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On Fair Use

The doctrine of "fair use" is an increasingly important concept for scholars, libraries, and universities as digital technologies continue to change the ways that we research, publish, and teach in...

You Can't Eat Coal, and Other Lessons from Appalachian Women's History

...these positions. Most caregivers do not become activists. The merging of an ethic of care with democratic struggle provided a powerful argument that caring is central to the fight for...

Race

...look from an ivory spouse who is learning her husband's caesuras. She can see silent spaces but not what they signify, graphite markings in a forester's code. Many others have...

Call for Submissions: Landscapes and Ecologies of the U.S. South Proposals due: January 31, 2011

...and their global connections. We encourage submissions that combine innovative scholarship and analysis with ideas for digital media elements such as images, maps, audio, or video. Jason Francisco, Nature preserve,...

Substantiation

...couldn't find him in the dark. They say that Moses brought him out at last, that someone else was in the truck to say that it was him that did...

"Gaps in People's Lacks": James Franco's As I Lay Dying

...While we know that earlier he goes with Jewel to get a load of wood that "means three dollars" (17, 19), we never see Faulkner's Darl working, a fact that...

Atlanta's T-SPLOST Referendum and Atlanta Studies

Today Southern Spaces published Edward A. Hatfield's essay "A Well-Tied Knot: Atlanta's Mobility Crisis and the 2012 T-SPLOST Debate," which surveys the challenges of transportation planning in the Atlanta metro region...

Call for Submissions: Queer Intersections / Southern Spaces

...identifying queer subjects as intelligible, fixed beings to asking the critical questions: To queer what? Where? When? What do, or should, we queer and why? With the series "Queer Intersections...

References
1.	I attended and observed preparations for the Moore’s Ford reenactments in 2007, 2008, 2009 and 2010. I have interviewed many participants in the 2005 and 2006 reenactments.
2.	For an account of earlier memorial practices at Moore’s Ford see Mark Auslander, "'Return to Sender:' Confronting Lynching and Our Haunted Landscapes.“ Southern Changes, Vol. 24, No. 1-2, 2002, pp. 4-7.
3.	Inge Nielsen, Cultic Theatres and Ritual Drama: A Study in Regional Development and Religious Interchange between East and West in Antiquity (Aarhus, Denmark: Aaruhus University Press, 2002).
4.	Rory Tuner, “Bloodless Battles: The Civil War Reenacted,” The Drama Review, Vol. 24, no. 4 (1990).
5.	Alice Correia, “Interpreting Jeremy Deller’s The Battle of Orgreave,” Visual Culture in Britain, Vol. 7, no. 2 (2006).
6.	Oren Baruch Stier, “Different Trains: Holocaust Artifacts and the Ideologies of Remembrance,” Holocaust and Genocide Studies, Vol. 19, no. 1 (2005).
7.	Jo Blatti, “Field to Factory: Afro-American Migration, 1915-1940,” Oral History Review, Vol. 16, no. 1 (1988). The exhibition was curated by Spencer Crew and designed by Jim Sims.
8.	Handler and Gable report that white reenactors and staff at Colonial Williambsurg tend to minimize the cruelty of the slavery system. Richard Handler and Eric Gable, The New History in the Old Museum: Creating the Past at Colonial Williamsburg (Durham: Duke University Press, 2002): p.225.
9.	James Oliver Horton, “Presenting Slavery: The Perils of Telling America's Racial Story,” The Public Historian, Vol. 21, no. 4 (1999): p. 30.
10.	The protests against the auction were organized primarily by the local NAACP and SCLC chapters. In her detailed analysis of this episode Lisa Woolfork argues that much of the local African American opposition to the auction was deeply gendered; senior male African American activists and civil rights leaders, she suggests, were offended that the auction was conceived of and planned by female African American professionals at Colonial Williamsburg. Lisa Woolfork, Embodying American Slavery in Contemporary Culture (Urbana: University of Illinois Press, 2009). See also James Oliver Horton, “Presenting Slavery: The Perils of Telling America's Racial Story,” The Public Historian, Vol. 21, No. 4 (1999).
11.	In spring 2010 a Lumpkin County, Georgia high school history teacher was placed on leave after her students, planning on creating an anti-racist film about lynching, walked through the school cafeteria wearing Klan robes. See: http://www.wsbtv.com/news/second-teacher-at-center-of-kkk-controversy/241731973.
12.	I wish to emphasize that local community disagreements with the urban-based organizers of the reenactments, over issues such as the age of the vehicle, were nuanced and low key. Nearly all local participants would be extremely reluctant to offer public critique of a figure such as Representative Boyd, whom is widely regarded in the Georgia African American community as a hero of the civil rights struggle.
13.	It is interesting to note that in 2008 a friend of Jane’s, one of the organizers of the performance, made the doll out of nylon pantyhose. So in that year the doll and Martin’s shirt shared powerful affinities, both were articles of clothing stained with blood.
14.	Roland Barthes, Camera Lucida, tr. Richard Howard (New York: Hill and Wang, 1981).

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