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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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Göbel, Hanna Katharina. "Making Cultural Values out of Urban Ruins: Re-enactments of Atmospheres." Space and Culture 24, no. 3 (March 22, 2021): 408–20. http://dx.doi.org/10.1177/1206331221997696.
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This article calls for a consideration of the reuse aesthetics of urban ruins in terms of cultural valuations related to the political status of social practices. In the context of debates on ruins in the field of memory studies and along the division between politics and the political, I argue for the recognition of affective atmospheric practices based upon performative knowledge-making and reenactments of atmospheres from the past. As demonstrated by an example of reuse in Berlin in the 2000s, these practices recall rituals and routines from the pasts of ruins by performatively exploring their futures. This position will be critically situated within the debate about “socially engaged arts” and the neoliberal “creative city” policies in the city of Berlin. It will also be presented as a cultural value-making in conflict with the paradigm of historical reconstruction in architecture and planning aimed at creating architectural replications from the archive. The article concludes with a reflection on reenactments as cultural value-making, a perspective that may have an effect on heritage policies.
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Knapp, Jeffrey. "Selma and the Place of Fiction in Historical Films." Representations 142, no. 1 (2018): 91–123. http://dx.doi.org/10.1525/rep.2018.142.1.91.
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Every historical film must contend with the possibility that its viewers will be scandalized by its mixture of fact and fiction, but no recent historical film has faced such pressure to justify its hybrid nature as Selma has, in large part because no recent film has taken on so momentous and controversial a historical subject: the civil rights marches from Selma to Montgomery that led to the passage of the Voting Rights Act in 1965. The renewed urgency of the issues Selma dramatizes, along with the film’s own commitment to the “moral certainty” of the civil rights movement, helps explain why Selma wavers in a self-defense that links the fictionality of its historical reenactments to the purposely theatrical element of the marches themselves. But politics are not the only problem for fiction in Selma, and to show why, this essay compares Selma to an earlier historical film, The Westerner (1940), that openly flaunts the commercial nature of its fictionality.
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Alden, Johanna. "Dramatic Spectacle in LaƷamon: The Brut 's Direct Speeches, Aestheticized Violence, and Gendered Historical Reenactments." Arthuriana 33, no. 4 (December 2023): 32–57. http://dx.doi.org/10.1353/art.2023.a914637.
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Abstract: This article explores the phenomena of dramatized direct speech and public performative spectacle within LaƷamon's Brut . In examining the text's largely historically unexplored dramatic dimensions, the piece also engages with the way that speech and performance are politicized and gendered in the Brut .
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Petersen, Nils Holger. "W. A. Mozart’s Litaniae lauretanae Compositions and the Loreto Pilgrimage." Eventum: A Journal of Medieval Arts & Rituals 1 (September 20, 2023): 82–105. http://dx.doi.org/10.54103/2023/20267.
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The Litaniae lauretanae (the Litany of Loreto), a Marian litany with medieval roots, has been set numerous times in polyphony, as well as in grand settings with soloists and orchestra, to be performed all over Catholic Europe. Famous musicians who composed settings of the Litany of Loreto include Orlando di Lasso, Giovanni Pierluigi da Palestrina, Claudio Monteverdi, Heinrich Biber, and Wolfgang Amadeus Mozart. This article discusses Mozart’s two settings of the Litaniae lauretanae that were composed in May 1771 and in 1774. The analysis of parts of Mozart’s settings in the light of the historical background of Loreto pilgrimages and the litany’s ritual and musical uses highlights some of their remarkable musical features. It is argued that Mozart’s settings, more than any other major contemporary ones, constitute musical reenactments of ritual experience.
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Perillo, Francesco S. "Il "Ciclo del Cossovo" di Milan Rakić." Fabrica Litterarum Polono-Italica, no. 1(7) (April 3, 2024): 1–24. http://dx.doi.org/10.31261/flpi.2024.07.11.
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The essay examines one of the central themes of the work of Milan Rakić, one of the greatest exponents of Serbian Modernism: the cycle of compositions that focus on the history and current affairs of that region, which has always been disputed by Serbs and Albanians. These poems arise from Rakić’s personal experience in Kosovo, still subject to the Ottoman Empire, where he had been sent at the beginning of his diplomatic career. Of the seven poems in the cycle, five sing about the tragic destiny of that land, the cradle of Serbian religiosity; one, Na Gazi Mestanu, associates the taste for historical reenactments of Parnassi’s poetics with the passionate defense and proud exaltation of the Serbian people who in centuries-old relations with their homeland have drawn the stimulus for rebirth; the last, Legacy, the most evocative and vibrant, raises that indissoluble bond with the spiritual richness of the past as a reason for existential comfort. What the love of a woman had not been able to give to the poet is offered to him by the rediscovered communion with the historical consciousness of his own race.
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Hutson, James, and Jeremiah Ratican. "Life, death, and AI: Exploring digital necromancy in popular culture—Ethical considerations, technological limitations, and the pet cemetery conundrum." Metaverse 4, no. 1 (June 8, 2023): 12. http://dx.doi.org/10.54517/m.v4i1.2166.
