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Books on the topic 'Reenactor'

Author: Grafiati
Published: 4 June 2021
Last updated: 3 February 2022

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1

Pierce, Clifford. The life and times of a Civil War reenactor. Palm Coast, FL: Backintyme, 2008.

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2

Pierce, Clifford. The life and times of a Civil War reenactor. Palm Coast, FL: Backintyme, 2008.

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3

Kemmer, Brenton C. So, ye want to be a reenactor?: A living history handbook. Bowie, Md: Heritage Books, 2001.

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4

Riggleman, Michael J. Poinsett's cavalry tactics for reenactors. United States: Michael J. Riggleman, 1999.

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5

(Photographer), Elson Mark, and Lighthizer James, eds. Battlefields of honor: American Civil War reenactors. London: Merrell, 2012.

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6

1951-, Hadden Robert Lee, ed. Reliving the Civil War: A reenactor's handbook. Mechanicsburg, PA: Stackpole Books, 1996.

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7

Hadden, Robert Lee. Reliving the Civil War: A reenactor's handbook. 2nd ed. Mechanicsburg, PA: Stackpole Books, 1999.

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8

Civil War woodworking: More authentic projects for woodworkers and reenactors. Fresno: Linden Publishing, 2014.

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9

Thompson, Jenny. War games: Inside the world of 20th-century war reenactors. Washington [D.C.]: Smithsonian Books, 2004.

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10

Civil War woodworking: 17 authentic projects for woodworkers and reenactors. Fresno, Calif: Linden Pub., 2009.

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11

Grehl, Jerry. Casey's for reenactors: A manual of instruction for school of the battalion. Stroudsburg, PA (RR 6 Box 6394E Stroudsburg 18360): Hardtack Pub., 1998.

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12

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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13

Field, Ron. Uniforms of the Civil War: An illustrated guide for historians, collectors, and reenactors. Guilford, Conn: Lyon's Press, 2005.

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14

Robin, Smith, and Smith Robin, eds. Uniforms of the Civil War: An illustrated guide for historians, collectors, and reenactors. Guilford, Conn: Lyon's Press, 2005.

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15

Romaneck, Greg M. A Civil War reenactor's guidebook: Tips and suggestions from the field. Westminster, Md: Heritage Books, 2007.

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16

Hearts of fire-- soldier women of the Civil War: With an addendum on female reenactors. Torch, OH (P.O. Box 286, Torch 45781): L. Middleton, 1993.

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17

Daniel, Thomas A. The Southern cause: For the love of Dixie : the war between the states : reenactors on reenacting. Richmond, Va: Brandylane Publishers, Inc., 2008.

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18

Snook, Ken. A soldier's notebook, the second year: The War of the Rebellion, 1861-1865 (reenacted). [United States]: K. Snook, 1997.

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19

Hadden, Robert Lee. The Civil War reenactor's handbook: A guide to historical interpretation, teaching history, and living history. Greenville, N.C. (1600 E. Sixth St., Greenville 27834): HadCo Associates, 1990.

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20

Pennsylvania. Pennsylvania municipalities planning code: Act of 1968, P.L. 805, No. 247 as reenacted and amended. Harrisburg, Pa: Governor's Center for Local Government Services, 2003.

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21

US GOVERNMENT. An Act to Extend for 6 Additional Months the Period for Which Chapter 12 of Title 11, United States Code, Is Reenacted. [Washington, D.C: U.S. G.P.O., 1999.

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22

GOVERNMENT, US. An Act to Extend for 9 Additional Months the Period for Which Chapter 12 of Title 11, United States Code, Is Reenacted. [Washington, D.C: U.S. G.P.O., 1999.

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23

US GOVERNMENT. An Act to Extend for 11 Additional Months the Period for Which Chapter 12 of Title 11 of the United States Code Is Reenacted. [Washington, D.C: U.S. G.P.O., 2001.

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24

GOVERNMENT, US. An Act to Extend for 8 Additional Months the Period for Which Chapter 12 of Title 11 of the United States Code is Reenacted. [Washington, D.C: U.S. G.P.O., 2002.

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25

GOVERNMENT, US. An Act to Extend for 4 Additional Months the Period for Which Chapter 12 of Title 11 of the United States Code is Reenacted. [Washington, D.C: U.S. G.P.O., 2001.

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26

Romaneck, Greg M. A Civil War Reenactors Guidebook. Heritage Books, 2007.

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27

Sr, James E. White. Memories of My Days as a Black Civil War Reenactor. James E. White, 2014.

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28

Markley, Bill. Dakota Epic: Experiences of a Reenactor During the Filming of Dances With Wolves. iUniverse, 2001.

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29

CHIN MUSIC FROM A GREYHOUND: The Confessions of a Civil War Reenactor Volume One: 1978-1987. 1st Books Library, 2004.

