Relevant bibliographies by topics / Historical reenactments

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Historical reenactments'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Historical reenactments"

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Драчева, Е., and E. Dracheva. "Historical reconstruction as a basis for the formation of a new tourist product." Service & Tourism: Current Challenges 8, no. 4 (November 27, 2014): 55–67. http://dx.doi.org/10.12737/6575.

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Historic reenactment and it’s case — military-historic reenactment are def ned in the article. Historic reenactment сan be def ned as an educational activity, a hobby or an activity for amusement, leisure or as a reproduction of the material and spiritual culture of a particular epoch and also may have scientif c purposes. Historic reenactment is particularly overviewed . Live history and historic tournaments (buhurts) are emphasized in the article. Further in the article it is said about the process of preparation and organization of historic reenactments, the whole industry has been formed in this sphere. Historic reenactments are retrospectively overviewed from ancient times through middle ages to modern times when the f rst clubs dealing with them appeared. Also directions of historic reenactments are shown here: Roman empire, Middle ages, Napoleon wars, Religious festivals, World War I, World War II. Numerous examples of historic reenactments in Russia are depicted as well as their impact on the development of event-tourism and theme-tourism. Particular features and f nancial aspects of historic reenactments carried out in Moscow are spoken about. The growing role of historic reenactments in the development of event-tourism in Moscow is described, particularly the military-historic festival “Times and epochs” is spoken about. Financial aspects of historic reenactments in Moscow are viewed upon.
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González-González, José-Manuel, Jesús-Gerardo Franco-Calvo, and Darío Español-Solana. "Educating in History: Thinking Historically through Historical Reenactment." Social Sciences 11, no. 6 (June 10, 2022): 256. http://dx.doi.org/10.3390/socsci11060256.

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This paper aimed to identify trends in the scientific literature that relate the link between two concepts: historical thinking and historical reenactment. The definition of both concepts and their commonalities were examined. Convinced that History instruction and Heritage education could improve new methods and techniques, and aware of the benefits of reenactments in active learning and participation in and outside the classroom, we came to the obvious conclusion that merging both aspects is a must and should be disseminated. We also analyzed the presence of second-order concepts in reenactment practices and how they are addressed by actors and spectators. Reenactments foster the acquisition of critical thinking by citizens through education; their quality, however, must be improved through research and didactics—didactics based on reenactment that help us value the past and the traces still present in local areas. Local and global identity and heritage, emotions, reproduction of objects, the use of sources, relevance, empathy, multiperspectives, causation, communication, the relationship between past and present, and the sustainable economy proposed by the 2030 Agenda, are all aspects that should take center stage in turning this phenomenon into a living and lasting history as an experience.
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Yosef, Raz. "Seeing Again, Seeing Anew: Documentary Reenactments in Contemporary Israeli Cinema." Shofar: An Interdisciplinary Journal of Jewish Studies 42, no. 1 (2024): 152–74. http://dx.doi.org/10.1353/sho.2024.a932341.

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Abstract: This article examines the various forms of reenactment in contemporary Israeli documentary cinema. It argues that current documentary reenactments challenge—along the axes of nationalism, gender, class, and ethnicity—the traditional distinctions between past and present, documentary and fiction, reference and representation. They offer the possibility of bringing the past into the present, and simultaneously awarding a new aesthetic form to the historical event appearing on the screen for the first time. The reenactments give presence to the past, while at the same time showing the impossibility of returning to it in its entirety. They put into question the very borders of documentary cinema as well as raising ethical issues about the ontological status of documentary "truth." Moreover, through reenactments, contemporary documentaries aspire to retrieve lost voices and bodies, forgotten testimonies and histories of Israeli society's Others, and to give them new visual form so that they can find new listeners.
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Winter, Jay. "UNFINISHED BUSINESS: REMEMBERING THE GREAT WAR BETWEEN TRUTH AND REENACTMENT." Transactions of the Royal Historical Society 30 (November 11, 2020): 119–40. http://dx.doi.org/10.1017/s0080440120000067.