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This article explores the rise of generative AI, particularly ChatGPT, and the combination of large language models (LLM) with robotics, exemplified by Ameca the Robot. It addresses the need to study the ethical considerations and potential implications of digital necromancy, which involves using AI to reanimate deceased individuals for various purposes. Reasons for desiring to engage with a disembodied or bodied replica of a person include the preservation of memories, emotional closure, cultural heritage and historical preservation, interacting with idols or influential figures, educational and research purposes, and creative expression and artistic endeavors. As such, this article examines historical examples of the practice in hologram concerts, CGI characters, and others in order to analyze the ethical concerns related to privacy, consent, and commercial gain. It delves into the challenges of accurately representing individual personalities, misrepresenting cultural context, and the limitations of available data. Furthermore, it explores the Pet Cemetery conundrum and its impact on the grieving process, mental health, and the moral implications of using AI to generate interactions with the deceased. By contemplating future use cases like interactive virtual assistants and realistic historical reenactments, the article highlights the importance of addressing ethical implications as these technologies continue to advance and contributes to the discourse on the responsible and ethical use of generative AI, LLM, and robotics in the context of digital resurrection, calling for ongoing discussions and considerations of AI rights, social dynamics, and the grieving process.
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Poblador Muga, María Pilar. "La exaltación de la Corona de Aragón en el siglo XIX: las cabalgatas históricas celebradas en Zaragoza, Valencia, Barcelona y Palma de Mallorca." Artigrama, no. 37 (June 30, 2023): 147–80. http://dx.doi.org/10.26754/ojs_artigrama/artigrama.2022379211.
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Resumen Las cabalgatas históricas, herederas de las cavalcatas del Mundo Antiguo y de los triunfos del Renacimiento y Barroco, evolucionaron a lo largo del siglo XIX y primeras décadas del XX, al transformarse en verdaderas recreaciones. Celebradas con el propósito de exaltar acontecimientos singulares, como visitas regias, conmemoraciones y aniversarios, sus organizadores se inspiraron en viejas crónicas, recurriendo incluso a leyendas y mitos. A la evocación melancólica del pasado y la exaltación de la memoria frente a la inevitable fugacidad, propias de los ideales románticos, sumaban una intención moralizante y didáctica, como recursos para la defensa de gobiernos y monarcas, para así mantener el orden político y social establecido. Como sucedía en otros lugares de Europa, Zaragoza, Valencia, Barcelona y Palma de Mallorca, las principales ciudades de la memorable Corona de Aragón, evocaron las gestas de sus grandes reyes del medievo, como Fernando I el de Antequera y sobre todo Jaime I el Conquistador y Fernando II, el rey Católico, con gran erudición y fidelidad tanto en sus argumentos teatralizados como en sus personajes y vestimentas. Las calles se convirtieron en escenarios urbanos por donde discurrían estos pintorescos espectáculos. Estructuras provisionales, adornos florales, tapices y colgaduras, como oriflamas y gallardetes, incluso con luces de farolillos, antorchas y fuegos artificiales, para iluminar con su colorido los cielos nocturnos, crearon una simbiosis perfecta entre la alegría de la fiesta, el arte efímero y la rigurosa divulgación histórica. Abstract Historical cavalcades, heirs to the cavalcatas of the Ancient World and the triumphs of the Renaissance and Baroque, evolved throughout the 19th century and the first decades of the 20th century, becoming true reenactments. Celebrated with the purpose of exalting singular events, such as royal visits, commemorations and anniversaries, their organisers drew inspiration from old chronicles, even resorting to legends and myths. In addition to the melancholic evocation of the past and the exaltation of memory in the face of the inevitable fleeting nature of Romantic ideals, they added a moralising and didactic intention, as resources for the defence of governments and monarchs, in order to maintain the established political and social order. As happened in other parts of Europe, Saragossa, Valencia, Barcelona and Palma de Mallorca, the main cities of the memorable Crown of Aragon, evoked the deeds of their great kings of the Middle Ages, such as Ferdinand I of Antequera and above all Ferdinand II the Catholic and James I the Conqueror, with great erudition and fidelity both in their dramatised plots and in their characters and costumes. The streets became urban stages for these picturesque spectacles. Temporary structures, floral decorations, tapestries and hangings, such as ornaments and pennants, even with lantern lights, torches and fireworks, to illuminate the night skies with their colour, created a perfect symbiosis between the joy of the festival, ephemeral art and rigorous historical disclosure. Keywords Late Historical cavalcade, Crown of Aragon, Historical reenactment, Ferdinand I the Antequera, James I the Conqueror, Ferdinand II of Aragon, Catholic Monarchs, Christopher Columbus, Saragossa, Valencia, Barcelona, Palma de Mallorca.
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Connery, Christopher. "Sea Power." PMLA/Publications of the Modern Language Association of America 125, no. 3 (May 2010): 685–92. http://dx.doi.org/10.1632/pmla.2010.125.3.685.