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30

McAfee, Michael J. The Civil War Reenactors' Handbook. Salamander Books Ltd, 2002.

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31

The Civil War Reenactors' Encyclopedia. The Lyons Press, 2002.

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32

Historical Reenactors and the Period Rush. Kendall Hunt Publishers, 2010.

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33

Staelpart, Crystal. Reenacting Modernist Time. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.15.

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In The Refusal of Time (2012), South African artist William Kentridge reveals how the Western time regime is a central tenet of modernity, capitalism, and colonialism. Featuring a remarkable reenactment of the famous serpentine dance of Loïe Fuller, this multimedia installation provides a sharp comment on the Western conception of dance history. In having this iconic dance reenacted by Dada Masilo, a dancer of color, Kentridge questions white supremacy in the history of dance. Moreover, having the film sequence of the dance solo shown backward, the images also dismantle the modernist, chronological conception of time and history. This critical reenactment, like the dancing figures in the closing parade of The Refusal of Time, in fact reveal the modernist desire to reenact history along a chronological timeline. Connecting Kentridge’s The Refusal of Time with Deleuze’s onto-aesthetics, this chapter observes how reenactment can articulate an ontological politics of time and movement.
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34

J, Thompson, and Jenny Thompson. War Games: Inside the World of Twentieth-Century War Reenactors. Smithsonian, 2004.

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35

III, James F. Hatcher. Rev War Service Record: And Campaign Diary for Continental Line Reenactors. CreateSpace Independent Publishing Platform, 2013.

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36

Chandler-ezell, Karol. Historical Reenactors And The Period Rush: The Cultural Anthropology of Period Cultures. Kendall Hunt Pub Co, 2007.

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37

KAROL, CHANDLER-EZELL. zHistorical Reenactors and the "Period Rush: " The Cultural Anthropology of Period Cultures. Kendall Hunt Publishing, 2010.

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38

III, James F. Hatcher. Rev War Service Record: And Campaign Diary for H. M. Crown Forces Reenactors. CreateSpace Independent Publishing Platform, 2013.

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39

Field, Ron, and Robin Smith. Uniforms of the Civil War: An Illustrated Guide for Historians, Collectors, and Reenactors. Diane Pub Co, 2000.

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40

The Civil War reenactor's blackpowder guide to the safe use, care and maintenance of replica period firearms. Rusty Musket Enterprises, 1998.

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41

Civil War and Living History Reenacting: About "People of Color"--How to Begin * What to Wear * Why Reenact. Heritage Books Inc., 2004.

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42

Pouillaude, Frédéric. To the Letter. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.37.

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This chapter is devoted to a piece by Olivia Granville, Le Cabaret discrépant, created in 2011. This piece interrogates and reenacts a largely forgotten moment in the history of the choreographic avant-gardes: the choreographic initiatives of the Lettrist Group (in the first place of its founder Isidore Isou, but also of his disciple Maurice Lemaître) in the 1950s and 1960s. After exposing the main ideas of the Lettrist theory of dance and choreographic history, the chapter analyzes the structure and the meaning of the piece by Granville. It emphasizes the specific use of citation and the powers of literality in order to present a nonlinear and nonteleological vision of art history.
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43

Bertelsen, Cynthia D. A Hastiness of Cooks: A Practical Handbook for Use in Deciphering the Mysteries of Historic Recipes and Cookbooks, For Living-History Reenactors, Historians, Writers, Chefs, Archaeologists, and, o. Turquoise Moon Press, 2019.

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44

Banerji, Anurima. Dance and the Distributed Body. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.42.

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This chapter considers the links between contemporary Odissi dance and one of its antecedents, mahari naach, the dance of female ritual specialists associated with the Jagannath temple in Puri, a center of pilgrimage in Odisha, India. The author argues that mahari naach produced a notion of the “distributed body” by engaging in an intersubjective relationship with the animated figure of the deity and the personified architectural space that served as the venue for dance practice. Combining ethnographic, historical, and philosophical sources, this interdisciplinary analysis critically examines the ideations of embodiment in Odisha’s religious culture to understand how a distinct notion of corporeality emerges in ritual activity—and considers the failure of the modern concert form to fully reenact it, despite its desire to appropriate past performance.
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45

Kraut, Anthea. Reenactment as Racialized Scandal. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.3.

