Minor Field: Intellectual History, Special Field: Black Studies. Dissertation: "Two Warring Ideals:The Dialectical Thought of W.E.B. Du Bois." Indiana University, 1970-72, American Studies. Anderson College, B.A., 1970; English, American Studies. UNIVERSITY POSITIONS: Professor, Department of English, Indiana State University, 1991-present; Associate Editor, African American Review, 1987-present; Affiliate Faculty, Women’s Studies, 1997-; Associate Professor,1987-1991; Interim Director, Interdisciplinary Programs, 2010-2011 Administrative Fellow for Research, College of Arts andSciences, 2003; Interim Director, University Honors Program, 2005-06 Visiting Professor, Department of Language and Literature, Columbus College, 1986-87 Fulbright Professor, University of Vienna, 1985-86 Assistant Professor, Department of English, University of Texas at Austin, 1979-85 HONORS/GRANTS: Sylvia Rendell Award for Scholarship, Charles Chesnutt Association, 2008 P.I., “Race and Politics,” Japan Foundation, 2006 P.I., “Current Trends in African American Studies,” Japan-US Friendship Commission, 2004, $40,000. Renewed 2005, $40,300 Dreiser Award for Excellence in Research, 2004 International Travel Grant to Asia, ISU, 2002, 2004, 2006 University Research Grant, ISU, 1988, 1990, 1996, 2001, 2008, 2010 Classroom Development Grant, Center for Teaching and Learning, ISU, 1997 Educational Excellence Award, College of Arts and Sciences, Indiana State University, 1995 Fulbright Group Travel Award to Africa, Summer 1993 Lila Wallace Foundation, 1992-94 (African American Review) Georgia Endowment for the Humanities, 1987 D. Abbott Turner Foundation, 1987 (Carson McCullers Conference) Columbus College Foundation, 1987 Fulbright Fellowship, University of Vienna, 1985-86 PUBLICATIONS: Books: The Life and Works of John Edgar Wideman.
    [Show full text]
  • Barry A. Lanier - Poems
    Poetry Series Barry A. Lanier - poems - Publication Date: 2008 Publisher: Poemhunter.com - The World's Poetry Archive Barry A. Lanier() Barry, grew up on a farm in rural Georgia, working on the farm until college where he attended Georgia Southern College and later Mercer University Southern School of Pharmacy. After pharmacy school, Barry farmed for four years before economics forced him to practice pharmacy, which he also loved because of his passion for people. In and out of pharmacy, Barry has been a songwriter, an insurance agent, went back to Georgia Southern entering the MBA program, which he had to dropp out of after opening a retail sporting goods store. The outdoors and sporting and hunting and fishing always a passion. Returning to pharmacy, traveling the state for years, taking a haitus and learning to drive an 18-wheeler, always a goal, he has a CDL license. Currently Barry has earned a Master's degree in Community Counseling from Georgia Southern University and is working as a counselor/therapist. He became interested in writing in high school when his mentor, Jessie Bird, suggested he had an innate creative talent after he wrote 'Moment In The Morn'. Only some 25 years later did he start back writing. Discovering his geneaology and heritage included being a descendant of Sidney Clopton Lanier who wrote 'Marshes of Glynn', and of Thomas Lanier (Tennessee Williams) who was originally a failed poet, Barry was motivated to begin his journey of writing. Many of his poems have been published nationally and internationally and he has been honored for a decade by the International House of Poetry for many awards.
    [Show full text]
  • Library of Virginia's 2019 Virginia Women in History Program Honors
    Library of Virginia’s 2019 Virginia Women in History Program Honors Eight Outstanding Women This year's honorees come from the Virginia Women's Monument's "Wall of Honor." Contact: Ann Henderson, Communications Manager FOR IMMEDIATE RELEASE 804.692.3611, [email protected] (Richmond, Virginia) – A Pamunkey Indian chief, a labor organizer, and a pioneering endocrinologist are among eight Virginia women recognized by the Library of Virginia in partnership with the Virginia Women's Monument Commission as part of the 2019 Virginia Women in History project. In observation of March as National Women's History Month, the project honors eight women who have made important contributions to Virginia, the nation, and the world. The General Assembly established a Women's Monument Commission in 2010 to recommend an appropriate monument to commemorate the contributions of Virginia's women. The commission chose a design and named 12 women to honor with bronze statutes. In addition, the monument includes a glass Wall of Honor engraved with more than 200 names "In Honor and Appreciation of the Women of Virginia for Their Contributions and Achievements." The 2019 Virginia Women in History honorees were selected from this group. For more information about the monument, which will be dedicated this October, visit womensmonumentcom.virginia.gov. The eight honorees are also featured on a handsome poster and in the Library’s 2019 Virginia Women in History exhibition, which will be on display on the second floor of the Library of Virginia during the month of March. The exhibition will then travel to libraries, schools, and cultural institutions across the state.
