Jennifer Erin Beste
- Published in print:
- 2007
- Published Online:
- January 2008
- ISBN:
- 9780195311099
- eISBN:
- 9780199871117
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195311099.003.0003
- Subject:
- Religion, Theology
This chapter examines the impact of severe trauma on persons' selfhood, capacity for relationality, and freedom for self‐determination. To address the complex effects of trauma on the sense of self ...
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This chapter examines the impact of severe trauma on persons' selfhood, capacity for relationality, and freedom for self‐determination. To address the complex effects of trauma on the sense of self and capacity for freedom, this book focuses on women survivors who experienced severe incestuous trauma as young girls. It examines incest survivors’ posttraumatic stress systems, focusing in particular on how their behavior attempts to reenact the trauma severely compromises their sense of self and their agency. Incestuous abuse also damages survivors' ability to develop trusting, intimate relationships with others and God. Many incest victims frequently report, in comparison to nonabused women, experiencing more anger, shame, and feelings of distance toward God. While more research is needed, it is reasonable to take seriously the possibility that severe trauma such as incestuous abuse can negatively impede and perhaps destroy a person's ability to relate to God and neighbor with faith, trust, and love.Less
This chapter examines the impact of severe trauma on persons' selfhood, capacity for relationality, and freedom for self‐determination. To address the complex effects of trauma on the sense of self and capacity for freedom, this book focuses on women survivors who experienced severe incestuous trauma as young girls. It examines incest survivors’ posttraumatic stress systems, focusing in particular on how their behavior attempts to reenact the trauma severely compromises their sense of self and their agency. Incestuous abuse also damages survivors' ability to develop trusting, intimate relationships with others and God. Many incest victims frequently report, in comparison to nonabused women, experiencing more anger, shame, and feelings of distance toward God. While more research is needed, it is reasonable to take seriously the possibility that severe trauma such as incestuous abuse can negatively impede and perhaps destroy a person's ability to relate to God and neighbor with faith, trust, and love.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.001.0001
- Subject:
- History, European Medieval History
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a ...
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In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.Less
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.
Roy A. Sorensen
- Published in print:
- 1999
- Published Online:
- February 2006
- ISBN:
- 9780195129137
- eISBN:
- 9780199786138
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/019512913X.003.0010
- Subject:
- Philosophy, Philosophy of Mind
This chapter addresses the suspicion that “thought experiment” is systematically misleading. It itemizes how “thought experiment” is actually a systematically leading expression. This catalogue of ...
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This chapter addresses the suspicion that “thought experiment” is systematically misleading. It itemizes how “thought experiment” is actually a systematically leading expression. This catalogue of hot tips raises a variety of issues ranging from how thought experiments differ from simulations to the ethics of fantasy.Less
This chapter addresses the suspicion that “thought experiment” is systematically misleading. It itemizes how “thought experiment” is actually a systematically leading expression. This catalogue of hot tips raises a variety of issues ranging from how thought experiments differ from simulations to the ethics of fantasy.
Samson W. Lim
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780824855253
- eISBN:
- 9780824869106
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824855253.001.0001
- Subject:
- Society and Culture, Asian Studies
Siam’s New Detectives: Visualizing Crime and Conspiracy in Modern Thailand is an analytical history of the visual tools—fingerprints, maps, diagrams, and photographs—employed by the Thai police when ...