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There is no More Sea Power. What Kind of Awe can a Fleet or an Aircraft Carrier inspire in the Nuclear Age, Whose Blasts have given a new character to military majesty and sublimity and whose marine vehicles are hidden beneath the waves? Nor do the ocean-girding voyages of global commerce offer a sense of majesty, the neat stacks of containers rising high above the decks being mere floating versions of the endless stacks at the prosaic, crane-filled ports of Busan, Long Beach, Elizabeth, or Singapore. The sea is full of transport, labor, and industry, but spectacle has moved elsewhere: what remains of the nautical in the visual media is the nostalgic sublimity of sinking ships or historical reenactments of blue-water glory. As if to underscore this vacuum of hegemonic maritime power in an age of shock and awe, the pirates of Puntland and Sulu still have their way in the Gulf of Aden and the Strait of Malacca, as they have for centuries. Latter-day posturing by the epigones of interstate maritime power contenders approaches farce, as in the struggle for the Arctic, joined by Russia, Canada, the United States, Denmark, and Norway, punctuated by Russian flags at the bottom of the sea and by the specter of Danish military incursion into what Canada claims as its sovereign territory (Craciun).
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Lehrer, Erica, and Magdalena Waligórska. "Cur(at)ing History." East European Politics and Societies: and Cultures 27, no. 3 (February 26, 2013): 510–44. http://dx.doi.org/10.1177/0888325412467055.
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In the past few decades, Poland has seen a growing number of attempts to reclaim its Jewish past through traditional forms such as historiographic revision, heritage preservation, and monument building. But a unique new mode of artistic, performative, often participatory “memory work” has been emerging alongside these conventional forms, growing in its prevalence and increasingly catching the public eye. This new genre of memorial intervention is characterized by its fast-moving, youthful, innovative forms and nontraditional venues and its socially appealing, dialogic, and digitally networked character as opposed to a prior generation of top-down, slow moving, ethnically segregated, mono-vocal styles. It also responds to the harsh historical realities brought to light by scholars of the Jewish-Polish past with a mandate for healing. This article maps the landscape of this new genre of commemoration projects, identifying their core features and investigating their anatomy via three case studies: Rafał Betlejewski’s I Miss You Jew!; Public Movement’s Spring in Warsaw; and Yael Bartana’s Jewish Renaissance Movement in Poland. Analyzing their temporalities, scopes, modalities and ambiences, as well as the new visions for mutual identification and affiliation that they offer Poles and Jews, we approach these performances not as representations, but rather as embodied experiences that stage and invite participation in “repertoires” of cultural memory. Different from simple reenactments, this new approach may be thought of as a subjunctive politics of history—a “what if” proposition that plays with reimagining and recombining a range of Jewish and Polish memories, present-day realities, and future aspirations.
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Enriquez, Emily. "The Sounds of the Desert: Lost Children Archive by Valeria Luiselli." Latin American Literary Review 48, no. 95 (November 4, 2020): 75–84. http://dx.doi.org/10.26824/lalr.193.
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In this article, I examine Lost Children Archive, by Valeria Luiselli. I study the methods through which in the novel, sound becomes one of the main narrative tools to underscore the political, historical, and ecological facets of a complex biome that doubles as a border area. To this end, I focus on analyzing the projects carried out by two of the protagonists, which are an inventory of echoes and a sound documentary. Whereas the former attempts to record what is left from the soundscape that surrounded the last free Chiricahua Apaches, the latter intends to document the refugee children crisis in the context of the Mexico-US border. As I contend, through the inventory of echoes, the novel addresses colonization processes and draws attention to the environmental challenges faced by the Sonoran Desert. This is achieved because of two reasons. First, due to the centrality of the biome’s acoustic ecology. Second, because of the cultural and ecological components that accompany the repetition of the word “saguaro” in a section of the plot. In the case of the sound documentary, I analyze the methods through which this project highlights the weaponization of the desert against migrants. As I argue, this is achieved through a collection of acoustic shadows that appear in the form of radio waves, verbal reenactments, and an apocryphal book. Thus, the novel depicts the desert as a central device in border-control strategies and an ecosystem, or what I term a border biome, and as Native land.
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Danielewski, Marcin. "Rekonstrukcja historyczna czy odtwórstwo historyczne? Uwagi na marginesie książki Jolanty Aliny Daszyńskiej." Kwartalnik Historii Kultury Materialnej 70, no. 3 (December 8, 2022): 347–58. http://dx.doi.org/10.23858/khkm70.2022.3.004.
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Prezentowany artykuł recenzyjny dotyczy problematyki historical reenactment i powstał na marginesie książki Jolanty Aliny Daszyńskiej. W opracowaniu starałem się pokazać jak różnorodnym zjawiskiem jest historical reenactment oraz jak trudno jednoznacznie je zdefiniować na gruncie polskiej nauki. W artykule dużo uwagi poświęciłem także archeologii eksperymentalnej, która w niektórych sferach swojej działalności może uzupełniać się z historical reenactment.
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Fudimova, E. "The Concepts of Historical Costume Reenactment." IOP Conference Series: Materials Science and Engineering 1079, no. 4 (March 1, 2021): 042097. http://dx.doi.org/10.1088/1757-899x/1079/4/042097.
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Bozhok, Nikolay Sergeevich. "Cultural identity of urban communities of the historical reenactors." Урбанистика, no. 3 (March 2019): 18–27. http://dx.doi.org/10.7256/2310-8673.2019.3.29882.