    [Show full text]
  • The Dictionary Legend
    THE DICTIONARY The following list is a compilation of words and phrases that have been taken from a variety of sources that are utilized in the research and following of Street Gangs and Security Threat Groups. The information that is contained here is the most accurate and current that is presently available. If you are a recipient of this book, you are asked to review it and comment on its usefulness. If you have something that you feel should be included, please submit it so it may be added to future updates. Please note: the information here is to be used as an aid in the interpretation of Street Gangs and Security Threat Groups communication. Words and meanings change constantly. Compiled by the Woodman State Jail, Security Threat Group Office, and from information obtained from, but not limited to, the following: a) Texas Attorney General conference, October 1999 and 2003 b) Texas Department of Criminal Justice - Security Threat Group Officers c) California Department of Corrections d) Sacramento Intelligence Unit LEGEND: BOLD TYPE: Term or Phrase being used (Parenthesis): Used to show the possible origin of the term Meaning: Possible interpretation of the term PLEASE USE EXTREME CARE AND CAUTION IN THE DISPLAY AND USE OF THIS BOOK. DO NOT LEAVE IT WHERE IT CAN BE LOCATED, ACCESSED OR UTILIZED BY ANY UNAUTHORIZED PERSON. Revised: 25 August 2004 1 TABLE OF CONTENTS A: Pages 3-9 O: Pages 100-104 B: Pages 10-22 P: Pages 104-114 C: Pages 22-40 Q: Pages 114-115 D: Pages 40-46 R: Pages 115-122 E: Pages 46-51 S: Pages 122-136 F: Pages 51-58 T: Pages 136-146 G: Pages 58-64 U: Pages 146-148 H: Pages 64-70 V: Pages 148-150 I: Pages 70-73 W: Pages 150-155 J: Pages 73-76 X: Page 155 K: Pages 76-80 Y: Pages 155-156 L: Pages 80-87 Z: Page 157 M: Pages 87-96 #s: Pages 157-168 N: Pages 96-100 COMMENTS: When this “Dictionary” was first started, it was done primarily as an aid for the Security Threat Group Officers in the Texas Department of Criminal Justice (TDCJ).
    [Show full text]
  • Chapter 1 1. My Generalities Refer to Stereotypical Patterns In
    Notes Chapter 1 1. My generalities refer to stereotypical patterns in represented images of black wornen. There are certainly alternative, though not as prominent, images of black wornen in popular culture as weil as in literature. I recognize problems inherent in categorizing wornen as "Iarge" or "fat." A wornan who wears a dress size 12 or 14 in one culture rnay be perceived as large or fat, whereas she rnay be perceived as skinny or at least slender in an­ other. Since I am dealing prirnarily with black and white conceptions of size in the Uni ted States, I would posit rhat a white wo man who wears a size 14 or 16 is generally considered fat whereas a black wornan rnay not be labeled as such until her dress size reaches 22 or 24. Please keep in rnind that large size as I williater use it to refer to sorne African American wornen does not rnean that the wornen are perceived as unattractive. Keep in rnind as weil generational consideration in terms of size arnong black wornen. Prirnarily as a result of education and upward rnobility, rnany African American wornen under 30 are often just as conscious about con­ taining their size through diet and exercise as are their European American counterparts. 2. Such depictions occur in autobiography and fiction. For representative ex­ arnpies, see Frederick Douglass's account of the whipping his Aunt Harriet receives in Narrative 0/ the Lift 0/ Frederick Douglass (1845) and Margaret Walker's account ofLucy and Vyry being whipped in Jubilee (1966). For a theoretical discussion of black wornen's bodies during slavery, see Hortense J.
    [Show full text]