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AbstractThis paper analyses the phenomenon of historical reenactment of Great War battles as an effort to create what is termed ‘living history’. Thousands of people all over the world have participated in such reenactments, and their number increased significantly during the period surrounding the centenary of the outbreak of the Great War. Through a comparison with representations of war in historical writing, in museums and in the performing arts, I examine the claim of reenactors that they can enter into historical experience. I criticise this claim, and show how distant it is from those who do not claim to relive history but (more modestly) to represent it. In their search for ‘living history’, reenactors make two major errors. They strip war of its political content, and they sanitise and trivialise combat.
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DURICA, PAUL. "Past Imperfect, Or the Pleasures and Perils of the Reenactment." Journal of American Studies 52, no. 04 (November 2018): 929–42. http://dx.doi.org/10.1017/s0021875818001354.

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From 2010 to 2015, Pocket Guide to Hell, a series of public history projects in Chicago, produced site-specific, participatory historical reenactments with the intention of treating the past as if it were a public space – an inhabitable site where multiple voices can be heard, meanings contested, and alliances forged. This paper narrates the process behind the production of the final Pocket Guide to Hell project, which marked the centennial of the Arts Club of Chicago, in order to reflect upon the origins of creative acts, the challenges of cocreation, and the possibilities and limitations of the reenactment form.
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Dunn, Austin Graham. "Generational Reenactment: Participating in Historical Reenactment to Confront Post-Deportation Trauma." Film Matters 10, no. 2 (September 1, 2019): 14–22. http://dx.doi.org/10.1386/fm_00003_1.

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The interpretation of trauma from memory, the belatedness of events, is important to a broader understanding of generational trauma and collective identity, especially in relation to the deportations at the core of Bisbee 17 (2018), directed by Robert Greene. Affirming Griersons claim that no construction of collective identity can entirely dispense with memory, the use of memory and reenactment in Bisbee 17 is a way to deconstruct the trauma that perforates the town of Bisbee following the Bisbee deportation of 1917 (112). Bisbee 17 complicates the concept of participatory reenactment as a form of recovery, where in these participatory reenactments, subjects use their words and bodies to both describe and perform their historical selves (Fuhs 58). In the instance of Bisbee 17, the deportation is reimagined through performance, the townsfolk playing historical characters that come to both represent themselves and the figures of the past in the case of Mel and Steve Ray, this relationship is further complicated by their portrayal of ancestors involved in the deportation. Most notably, Greenes use of Fernando Serrano, a young Mexican American, who is both directly and indirectly impacted by the Bisbee deportation his own mother was deported back to Mexico is an attempt to juxtapose past and present.
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Morris, Ronald Vaughan. "How Teachers Can Conduct Historical Reenactments in Their Own Schools." Childhood Education 77, no. 4 (June 2001): 196–203. http://dx.doi.org/10.1080/00094056.2001.10522164.

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Muhle, Maria. "Praktiken des Inkarnierens." Zeitschrift für Medien- und Kulturforschung 8, no. 1 (2017): 123–38. http://dx.doi.org/10.28937/1000107626.