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The object of this research is the cultural identity of urban communities of the historical reenactors. The subject of the author’s scientific interest is the mechanisms and practices substantiating the specificity of positive cultural identity of the communities, united within the framework of the historical reenactment movement. The article examines the dominant trends in the development of modern reenactment movement: trend towards the fragmentation of movement and complication of the structure of collective identity, and intention towards unity. Special attention is given to the identification of mechanisms that allow retaining and maintaining balance between the processes of differentiation and integration of reenactment movement. Methodologically, the author’s understanding of the specificity of collective identity of the historical reenactors is based on the theoretical ideas of H. Blumer, N. Smelser and P. Sztompka, as well as the theory of new social movements that focus attention on their sociocultural dimension. The scientific novelty consists in the fact that this article is first to comprehensively analyze cultural components of the collective identity of the historical reenactment movement; as well as determine its structural components, mechanism and characteristic attributes. It is substantiated that under the influence of the modern global trends, cultural identity of reenactors along with the basic components attaints the new ones that contribute to the expansion of cultural-historical mobility and cohesion of reenactment movement.
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Kharakterov, Nikita O. "Historical Reenactment of War as a Game, Agonal and Educational Practice." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 6 (December 20, 2023): 105–15. http://dx.doi.org/10.37482/2687-1505-v313.
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This article deals with the main stages of historical reenactment, its differences from role-playing games as well as its use as a way of actualizing cultural memory. The author analyses this type of activity from the point of view of anthropology, cultural studies and sociology, based on the works of Johan Huizinga and Roger Caillois. Apparently, this hobby is popular among metropolitans due to an interest in a different way of life, from which unusual practices can be borrowed. Within the framework of historical reenactment as a game, scientific and educational practice, two main directions can be distinguished: military (recreation of ammunition and specific features of military art) and civilian (reenactment of the everyday life of a particular era). Both of them involve recreating material culture, mentality and behaviour. Three main types of historical reenactment can be singled out: military, artisan and educational. Particular attention is paid here to military reenactment as it emerged first. This type of activity has two aspects, one of which is related to the recreation of material culture, namely, the manufacture, storage and maintenance of recreated weapons, while the other is related to changing the way of thinking and behaviour of both the reenactors and the spectators at the event (in particular, to reenacting the culture of weapons handling) as well as to using the recreated weapons to visualize the educational process, and to the anthropomorphization of weapons. In addition, the article analyses the correlation between mediaeval chivalry and reenacted chivalry as the most vivid example of practices recreated and used in war reenactment.
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Lauro, Sarah Juliet. "Dread Scott’s Slave Rebellion Reenactment." TDR: The Drama Review 65, no. 3 (September 2021): 24–41. http://dx.doi.org/10.1017/s1054204321000307.
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Dread Scott’s two-day Slave Rebellion Reenactment, part recreation and part historical revision, dramatized the 1811 slave rebellion in a more fully developed manner than historical records authored by slaveholders, incorporating a range of strategies used in other artworks depicting slave resistance, including: elisions, caesura, lacuna, off-screen action, obfuscation, abstraction, redaction, and more. These devices safeguard history from appropriation or commodification on the one hand; and on the other, highlight the way slave resistance is neglected in the historical record and commemorative landscape.
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Español-Solana, Darío, and Jesús Gerardo Franco-Calvo. "Education and Heritage of Medieval Warfare. A Study on the Transmission of Knowledge by Informal Educators in Defensive Spaces." Education Sciences 11, no. 7 (June 28, 2021): 320. http://dx.doi.org/10.3390/educsci11070320.
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Historical reenactment is becoming a top-tier teaching tool in the countries of Southern Europe. In Spain specifically, this discipline is experiencing a boom as a heritage education method, particularly in informal settings. This article is the outcome of a qualitative research study of the results obtained from one hundred and fifteen educators from historical reenactment groups. The study analyses the methods used by the exponents of this discipline to teach war in the Middle Ages, specifically in three Spanish castles dating from the 11th to the 12th centuries. It has made it possible to analyse how the educational discourses are organised in relation to Medieval war within military spaces from this period, and how historical reenactment is a coadjutant in the construction of teaching/learning spaces from a heritage education perspective.
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Rezwan Shihab, Sk, Nahida Sultana, and Abdul Samad. "Pedagogy Designing With Augmented Reality: a Paradigm Shift in Educational Approaches." Interdiciplinary Journal and Hummanity (INJURITY) 2, no. 11 (November 17, 2023): 878–92. http://dx.doi.org/10.58631/injurity.v2i11.136.
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With Augmented Reality (AR) emerging as a revolutionary tool that reshapes conventional learning paradigms, the fusion of technology and education has given rise to creative educational approaches. This essay offers a thorough examination of augmented reality's place in education, highlighting its potential to improve pedagogy, engage students, and fundamentally alter the educational landscape. The essay starts by defining augmented reality as a link between the real and virtual worlds that provides an immersive and interactive learning experience. It explores the many uses of augmented reality, including anatomy classes with 3D interactive models and historical reenactments that take pupils back in time. These case studies show how augmented reality encourages participation, improves comprehension, and contextualizes learning materials. The fundamental ideas that underpin successful AR-enhanced schooling are presented in this study. It places a strong emphasis on scaffolding learning experiences, interaction, contextual relevance, and alignment with learning objectives. The difficulties of deploying AR are also discussed, giving educators ideas for a successful integration. These difficulties include technology infrastructure, educator training, content quality, and economic considerations. The research focuses on the potential of augmented reality to foster active learning. The relationship between augmented reality (AR) and active learning is examined, emphasizing the ways in which AR supports collaborative activities, problem-solving, and individualized learning paths. By imagining the role that augmented reality (AR) will play in future education, including personalized learning, virtual field excursions, mixed reality collaboration, and AI-driven adaptive learning, the essay demonstrates the revolutionary power of AR. The ethical challenges surrounding AR in the classroom are also covered, with a focus on the importance of addressing data protection, digital literacy, and responsible technology use. In order to prepare students for the challenges of a connected world while nurturing a lifetime love of learning, the study finishes by presenting augmented reality as a cornerstone of educational design. In essence, this article offers a thorough analysis of Augmented Reality's effects on education, highlighting its potential to transform pedagogy, improve learning opportunities, and influence the direction of education in the future. Educators are given a comprehensive grasp of how to use augmented reality to build immersive, successful learning environments by looking at case studies, design principles, difficulties, and future prospects
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Ellis, Phil. "Picking Up (On) Fragments." Archaeologies of Tele-Visions and -Realities 4, no. 7 (September 9, 2015): 68. http://dx.doi.org/10.18146/2213-0969.2015.jethc082.
