Centering on the common soldier, this photojournalistic album tells the stories of individuals--their heroics, fear, boredom--with some 250 photographs, five maps, and related documents. It also documents, by-the-by, the rise of field photography. Annotation copyrighted by Book News, Inc., Portland, OR

"This volume ... includes hundreds of photographs, many of them never before published. The authors provide text and commentary, organizing the photographs into chapters covering the origins of war, its conventional and guerrilla phases, the war on the rivers, medicine ... the experiences of Missourians who served out of state, and the process of reunion in the postwar years"--Fly leaf.

Tenth volume of acclaimed series

A uniquely rich portrayal of Tennesseans who fought and lost their lives in the Civil War is presented in this collection of stories and portraits that are joined with personal remembrances from recovered letters and diaries and detailed historical background.

This largest volume yet in the University of Arkansas Press's award-winning series on the Civil War deepens our understanding of the nation's costliest human conflict. It tells the stories of the ordinary soldierstheir heroism and fear, the boredom and the miseryin the midst of war. - Publisher.

Archival images and biographical sketches of Union soldiers tell the stories of their lives during and after the Civil War. Before leaving to fight in the Civil War, many Union and Confederate soldiers posed for a carte de visite, or visiting card, to give to their families, friends, or sweethearts. Invented in 1854 by a French photographer, the carte de visite was a small photographic print roughly the size of a modern trading card. The format arrived in America on the eve of the Civil War, fueling intense demand for the keepsakes. Many cards of Civil War soldiers survive today, but the experiences?and often the names?of the individuals portrayed have been lost to time. A passionate collector of Civil War–era photography, Ron Coddington researched the history behind these anonymous faces in military records, pension files, and other public and personal documents. In Faces of the Civil War, Coddington presents 77 cartes de visite of Union soldiers from his collection and tells the stories of their lives during and after the war. These soldiers came from all walks of life. All were volunteers. Their personal stories reveal a tremendous diversity in their experience of war: many served with distinction, some were captured, some never saw combat while others saw little else. The lives of survivors were even more disparate. While some made successful transitions back to civilian life, others suffered permanent physical and mental disabilities, which too often wrecked their families and careers. In compelling words and haunting pictures, Faces of the Civil War offers a unique perspective on the most dramatic and wrenching period in American history.

A collection of unposed and engaging portraits from around the world.

"This book offers readers a unique perspective on the war and contributes to a better understanding of the role of the common soldier."--BOOK JACKET.

Chronicles the Civil War using photographs taken by Mathew Brady and his employees.

Photographic stills of women, appearing in both press coverage and relief campaigns, have long been central to the documentation of war and civil conflict. Images of non-Western women, in particular, regularly function as symbols of the misery and hopelessness of the oppressed. Featured on the front pages of newspapers and in NGO reports, they inform public understandings of war and peace, victims and perpetrators, but within a discourse that often obscures social and political subjectivities. Uniquely, this book deconstructs – in a systematic, gender-sensitive way – the repetitive circulation of certain images of war, conflict and state violence, in order to scrutinize the role of photographic tropes in the globalized visual sphere. Zarzycka builds on feminist theories of representations of war to explore how the concepts of femininity and war secure each other’s intelligibility in photographic practices. This book examines the complex connections between photographic tropes and the individuals and communities they represent, in order to rethink the medium of photography as a discursive and political practice. This book interrogates both the structure and transmission of contemporary encounters with war, violence, and conflict. It will appeal to advanced students and scholars of gender studies, visual studies, media studies, photography theory, cultural anthropology, cultural studies, and trauma and memory studies.