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"Die medienästhetische Rede vom Inkarnieren, der Verkörperung oder dem embodiment teilt mit dem theologischen Verständnis der Inkarnation als ›Fleischwerdung‹ die Annahme eines möglichen Übergangs von einem immateriellen Prinzip zu etwas genuin Materiellem. Ästhetische Verkörperungen wurden zuletzt vermehrt unter dem Schlagwort des reenactment diskutiert, das darauf abzielt, eine historische Situation nach-erlebbar und damit zugänglicher zu machen. Verkörpernde Nachstellungen müssen aber nicht ausschließlich einer solchen identitären Logik verpflichtet sein, sie können vielmehr auch exzessive, hypermimetische Effekte produzieren, wie anhand der Besessenheitsrituale der Hauka und ihrer filmischen Verarbeitung durch Jean Rouch in Les Maîtres Fous gezeigt werden kann. Just as the theological notion of incarnation, the media-aesthetic term ›embodiment‹ implies a transition from an immaterial principle to something genuinely material. Aesthetic embodiments are increasingly discussed un- der the keyword ›reenactment,‹ which aims to re-experience a historical situation and thus make it more accessible. Reenactments, how- ever, do not have to be bound exclusively to such a logic of identity; instead, they can also produce excessive, hypermimetic effects, as can be shown with reference to the obsession rituals of the Hauka and their cinematic adaptation in Les Maîtres Fous by Jean Rouch. "
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Sampatakakis, George. "Rebranding the nation: Performances of 1821." Journal of Greek Media & Culture 8, no. 1 (April 1, 2022): 117–23. http://dx.doi.org/10.1386/jgmc_00053_7.

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This visual essay discusses some of the performances celebrating the bicentenary of the Greek War of Independence. Ranging from historical reenactments to deconstructive appropriations and ironic adaptations, the performative renderings of 1821 challenged the tangibility of the past and the nation’s cultural expectations, creating an intriguing landscape of conflicted interests.
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Gule, Khwezi. "Center for Historical Reenactments: Is The Tale Chasing Its Own Tail?" Afterall: A Journal of Art, Context and Enquiry 39 (June 2015): 88–100. http://dx.doi.org/10.1086/682839.

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Dissertations / Theses on the topic "Historical reenactments"

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Gapps, Stephen. "Performing the past : a cultural history of historical reenactments." Online version, 2002. http://hdl.handle.net/2100/625.

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University of Technology, Sydney.
The reenactment of the past itself has a history. This thesis analyses self-styled 'historical reenactors' in the West and traces the history of the broader phenomenon of historical reenactment in the Australian context from the late nineteenth century to the present. The historical section focuses on several events significant in Australian cultural memory that have been reenacted over time. Historical parades, pageants and reenactments dramatically narrate culturally specific historical sensibilities and demonstrate inter and cross cultural exchanges of historical consciousness. I contend such performances have had a significant position in the formation of popular history since the late nineteenth century and that there is a continuity of conventions in performing the past. I have addressed the position of reenactments as part of a constant interest in the status and power of history in, and for, popular culture. I have shown how a form of history that operated for the public was transformed into a form of history operated by the public in a struggle for authority over the form and content of history. Historical reenactments have been useful avenues for elites to create didactic spectacular history that have also offered the opportunity for marginalised groups to make social and political gains through their participation in the making of public history. Considering the significance of reenactments in the formation of a distinctly Australian public history, they have received little attention from historians. As ephemera, reenactments sit awkwardly in the explanatory frameworks regularly used by historians. Using methodologies from a range of academic disciplines such as performance studies, anthropology and cultural studies, this thesis documents and interrogates the specific form of historical reenactment. In the sections of this thesis that analyse contemporary historical reenactments, I use my own experience as an historical reenactor of more than ten years in an ethnographic approach that reflects on the pleasures, promises and problems 'dressing up as if from the past' offers. In this history I draw continuities between past reenactments and present practices that assist in understanding historical reenactment as a specific cultural form. This thesis contends that reenactments over time have been characterised by three main elements: a collapsing of past and present, an avenue for a 'connectedness' with the past through a sensual experience, and an essential relationship with I authenticity.'
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Kendig, Julie E. Hafertepe Kenneth. "Comparison of comprehension of historical information in first- and third-person museum interpretation." Waco, Tex. : Baylor University, 2006. http://hdl.handle.net/2104/4828.

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Ellerman, Paul John Scott. "An examination of the state of historical re-enactments in Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ40467.pdf.

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Swearingen, Elizabeth. "The performance of identity as embodied pedagogy : a critical ethnography of Civil War reenacting /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2004. http://uclibs.org/PID/11984.