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This article discusses the implications for archival and media archaeological research and reenactment artwork relating to a recent arts practice project: reenacttv: 30 lines / 60 seconds. It proposes that archival material is unstable but has traces and fragments that are full of creative potential to re-think and re-examine past media historical events through a media archaeological approach to reenactment. The article contains images and links to videos from the final reenactment artworks as well as from rehearsals in Vienna and Bradford.
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Reiff-Shanks, Mychal. "The Utilization of Historical Reenactment in Lovecraft Country." Studies in the Fantastic 12, no. 1 (December 2021): 55–73. http://dx.doi.org/10.1353/sif.2021.0007.
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Kilburn, Matthew. "Historical Reenactment: From Realism to the Affective Turn." Journal of Historical Geography 38, no. 1 (January 2012): 99–100. http://dx.doi.org/10.1016/j.jhg.2011.11.008.
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Tomann, Juliane. "Female Counter-Curation: A Case Study of Polish Napoleonic War Reenactment." International Public History 5, no. 2 (December 1, 2022): 81–92. http://dx.doi.org/10.1515/iph-2022-2051.
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Abstract Historical reenactment has developed from a niche phenomenon to a global one over the past couple of decades. As a popular pastime it sparks enthusiasm and curiosity for past lifeworlds among the reenactors themselves as well as among the audiences. With its focus on restaging battles and combat, the reenactment environment is a predominantly male one. This article examines female practices of reenactment in a Polish reenactment group. It aims to not only add to the existing body of literature on female reenactors, but to further pinpoint the extent to which the concept of curation helps expand and deepen the understanding of reenactment practices both in general and with regard to female participation. The focus is on female-to-male cross-dressing, interpreted as an ambiguous practice which allows for both the deconstruction of normative gender performances and their stabilization.
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Torchilenko, A. A. "Historical reconstruction practices in the urban environment." Urbis et Orbis Microhistory and Semiotics of the City 4, no. 1 (2024): 51–63. http://dx.doi.org/10.34680/urbis-2024-4(1)-51-63.
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This article studies the potential of historical reenactment festivals as an increasingly popular hobby and way of life that revives the history and identity of medieval cities through crafts, costumes and customs. Participation in these festivals educates people about the historical significance of their city and promotes community participation. Despite the fact that Veliky Novgorod can provide favorable conditions for largescale events, there are no targeted projects for the development of historical reconstruction there yet. The resurgence of historical festivals after the decline caused by Covid-19 highlights the need for suitable venues to integrate re-enactments into Novgorod's event calendar. These events provide educational benefits through practical, live historical presentations and aim to balance historical accuracy and entertainment value. Historical reconstruction festivals can bring different benefits to the cities being cultural holidays and tools for urban regeneration, improving the global image of the city. Successful integration of historical reenactment festivals into the city's event agenda requires balancing the needs of redevelopers, the host city and the local population.
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Przyjemski, Władysław. "Ogólna problematyka badań broni palnej." Prawo i Bezpieczeństwo, no. 1 (2024) (June 10, 2024): 199–228. http://dx.doi.org/10.4467/29567610pib.24.011.19847.
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Firearms have accompanied humans for many centuries, and over their development, loading systems for bullets and cartridges, the chemical composition of propellant charges, and the types, models, and designs of weapons and ammunition have evolved. A groundbreaking moment was the unification of the bullet with the casing, which allowed part of the gunpowder gases to be vented through a side port in the barrel. This invention led to the development of machine guns. Firearms have been and continue to be used for various purposes, such as personal protection, protection of people and property, hunting, sports, historical reenactments, collecting, commemorative purposes, and training (alarm signaling) by authorized individuals, as well as by institutions to which these regulations do not apply (Article 10, Section 1 of the Firearms and Ammunition Act of May 21, 1999). With the advent of firearms, crimes involving their use were also recorded. In such cases, firearms, ballistics, and ammunition examinations became essential to identify the perpetrators. These examinations later became part of forensic science. In cases of unlawful use of firearms and ammunition, various tragic incidents occur, necessitating site inspections and the establishment of further investigation plans. Crimes involving firearms require the expert opinion of a forensic specialist who identifies the weapon, ammunition, and their components, as well as traces of their use. The specialist checks whether the firearm poses a threat to the safety of individuals involved in the incident scene and investigation. Fingerprint traces are collected from the weapon and ammunition to prevent their loss. The firearm’s operation, technical condition, and key parts are preliminarily assessed to determine if they were factory-made or show signs of homemade modifications. A firearm expert’s examination is conducted in response to questions directed to the firearms, ballistics, and ammunition expert by the judicial authority. Both individual and group identification of firearms are carried out. Microscopic examinations of traces left by the weapon on the casing, bullet, or hands of potential perpetrators are performed. The resulting expert report is sent to the commissioning authority and admitted as evidence in the ongoing case. In Poland, forensic examinations of firearms and ammunition were conducted following the assassination of President Gabriel Narutowicz in December 1922. The more famous attacks using firearms included the fatal wounding of President J.F. Kenedi or the recent shooting of the Prime Minister of Slovakia.