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This chapter considers the 2011 controversy surrounding African-American pop music star Beyoncé’s music video “Countdown,” in which she “borrowed” portions of two works by Belgian avant-garde choreographer Anne Teresa De Keersmaeker, as an example of what Rebecca Schneider refers to as the “scandal of unrestricted circulation and exchange.” Approached as reenactment, Beyoncé’s alleged plagiarism of De Keersmaeker brings to the fore certain issues that have been less discussed in other analyses of “reperformance,” particularly questions of how race structures the anxieties and gaps that reenactment produces. The chapter argues that even as Beyoncé’s unauthorized reproduction of De Keersmaeker inverts the deeply entrenched pattern of white modern and postmodern artists taking from non-white movement practices, the response to “Countdown” demonstrates the persistence of racially tinged anxieties about who is authorized to reenact what.
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46

Keyes, Beth. “The Absurd Disordering of Notes”. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.9.

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Railway spine, nerve prostration, combat neurosis, post-traumatic stress disorder: throughout the twentieth century, a complex array of terms has been codified by cultural, national, and medical institutions to describe a body and mind made dysfunctional by the inability to process intensely disturbing memories. In the wake of World War I, trauma-induced mental illness—diagnosed and treated as “shell-shock” in countless veterans—became an imperative focal point for sociopolitical and medical reform throughout Europe. This essay explores the connections between this historically contextualized psychiatric disorder and the music of Ivor Gurney, a soldier in the British Army whose life and work was significantly affected by his diagnosis in 1918. Through particular disturbances of form, structure, and texture, Gurney’s musical landscapes reenact the conditions of psychic trauma by creating a world in which memories are disruptive, invasive, and ultimately disabling.
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47

Reckson, Lindsay V. Realist Ecstasy. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479803323.001.0001.

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Realist Ecstasy: Religion, Race, and Performance in American Literature recovers a series of ecstatic performances in late nineteenth- and early twentieth-century American realism. From camp meetings to Native American ghost dances to storefront church revivals, Realist Ecstasy explores how realism represents ecstatic bodies as objects of fascination, transforming spiritual experience into the very material of realist description. In an era of “separate but equal” religious pluralism and systematic racial terror, realism mobilized the gestural and performative idioms of religious ecstasy to confront ongoing histories of violence and imagine new modes of social affiliation. Realist Ecstasy demonstrates how the realist imagining of possessed bodies helped produce and naturalize racial difference, while excavating the complex, shifting, and dynamic possibilities embedded in ecstatic performance. Approaching realism as both an unruly archive of performance and a wide-ranging repertoire of media practices, Realist Ecstasy argues that the real was repetitively enacted and reenacted through bodily practice, at a moment when the body’s capacity to reliably signify was everywhere at stake. Interrogating realist practices that worked to order, disorder, and reify racial and religious difference under Jim Crow, Realist Ecstasy challenges and transforms conventional understandings of realism’s relationship to histories of secularization, while reframing secularism itself as a densely heterogeneous set of performances and representations.
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48

Cabrera, Lydia, and Victor Manfredi. The Sacred Language of the Abakuá. Edited by Ivor L. Miller and P. González Gómes-Cásseres. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496829443.001.0001.

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In 1988, Lydia Cabrera (1899–1991) published La lengua sagrada de los Ñáñigos, an Abakuá phrasebook that is to this day the largest work available on any African diaspora community in the Americas. In the early 1800s in Cuba, enslaved Africans from the Cross River region of southeastern Nigeria and southwestern Cameroon created Abakuá societies for protection and mutual aid. Abakuá rites reenact mythic legends of the institution’s history in Africa, using dance, chants, drumming, symbolic writing, herbs, domestic animals, and masked performers to represent African ancestors. Criminalized and scorned in the colonial era, Abakuá members were at the same time contributing to the creation of a unique Cuban culture, including rumba music, now considered a national treasure Translated for the first time into English, Cabrera’s lexicon documents phrases vital to the creation of a specific African-derived identity in Cuba and presents the first ‘insiders’ view of this African heritage. This text presents thoroughly researched commentaries that link hundreds of entries to the context of mythic rites, skilled ritual performance, and the influence of Abakuá in Cuban society and popular music. Generously illustrated with photographs and drawings, this volume includes a new introduction to Cabrera’s writing as well as appendices that situate this important work in Cuba’s history.
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49

Andrew, Nell. Moving Modernism. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190057275.001.0001.

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This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and circles of aesthetic influence of avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, this book challenges modernism’s medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde’s development of abstraction: from the turn-of-the-century dancer Loïe Fuller, who awakened in symbolist artists the possibility of prolonged vision; to cubo-futurist and neosymbolist artists who reached pure abstraction in tandem with the radical dance theory of Valentine de Saint-Point; to Sophie Taeuber’s hybrid Dadaism between art and dance; to Akarova, a prolific choreographer whose dancing Belgian constructivist pioneers called “music architecture”; and finally to the dancing images of early cinematic abstraction from the Lumière brothers to Germaine Dulac. Each chapter reveals the emergence of abstractionas an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. The author argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art’s viewers are engaged by the kinesthetic sensation to move and be moved.
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