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Thesis (Ed. D.)--University of California, Davis, 2004.
Joint doctoral program with California State University, Fresno. Degree granted in Educational Leadership. Includes bibliographical references. Also available via the World Wide Web. (Restricted to UC campuses)
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Erisman, Wendy Elizabeth. "Forward into the past : the poetics and politics of community in two historical re-creation groups /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Mateer, Megan. "Living history as performance an analysis of the manner in which historical narrative is developed through performance /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1136660752.

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Wagner, Krista Ann. "Farbs, Stickjocks, and Costume Nazis: A Study of the Living History Subculture in Modern America." Youngstown State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1196710568.

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Karman, Gregorio. "Roberto Gerhard's sound compositions : a historical-philological perspective : archive, process, intent and reenactment." Thesis, University of Huddersfield, 2014. http://eprints.hud.ac.uk/id/eprint/25442/.

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This research advances the current state of knowledge in the field of early tape music both empirically and methodologically. The purpose of this study is to evaluate the impact that the electronic medium exerted in the musical thinking of Roberto Gerhard, one of the most outspoken, prolific and influential composers in the Spanish diaspora whose musical legacy, for the most part unknown, is a major landmark in the early history of electroacoustic music.1 Gerhard’s personal tape collection, one of the largest historical archives of its kind reported in the literature, is exceptional for both its antiquity (50+-year-old tapes) and its abundance of production materials. Through the digitisation and analysis of the composer’s tape collection this research argues that the empirical study of audio documents sets out a basis for a broader understanding of textual processes. More specifically, the research demonstrates that the reconstruction of works based on magnetic tape sketches is a powerful method to advance the understanding of early tape music. This research also examines Gerhard’s sound compositions in relation to the post-war context in which they were composed. Finally, this research presents performance documentation that proposes an approach to the electroacoustic music repertoire in which creativity is not at odds with rigor and critical discernment demonstrating that archival study can be closely aligned to the concept of re-enactment.
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Dumas, Heather E. "Playing Pirates: The Construction of Shared Fantasy and Identity Performance in theRenaissance Festival Subculture." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1365516030.

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Knoell, Tiffany L. ""So You Want To Be A Retronaut?": History and Temporal Tourism." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1587590767297251.

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Books on the topic "Historical reenactments"

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Hayes, John W. Seven thought-provoking essays in chapter form on the subject of participating in historical events and maintaining historical venues in general. [United States?]: J.W. Hayes, 2006.

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Perk, Godelinde. Hindeloopen: Stad van levende herinneringen. Leeuwarden: PENN.nl, 2012.

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Chandler-Ezell, Karol. Historical reenactors and the "period rush": The cultural anthropology of period cultures. Dubuque, Iowa: Kendall/Hunt Pub. Co., 2007.

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Danilov, Victor J. Living history museums and historic sites in the United States. Jefferson, N.C: McFarland, 2010.

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Danilov, Victor J. Living history museums and historic sites in the United States. Jefferson, N.C: McFarland, 2010.

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Peter, Abrahams. Last of the Dixie Heroes. New York: Random House Publishing Group, 2002.

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Peter, Abrahams. Last of the Dixie heroes. New York: Ballantine Books, 2001.

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Klein, Fritz. Abraham Lincoln's inaugural journey. Washington D.C.]: National Park Service, U.S. Dept. of the Interior, 2011.

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Peter, Abrahams. Last of the Dixie heroes. New York: Fawcett Books, 2002.

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Powell, Jack. Time traveler's guide to Florida. Sarasota, Fla: Pineapple Press, 2009.

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Book chapters on the topic "Historical reenactments"

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Gapps, Stephen. "On Being a Mobile Monument: Historical Reenactments and Commemorations." In Historical Reenactment, 50–62. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277090_4.

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Marçal, Hélia, and Daniela Salazar. "‘Political-Timing-Specific’ Performance Art in the Realm of the Museum." In Cultural Inquiry, 239–54. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_24.