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Hlaváček, Jiří. "Hraní na socialistické vojáčky? Reenactment Československé lidové armády v aktérské perspektivě současné mladé generace." Český lid 110, no. 4 (December 15, 2023): 407–28. http://dx.doi.org/10.21104/cl.2023.4.01.
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Předkládaná případová studie se zaměřuje na reenactment Československé lidové armády v aktérské perspektivě příslušníků současné mladé generace. Autor nejprve představuje vojenský reálný reenactment jako specifický předmět antropologického bádání a následně se věnuje základním kategoriím (materiální a interakční kredibilita), na jejichž základě je v rámci reenactment studies posuzována míra historické autenticity. Hlavní pozornost se zaměřuje na analýzu a interpretaci polostrukturovaných rozhovorů s aktéry nejmenovaného klubu vojenské historie, kteří se věnují reenactmentování konkrétního vojenského útvaru z období studené války (60.–80. léta 20. století).
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Tormakhova, A. M., and A. A. Solovei. "THE PHENOMENON OF HISTORICAL REENACTMENT IN THE XX–XXI CENTURIES CULTURE." UKRAINIAN CULTURAL STUDIES, no. 2 (7) (2020): 78–81. http://dx.doi.org/10.17721/ucs.2020.2(7).14.
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The article deals with the phenomenon of historical reenactment. It is noted that its actualization in the context of the culture of the XX–XXI centuries is due to a change in trends in the development of society. The formation of a visual turn contributes to the emphasis on forms of perception that are focused on interactivity. The "dry" story of past events is extremely difficult to perceive in the context of the spread of digital culture. Mankind is accustomed to the appearance of events that shock, impress, inspire and most of the impact is due to visual stimuli. There are several types of historical reconstruction – "living history" and tournaments. The movement of historical reconstruction in Europe can be divided into historical reenactment, which is divided into "living history" and combat reenactment, as well as creative reconstruction. Instead, in the Ukrainian space more attention is paid to the development of historical reconstruction in the dimension of sports competitions – ISB (historical medieval battles). Reproduction of elements of everyday life can act as a valuable source of information about culture. The spread of the phenomenon of historical reconstruction had an extremely great potential for the socio-cultural sphere. Historical reconstruction can serve as a tool for modifying museum practices. In recent years, there has been a steady trend towards the appearance of theatrical performances that revitalize the work of museum institutions. The actualization of historical reconstruction leads to the formation of festivals associated with historical battles. Often the festival of historical reconstruction includes various competitions and contests – fencing, archery or crossbow shooting, mass battles, a competition for the most authentic uniform. They draw attention to military affairs and history, combining integrative, cognitive functions, as well as being a part of leisure. The results of the study can be practically applied in the field of cultural management, project activities and in the work with the preservation of cultural heritage – material and spiritual.
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During, Simon. "Mimic toil: Eighteenth-century preconditions for the modern historical reenactment." Rethinking History 11, no. 3 (September 2007): 313–33. http://dx.doi.org/10.1080/13642520701353157.
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Zuniga, David, Jorge de Brito, and Helena Rua. "Designing a Roman Fort for Historical Recreation and Reenactment Purposes." Journal of Professional Issues in Engineering Education and Practice 140, no. 4 (October 2014): 04014003. http://dx.doi.org/10.1061/(asce)ei.1943-5541.0000202.
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Нигматуллина, З. Ф. "Cохранение традиций в культурно-хозяйственной деятельности башкир рода Табын / The Persistence of Traditions in the Cultural and Economic Life of the Bashkir Tabyn Clan." Вестник антропологии (Herald of Anthropology), no. 2024 № 2 (June 2024): 277–87. http://dx.doi.org/10.33876/2311-0546/2024-2/277-287.
