Voices in the Storm examines the significance of oratory in the Confederacy and also explores the nuances and subtle messages within Confederate speeches. Examining metaphor, argument, and figures of speech, Fritz finds some surprising shifts within the Civil War South. Her research indicates that four years of bloody conflict caused southerners to reconsider beliefs about their natural environment, their honor, their slaves, and their northern opponents. Between 1861 and 1865 southerners experienced shattering calamities as they waged their unsuccessful struggle for independence. Confederate orators began the war by outlining a detailed and idealized portrait of their nation and its people. During the conflict, they gradually altered the depiction, increasingly adding references to the grotesque and discordant, as all around them southerners were losing homes and family members in the maelstrom that consumed their cities and fields, polluted their rivers, and destroyed their social order. Oratory played a fundamental role in the southern nation, whose citizens encountered it almost daily at military functions, before battle, in church, and even while lying in hospital beds or strolling on city streets. Because Confederate citizens frequently commented on oratory or spoke out during speeches, Fritz also considers audience behavior and response. By the end of the war, speakers described their nation in savage terms, applying to it expressions and characteristics once reserved only for the North. This analysis thus indicated that southerners listened as orators gradually shaped them and their nation into rhetorical facsimiles of their enemy, suggesting that separation at some level effected reunion.

When the Civil War began, the southerners found themselves ill-prepared for the realities of waging war, especially on the naval front. Not only did the Confederates lack any semblance of a navy, they had few raw materials with which to construct one. The daunting task of building a navy fell on the shoulders of Stephen Mallory, newly appointed secretary of the navy. A former United States senator from Florida, Mallory had resigned from office when his home state seceded from the Union and he pledged himself to the service of the Confederacy. His intelligence and resourcefulness accomplished what many saw as impossible--the creation of a viable, combat-ready southern navy. Among his primary goals was the establishment of a naval academy, a step which Mallory considered essential for building a serious military force. In July 1863, the Confederate Naval Academy inducted its first class of cadets--among which was Hubbard T. Minor from the army's 42nd Tennessee regiment. Focusing on the latter part of the war, this work provides an in-depth look at the realities of life as a cadet at the Confederate Naval Academy. Beginning with an overview of the academy, the book contains a brief biographical sketch of each of the school's principal instructors. The main focus of the work, however, is the diary which Hubbard Minor kept as a cadet requirement. One of only two such documents to survive, it provides a day-by-day account of Minor's duties as well as his active service on board the CSS Savannah. Events covered include the June 1864 raid on the USS Water Witch, the evacuation of Savannah, and the Confederate retreat to Richmond. Selected letters from Minor's correspondence are inserted where chronologically relevant, while introductions and other explanatory information are added only as necessary to aid the reader. Appendices contain a list of regulations from the Confederate school ship Patrick Henry; the initial report from Austin Pendergrast, commander of the USS Water Witch; a roster of officers assigned to the CSS Savannah; and a report from Commander Brent of the Confederate navy regarding the evacuation of Savannah. Illustrations and an index are also included.

This work is the first monograph which closely examines the role of the German minority in the American South during the Civil War. In a comparative analysis of German civic leaders, businessmen, militia officers and blockade runners in Charleston, New Orleans and Richmond, it reveals a German immigrant population which not only largely supported slavery, but was also heavily involved in fighting the war. A detailed appendix includes an extensive survey of primary and secondary sources, including tables listing the members of the all-German units in Virginia, South Carolina and Louisiana, with names, place of origin, rank, occupation, income, and number of slaves owned. This book is a highly useful reference work for historians, military scholars and genealogists conducting research on Germans in the American Civil War and the American South.

Despite his military achievements and his association with many of the great names of American history, Godfrey Weitzel (1835–1884) is perhaps the least known of all the Union generals. After graduating from West Point, Weitzel, a German immigrant from Cincinnati, was assigned to the Army Corps of Engineers in New Orleans. The secession of Louisiana in 1861, with its key port city of New Orleans, was the first of a long and unlikely series of events that propelled the young Weitzel to the center of many of the Civil War’s key battles and brought him into the orbit of such well-known personages as Lee, Beauregard, Butler, Farragut, Porter, Grant, and Lincoln. Weitzel quickly rose through the ranks and was promoted to brigadier general and, eventually to commander of Twenty-Fifth Corps, the Union Army’s only all-black unit. After fighting in numerous campaigns in Louisiana and Virginia, on April 3, 1865, Weitzel marched his troops into Richmond, the capital of the Confederacy, capturing the city for the Union and precipitating the eventual collapse of the Southern states’ rebellion. G. William Quatman’s minute-by-minute narrative of the fall of Richmond lends new insight into the war’s end, and his keen research into archival sources adds depth and nuance to the events and the personalities that shaped the course of the Civil War.

Tracing the cultural, material, and discursive history of an early manifestation of media culture in the making. Beginning in the late eighteenth century, huge circular panoramas presented their audiences with resplendent representations that ranged from historic battles to exotic locations. Such panoramas were immersive but static. There were other panoramas that moved—hundreds, and probably thousands of them. Their history has been largely forgotten. In Illusions in Motion, Erkki Huhtamo excavates this neglected early manifestation of media culture in the making. The moving panorama was a long painting that unscrolled behind a “window” by means of a mechanical cranking system, accompanied by a lecture, music, and sometimes sound and light effects. Showmen exhibited such panoramas in venues that ranged from opera houses to church halls, creating a market for mediated realities in both city and country. In the first history of this phenomenon, Huhtamo analyzes the moving panorama in all its complexity, investigating its relationship to other media and its role in the culture of its time. In his telling, the panorama becomes a window for observing media in operation. Huhtamo explores such topics as cultural forms that anticipated the moving panorama; theatrical panoramas; the diorama; the "panoramania" of the 1850s and the career of Albert Smith, the most successful showman of that era; competition with magic lantern shows; the final flowering of the panorama in the late nineteenth century; and the panorama's afterlife as a topos, traced through its evocation in literature, journalism, science, philosophy, and propaganda.

Featuring 92 images and line drawings The Visible Confederacy is a comprehensive analysis of the commercially and government-generated visual and material culture of the Confederate States of America. While historians have mainly studied Confederate identity through printed texts, this book shows that Confederates also built and shared a sense of who they were through other media: theatrical performances, military clothing, manufactured goods, and an assortment of other material. Examining previously understudied and often unpublished visual and documentary sources, Ross A. Brooks provides new perspectives on Confederates’ sense of identity and ideas about race, gender, and independence, as well as how those conceptions united and divided them. Brooks’s work complements the historiography surrounding the Confederate nation by revealing how imagery and objects offer new windows on southern society and a richer understanding of Confederate citizens. Brooks builds substantially upon previous studies of the iconology and iconography of Confederate imagery and material culture by adding a broader range of government and commercially generated images and objects. He examines not only popular or high art and government-produced imagery, but also lowbrow art, transitory theatrical productions, and ephemeral artifacts generated by southerners. Collectively, these materials provide a variety of lenses through which to explore and assay the various priorities, ideological fault lines, and worldviews of Confederate citizens. Brooks’s study is one of the first extensive academic works to use imagery and objects as the basis for studying the Confederate South. His work provides fresh avenues for examining Confederate ideas about race, slavery, gender, independence, and the war, and it offers insight into the intentions and factors that contributed to the creation of Confederate nationalism. The Visible Confederacy furthers our understanding of what the Confederacy was, what Confederates fought for, and why their vision has persisted in memory and imagination for so long beyond the Confederacy’s existence. Visual and material culture captured not only the tensions, but also the illusions and delusions that Confederates shared.