Home front and battle front merged in 1865 when General William T. Sherman occupied Savannah and then marched his armies north through the Carolinas. Although much has been written about the military aspects of Sherman's March, Jacqueline Campbell reveals a more complex story. Integrating evidence from Northern soldiers and from Southern civilians, black and white, male and female, Campbell demonstrates the importance of culture for determining the limits of war and how it is fought. Sherman's March was an invasion of both geographical and psychological space. The Union army viewed the Southern landscape as military terrain. But when they brought war into Southern households, Northern soldiers were frequently astounded by the fierceness with which many white Southern women defended their homes. Campbell argues that in the household-centered South, Confederate women saw both ideological and material reasons to resist. While some Northern soldiers lauded this bravery, others regarded such behavior as inappropriate and unwomanly. Campbell also investigates the complexities behind African Americans' decisions either to stay on the plantation or to flee with Union troops. Black Southerners' delight at the coming of the army of "emancipation" often turned to terror as Yankees plundered their homes and assaulted black women. Ultimately, When Sherman Marched North from the Sea calls into question postwar rhetoric that represented the heroic defense of the South as a male prerogative and praised Confederate women for their "feminine" qualities of sentimentality, patience, and endurance. Campbell suggests that political considerations underlie this interpretation--that Yankee depredations seemed more outrageous when portrayed as an attack on defenseless women and children. Campbell convincingly restores these women to their role as vital players in the fight for a Confederate nation, as models of self-assertion rather than passive self-sacrifice.
Home front and battle front merged in 1865 when General William T. Sherman occupied Savannah and then marched his armies north through the Carolinas. Although much has been written about the military aspects of Sherman's March, Jacqueline Campbell reveals a more complex story. Integrating evidence from Northern soldiers and from Southern civilians, black and white, male and female, Campbell demonstrates the importance of culture for determining the limits of war and how it is fought. Sherman's March was an invasion of both geographical and psychological space. The Union army viewed the Southern landscape as military terrain. But when they brought war into Southern households, Northern soldiers were frequently astounded by the fierceness with which many white Southern women defended their homes. Campbell argues that in the household-centered South, Confederate women saw both ideological and material reasons to resist. While some Northern soldiers lauded this bravery, others regarded such behavior as inappropriate and unwomanly. Campbell also investigates the complexities behind African Americans' decisions either to stay on the plantation or to flee with Union troops. Black Southerners' delight at the coming of the army of "emancipation" often turned to terror as Yankees plundered their homes and assaulted black women. Ultimately, When Sherman Marched North from the Sea calls into question postwar rhetoric that represented the heroic defense of the South as a male prerogative and praised Confederate women for their "feminine" qualities of sentimentality, patience, and endurance. Campbell suggests that political considerations underlie this interpretation--that Yankee depredations seemed more outrageous when portrayed as an attack on defenseless women and children. Campbell convincingly restores these women to their role as vital players in the fight for a Confederate nation, as models of self-assertion rather than passive self-sacrifice.
This unique book proposes a re-reading of the relationship between artists and the contemporary museum. In Australia in particular, the museum has played a significant role in the colonial project and this has generally been considered as the predominant mode of artists' engagement with such institutions and collections. Australian Artists in the Contemporary Museum expands the post-colonial frame of reference used to interpret this work, to demonstrate the broader implications of the relationship between artists and the museum, and thus to offer an alternative way of understanding recent contemporary practices. The authors' central argument is that artists' engagement with the museum has shifted from politically motivated critique taking place in museums of fine art, towards interventions taking place in non-art museums that focus on the creation of knowledge more broadly. Such interventions assume a number of forms, including the artist acting as curator, art works that highlight the use of taxonomic modes of display and categorization, and the re-consideration of the aesthetics of collections to suggest different ways of interpreting objects and their history. Central to these interventions is the challenge to better connect the museum and its public. The book will be essential reading for scholars, professionals and students in the fields of contemporary art and museum studies, art history, and in the museum sector. These include artists, curators, museum and gallery professionals, postgraduate researchers, art historians, designers and design scholars, art and museum educators, and students of visual art, art history, and museum studies. This project has been assisted by the Australian government through the Australia Council for the Arts, its arts funding and advisory body.
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