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В статье рассматривается сохранение традиций в башкирской сельской глубинке в современных условиях и практика музеефикации этнографического материала. Представители рода табын, в составе северо-восточных башкир, проживающие в бассейне р. Зилим горнолесной зоны Гафурийского района Республики Башкортостан, издревле занимались разведением лошадей башкирской породы. Лошадь была и остается незаменимым помощником семьи. Зафиксированные в письменных источниках XVIII–XIX вв. занятия представителей рода табын, продолжаются по сей день. Башкиры разводят лошадей, держат пчел (как в ульях, так и в бортях). Промысловые и кустарные занятия тоже связаны со скотоводством, бортничеством и пчеловодством. Мужчины изготавливают сани, телеги, конскую упряжь (дуги, хомуты, уздечки, шлея, кнуты, стремена и седла), а также деревянные сосуды для приготовления кумыса и хранения меда. Предметы не только используются в личном хозяйстве, но и реализуются. Также башкирские семьи охотно принимают туристов, приезжающих отдыхать на лоне природы, предлагая прокатиться на лошади, угоститься кумысом, медом и медовухой. Для участия на различных российских и республиканских мероприятиях по визуализации исторических событий (например, участия башкирских конников в Отечественной войне 1812 г.) табынским мастерам историки, реставраторы заказывают изготовление конской амуниции. Таким образом, вековые традиции приобрели новое значение в современных условиях, они не только сохраняются, передаются из поколения в поколение, но и приобретают новый смысл. The article examines the persistence of traditions in the Bashkir rural hinterland in modern conditions and the practice of museumification of ethnographic material. Members of the Bashkir family Tabyn, who live in the basin of the Zilim river in the Gafuri district of the Republic of Bashkortostan, have been breeding Bashkir horses since ancient times. The horse was and remains an indispensable assistant in the household. Occupations, mentioned in the written sources of the XVIII-XIX centuries as typical for the Tabyn clan, are practiced by them to this day. Bashkirs breed horses, collect honey (both from domestic and semi-wild bees). Commercial and artisanal occupations are also associated with cattle breeding and bee-keeping. Men make sledges, carts, horse harnesses and wooden vessels for making kumis and storing honey. The items are made not only for personal use, but also for sale. Bashkir families also willingly accept tourists who come to relax in the tranquility of nature, offering to ride a horse, treat themselves to kumis, honey and mead. Tabyn masters receive orders from historians and restorers for horse ammunition to be used in various Russian and republican historical reenactments (for example, the participation of Bashkir horsemen in the Patriotic War of 1812). Thus, age-old traditions are not only preserved, being passed on from generation to generation, but have also acquired new significance in modern life.
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Sautkin, Alexander. "HISTORICAL REENACTMENT AS STYLIZED IDENTITY AND ITS CREATIVE POTENTIAL: BAKHTINIAN APPROACH TO THE SOCIO-CULTURAL IDENTITY / PRAEITIES INSCENIZACIJA KAIP STILIZUOTAS TAPATUMAS IR JO KŪRYBINIS POTENCIALAS: BACHTINIŠKOJI PRIEIGA PRIE SOCIOKULTŪRINIO TAPATUM." Creativity Studies 8, no. 1 (December 10, 2014): 25–41. http://dx.doi.org/10.3846/23450479.2014.979892.
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This paper analyzes socio-cultural identity finding its expression in creative activity. As a methodological basis the dialogic approach of Mikhail Bakhtin is used. It allows typologizing ways of constructing and expressing identity. There are three main types: direct, object, and double-voiced (ambivalent) identity. A particular case of double-voiced identity is stylized identity, implying reproduction of some value and behavioral patterns while maintaining a certain distance towards them. Stylization-identity is considered on the example of the historical reenactment subculture. Theoretical considerations are illustrated with a case-study of creative activity of reenactment clubs from Murmansk (Russia), recreating the Viking Age. Historical reenactment is considered as a possible source for development of creative industry projects. Santrauka Šiame straipsnyje analizuojamas sociokultūrinis tapatumas, išreiškiamas kūrybinėje veikloje. Metodologinis pagrindas – Michailo Bachtino dialogo principas. Tai sudaro galimybę tipologizuoti tapatumo konstravimo ir raiškos būdus. Yra trys pagrindiniai tipai: tiesioginis, objektyvusis ir dvibalsis (ambivalentiškasis) tapatumas. Ypatingas dvibalsio tapatumo atvejis – tai stilizuotas tapatumas, nurodantis tam tikros vertės reprodukavimą ir elgesio modelius, išsaugant jų atžvilgiu tam tikrą atstumą. Stilizuotas tapatumas tyrinėjamas remiantis praeities inscenizacijos subkultūros pavyzdžiu. Teorinius svarstymus iliustruoja Murmansko (Rusija) inscenizavimo klubų, atkūrusių vikingų epochą, kūrybinės veiklos studija. Praeities inscenizacija vertinama kaip galimas kūrybinių industrijų projektų vystymo šaltinis. Reikšminiai žodžiai: kūrybos produktas, dialogiškumas, praeities inscenizavimas, tapatumas, stilizavimas.
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Pattiz, Anthony. "Teaching History As The Reenactment Of Past Experience." Teaching History: A Journal of Methods 30, no. 1 (April 1, 2005): 15–31. http://dx.doi.org/10.33043/th.30.1.15-31.
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If the aim of historical instruction is to enable the child to appreciate the values of social life, to see in imagination the forces which favor and allow men's effective co-operation with one another, to understand the sorts of character that help on and that hold back, the essential thing in its presentation is to make it moving, dynamic. History must be presented, not as an accumulation of results or effects, a mere statement of what happened, but as a forceful, acting thing. The motives-that is, the motors-must stand out. To study history is not to amass information, but to use information in constructing a vivid picture of how, and why men did thus and so; achieved their successes and came to their failures. 1 -John Dewey Once again, historical education in our nation's public schools has come under fire . According to a recent survey released by the National Assessment of Educational Progress (NAEP), history appears to be a mystery to most high-school seniors. Fifty-seven percent did not answer enough questions correctly to reach the "basic" knowledge category stipulated in the survey.2 For history teachers, the stakes could not be higher.
