Excerpt from History of the Confederated Memorial Associations of the South This volume is a votive offering at the shrine of our short lived nation's memory, by the last of the Old Guard of that noble race of women, whose superb heroism was only limited by the supreme need of its action. It is written in the current which flowed from bleeding hearts, it is bound in love, it is launched in hope. May history perennially repeat its story, and preserve it as the immortal testimony that the women of the South were as true to their duty to rise and build as her men were to suffer and die. None can read the record of these pages, without being moved to admiration of the undaunted spirit that brought forth from the wine-press of poverty and self-denial, fruits of toil, that crystallized into glittering mon aments of love, cleaving the skies of the Southland. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The life and work of a sculptor who pushed both aesthetic and social boundaries at the turn of the twentieth century is explored in this in-depth study. Working in the late nineteenth and early twentieth centuries, Louisville-born sculptor Enid Yandell developed a distinctly physical and masculine style that challenged the gender norms of artistic practice. An award-winning sculptor with numerous commissions, she was also an activist for women's suffrage and other political movements. This study examines Yandell's evolution from a young, Southern dilettante into an internationally acclaimed artist and public figure. Yandell found early success as one of a select group of female sculptors at the World's Columbian Exposition in Chicago in 1893. She was then commissioned to create a twenty-five foot figure of Pallas Athena for Nashville's Centennial Exposition in 1897. Yandell's command of classical subject matter was matched by her abilities with large-scale, figurative works such as the Daniel Boone statue in Cherokee Park, Louisville. Part of the art worlds of New York and Paris, Yandell associated with luminary sculptors like Frederick MacMonnies and Auguste Rodin. She became one of the first female members of the National Sculpture Society in 1898. This authoritative study explores the many ways in which Yandell was a pioneer.

Explores the crucial role of rhetoric and oratory in creating and propagating a “Lost Cause” public memory of the American South Enduring Legacy explores the vital place of ceremonial oratory in the oral tradition in the South and analyses how rituals such as Confederate Memorial Day, Confederate veteran reunions, and dedication of Confederate monuments have contributed to creating and sustaining a Lost Cause paradigm for Southern identity. Towns studies in detail secessionist and Civil War speeches and how they laid the groundwork for future generations, including Southern responses to the civil rights movement, and beyond. The Lost Cause orators that came after the Civil War, Towns argues, helped to shape a lasting mythology of the brave Confederate martyr, and the Southern positions for why the Confederacy lost and who was to blame. Innumerable words were spent—in commemorative speeches, newspaper editorials, and statehouse oratory—condemning the evils of Reconstruction, redemption, reconciliation, and the new and future South. Towns concludes with an analysis of how Lost Cause myths still influence Southern and national perceptions of the region today, as evidenced in debates over the continued deployment of the Confederate flag and the popularity of Civil War reenactments.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Confederate Generals in the Western Theater ultimately comprise several volumes that promise a host of provocative new insights into not only the South's ill-fated campaigns in the West but also the eventual outcome of the larger conflict. --Book Jacket.