From obscurity to national icon
Memorializing Stephen C. Foster in the 1890s
Bibliographic Data
| ID | 16768779 |
|---|---|
| Authors | Christopher Lynch (0000-0003-0298-1407, University Library System, University of Pittsburgh, Pittsburgh, USA), Christopher S Lynch (0000-0001-9989-7097, University of Pittsburgh, corresponding author) |
| Year | 2023 |
| Volume | 24 |
| Issue | 3 |
| Pages | 315-337 |
| Publication date | 2023-09-02 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | American Nineteenth Century History (JOURNAL) |
| Journal identifiers | ISSN: 1466-4658 • E-ISSN: 1743-7903 |
| Publisher | Informa UK Limited (PUBLISHER • GB) |
| DOI | 10.1080/14664658.2023.2304460 |
| OpenAlex | W4393989895 |
| Language | EN |
| References cited | 15 |
Although he would come to be seen as the "father of American music," Stephen Collins Foster (1826–1864) was mostly unknown until 1900, when a statue by Giuseppe Moretti was erected in Pittsburgh depicting the composer seated above an enslaved man and transcribing the music he performs. This essay explores the historical meanings of the monument by analyzing private and public writings from its genesis, fundraising campaign, and unveiling, situating the statue within the songwriter's family's efforts to shape public memory and the larger political context of reconciliation between North and South after the Civil War
Icon · Political science · Programming language · Sociology · Canadian Identity and History · Computer Science · History
Scenes of subjection
Civil War Memories
Battle Hymns
Standing Soldiers, Kneeling Slaves
What Can and Can’t Be Said
Stephen Foster and the Slavery Question
Stephen Foster, America's Troubadour
Stephen Foster, America's Troubadour
What Can and Can’t Be Said
Race and Reunion
There Is a North
Remembering the Civil War
No Common Ground
| Citation velocity | historical |
|---|---|
| Highly cited | No |