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권은영 and ChongKyungLee. "To Decode the “Rosetta Stone” : A Lesson Plan Utilizing Historical Reenactment." Studies on History Education ll, no. 19 (May 2014): 235–72. http://dx.doi.org/10.16976/kahe.2014..19.235.
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Agnew, Vanessa. "History's affective turn: Historical reenactment and its work in the present." Rethinking History 11, no. 3 (September 2007): 299–312. http://dx.doi.org/10.1080/13642520701353108.
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Tillman, M. E., and C. B. Engle. "An historical reenactment of the battle of Gettysburg on Janus (Army)." Mathematical and Computer Modelling 23, no. 1-2 (January 1996): 1–8. http://dx.doi.org/10.1016/0895-7177(95)00210-3.
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Małysiak, Justyna. "MANAGEMENT AND POPULARIZATION OF CULTURAL HERITAGE ON THE EXAMPLE OF MILITARY REENACTMENT AS AN EXAMPLE OF ACTIVITIES SERVING PATRIOTIC EDUCATION AND BUILDING A SENSE OF REGIONAL IDENTITY." Catholic Pedagogy 34, no. 1 (February 7, 2024): 281–94. http://dx.doi.org/10.62266/pk.1898-3685.2024.34.24.
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Aim: The aim of the article was to present the concept of military renaissance in relation to the implementation of sustainable development goals in the area of caring for cultural heritage through grassroots initiatives understood as the activities of organizations dealing with historical reconstruction in Poland.Methods: The research covered groups actively operating in the Pomeranian Voivodeship in 2023. It included an in-depth analysis of data obtained through online research, literature review, observation.Results: The article introduces the concept of military renaissance and presents the types of activities that promote patriotic education and build a sense of regional identity in the promotion of military history. During the considerations, the issues of the activities of this type of organizations and their impact on the implementation of the assumptions of the 2030 Agenda in terms of preserving, protecting and promoting cultural heritage were raised.Coclusion: Grassroots initiatives of organizations to which historical reconstruction groups belong are among the important activities aimed at promoting global and regional cultural heritage, as well as maintaining traditions.Oryginality: Research addressing the problem of the functioning of organizations such as historical reconstruction groups in Poland from the perspective of management and quality sciences is basic research with interesting research potential. Keyword: cultural heritage, organizations, grassroots initiatives, military history, patriotism, historical reconstruction groups, sustainable development
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AKÇA BERK, Neval. "The Definition of Historical Reenactment, Classification Effort, Its Relation With History Education." Journal of Turkish Studies Volume 7 Issue 3, no. 7 (2012): 75–95. http://dx.doi.org/10.7827/turkishstudies.3683.
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Decker, Stephanie K. "Being Period: An Examination of Bridging Discourse in a Historical Reenactment Group." Journal of Contemporary Ethnography 39, no. 3 (December 29, 2009): 273–96. http://dx.doi.org/10.1177/0891241609341541.
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Daugherty, Jay. "Our Land, Our People: A Reflection of Tibetan Buddhist Space in Contemporary Art." HIMALAYA 40, no. 2 (November 15, 2021): 50–58. http://dx.doi.org/10.2218/himalaya.2021.6589.
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This article illustrates how a contemporary Tibetan artist disrupts expectations in the creation of his political art. Utilizing Robert Smithson’s dialogic of site and non-site, Tenzing Rigdol’s 2011 site-specific installation Our Land, Our People is interpreted as a reenactment of a culturally specific historical practice of moving space. This approach shares important similarities to historical cases in which physical spaces were relocated to and within Tibet, allowing for the application of 20th century theories arising in the spatial turn to contemporary Tibetan art.
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Stueber, Karsten R. "The Psychological Basis of Historical Explanation: Reenactment, Simulation, and the Fusion of Horizons." History and Theory 41, no. 1 (February 2002): 25–42. http://dx.doi.org/10.1111/1468-2303.00189.
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Turner, Thomas N. "Historical Reenactment—can it Work as a Standard Tool of the Social Studies?" Social Studies 76, no. 5 (October 1985): 220–23. http://dx.doi.org/10.1080/00377996.1985.10114473.
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Holzer, Derek. "In Search of the Plastic Image." Proceedings of the ACM on Computer Graphics and Interactive Techniques 5, no. 4 (September 6, 2022): 1–8. http://dx.doi.org/10.1145/3539218.
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Scan processing is an analog electronic image manipulation technology which emerged in the late 1960's, reached its apex during the 1970's, and was made obsolete by digital computing in the 1980's. During this period, scan processing instruments such as the Scanimate (1969) and the Rutt/Etra Video Synthesizer (1973) revolutionized commercial animation and inspired a generation of experimental video artists. This paper presents a media archaeological examination of scan processing which analyzes the history and functioning of the instruments used, what sorts of possibilities they afforded their users, and how those affordances were realized with technology of the era. The author proposes the reenactment of historical media technologies as an investigative methodology which helps us understand the relation of past and present, and details a reenactment of scan processing involving the display of digitally synthesized audio signals on an analog Cathode Ray Tube vector monitor.