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Can reenactments be a way to create counter-narratives in and for the museum? Through the analysis of political performance (or what the artist Tania Bruguera calls ‘political-timing-specific’ artworks), this essay discusses the potential of reenactment as both a practice of materializing memories and narratives of oppression and of rethinking museum policies in terms of preservation and display. Its main argument is that, while the archive can be regarded as a form of materializing the memory of these works, reenactment is more than a way of recovering the past; it is also a device for reconstructing memories of activism and oppression. This essay further suggests that reenactments of political-timing-specific works demand a change in accessioning, conservation, and presentation practices, which might be inclined to erase decentralized art-historical and material narratives.
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Lütticken, Sven. "From Re- to Pre- and Back Again." In Cultural Inquiry, 1–16. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_02.

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Tracing the complex history of the term ‘reenactment’, back to R.G. Collingwood’s philosophy of history, on the one hand, and popular practices of war reenactments and living history museums, on the other, a survey of its current contribution in art and museum practices highlights the importance of historicity — a category the postmodern was supposed to have vacated — in a wide range of examples, from Rod Dickinson and Jeremey Deller to Alexandra Pirici, Manuel Pelmuş, and Milo Rau. Performance reenactments, in particular, are premised on performance art having become historical, but also threaten to digest history in favour of a mere productivist mobilization for the needs of current attention economies. An alternative could be the attempt to counter historical with dramatic time in order to unlock unrealized possibilities and futures, as the term preenactment promises.
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Healy, Chris. "Impossible Historical Reenactments: Invisible Aborigines on TV." In Settler and Creole Reenactment, 171–92. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230244900_11.

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Archer, J. Clark, Jill A. Archer, and Katherine Nashleanas. "Reading the Cultural Landscape of Nebraska: Historical Markers, Literature, and Living History Reenactments." In Handbook of the Changing World Language Map, 2871–902. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02438-3_146.

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Archer, J. Clark, Jill A. Archer, and Katherine Nashleanas. "Reading the Cultural Landscape of Nebraska: Historical Markers, Literature, and Living History Reenactments." In Handbook of the Changing World Language Map, 1–31. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-73400-2_146-1.

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Saurisse, Pierre. "Performance Art in the 1990s and the Generation Gap." In Cultural Inquiry, 161–69. Berlin: ICI Berlin Press, 2022. http://dx.doi.org/10.37050/ci-21_17.

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In the 1990s, the question of the legacy of historical performance was posed with a particular sense of urgency. In the context of most pioneers of the art form having retired from live performance, reenactments not only reproduced past works but positioned artists within the genealogy of performance. The sense of the passage of a generation and the transmission of the memory of past performances were made explicit by Marina Abramović in The Biography (1992), a theatre piece in which she stages the very process of accounting for her past, as well as by Takashi Murakami and Oleg Kulik, who emerged on the art scene in the 1990s and mimicked live works from the past.
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Gradwohl Pisano, Nirit. "In Bed with a Collaborator: Reenactments of Historical Trauma by a Granddaughter of Holocaust Survivors." In Answering a Question with a Question, 345–66. Boston, USA: Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618114488-015.

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McCalman, Iain, and Paul A. Pickering. "From Realism to the Affective Turn: An Agenda." In Historical Reenactment, 1–17. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277090_1.

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Phillips, Ruth B., and Trudy Nicks. "‘From Wigwam to White Lights’: Popular Culture, Politics, and the Performance of Native North American Identity in the Era of Assimilationism." In Historical Reenactment, 159–79. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230277090_10.

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Conference papers on the topic "Historical reenactments"

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Song, Kisun, Jung-Ho Lewe, and Dimitri N. Mavris. "Simulation Optimization for Historical Reenactment of the Air Transportation Network Evolution." In 18th AIAA/ISSMO Multidisciplinary Analysis and Optimization Conference. Reston, Virginia: American Institute of Aeronautics and Astronautics, 2017. http://dx.doi.org/10.2514/6.2017-3333.

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