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Siam’s New Detectives: Visualizing Crime and Conspiracy in Modern Thailand is an analytical history of the visual tools—fingerprints, maps, diagrams, and photographs—employed by the Thai police when investigating crime. It covers the period between the late nineteenth century and the end of the Cold War, providing for the first time in English an overview of the development of modern police practices in Thailand. Based on a diverse set of primary sources including police reports, detective training manuals, trial records, newspaper stories, memoirs, archival documents, and hard-to-find crime fiction, the book makes two related arguments. First, the factuality of the visual evidence used in the criminal justice system stems as much from formal rules, such as proper lighting in a crime scene photo and standardized markings on maps, as the reality of the things being represented. Second, some images, once created, function as diagrams, helping the police produce truths about the criminal past. This generative power makes images useful as investigative aids. It also means understanding how modern legal systems operate requires an examination of the visual culture of the law, particularly the aesthetic rules that govern the generation and use of visual evidence.Less
Siam’s New Detectives: Visualizing Crime and Conspiracy in Modern Thailand is an analytical history of the visual tools—fingerprints, maps, diagrams, and photographs—employed by the Thai police when investigating crime. It covers the period between the late nineteenth century and the end of the Cold War, providing for the first time in English an overview of the development of modern police practices in Thailand. Based on a diverse set of primary sources including police reports, detective training manuals, trial records, newspaper stories, memoirs, archival documents, and hard-to-find crime fiction, the book makes two related arguments. First, the factuality of the visual evidence used in the criminal justice system stems as much from formal rules, such as proper lighting in a crime scene photo and standardized markings on maps, as the reality of the things being represented. Second, some images, once created, function as diagrams, helping the police produce truths about the criminal past. This generative power makes images useful as investigative aids. It also means understanding how modern legal systems operate requires an examination of the visual culture of the law, particularly the aesthetic rules that govern the generation and use of visual evidence.
Lawrence W. Barsalou
- Published in print:
- 2011
- Published Online:
- September 2011
- ISBN:
- 9780195395518
- eISBN:
- 9780199897230
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195395518.003.0016
- Subject:
- Psychology, Cognitive Psychology, Cognitive Neuroscience
Simulation constitutes a central form of computation via diverse forms of cognition, where simulation is the reenactment of perceptual, motor, and introspective states acquired during experience with ...
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Simulation constitutes a central form of computation via diverse forms of cognition, where simulation is the reenactment of perceptual, motor, and introspective states acquired during experience with the world, body, and mind. This chapter describes the reenactment process, which has two phases: firstly, storage in long-term memory of multimodal states that arise across the brain's systems for perception, action, and introspection (where “introspection” refers to internal states that include affect, motivation, intentions, meta-cognition, etc.); and secondly, partial reenactment of these multimodal states for later representational use, including prediction. Each phase is addressed in turn.Less
Simulation constitutes a central form of computation via diverse forms of cognition, where simulation is the reenactment of perceptual, motor, and introspective states acquired during experience with the world, body, and mind. This chapter describes the reenactment process, which has two phases: firstly, storage in long-term memory of multimodal states that arise across the brain's systems for perception, action, and introspection (where “introspection” refers to internal states that include affect, motivation, intentions, meta-cognition, etc.); and secondly, partial reenactment of these multimodal states for later representational use, including prediction. Each phase is addressed in turn.
Ivone Margulies
- Published in print:
- 2019
- Published Online:
- January 2019
- ISBN:
- 9780190496821
- eISBN:
- 9780190496852
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190496821.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person ...
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In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France, and the reception of psychodrama in France (Chronicle of a Summer and The Human Pyramid) in the late 1950s. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia: Her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of 1950s reenactment toward the unredemptive stance of contemporary reenactment films such as Lanzmann’s Shoah, Zhang Yuan’s Sons, and Andrea Tonacci’s Hills of Chaos. It defines continuities between verité testimony (Chronicle and Moi un Noir) and later parajuridical films such as The Karski Report and Rithy Panh’s S21: The Khmer Rouge Killing Machine, suggesting the power of co-presence and in-person actualization for an ethics of viewership.Less
In Person: Reenactment in Postwar and Contemporary Cinema delineates a new performative genre based on replay and self-awareness. The book argues that in-person reenactment, an actual person reenacting her past on camera, departs radically from other modes of mimetic reconstruction. In Person theorizes this figure’s protean temporality and revisionist capabilities, and it considers its import in terms of social representativity and exemplarity. Close readings of select, historicized examples define an alternate, confessional-performative vein to understand the self-reflexive nature of postwar and post-Holocaust testimonial cinemas. The book contextualizes Zavattini’s proposal that in neorealism everyone should act his own story in a sort of anti-individualist, public display (Love in the City and We the Women). It checks the convergence between verité experiments, a heightened self-critique in France, and the reception of psychodrama in France (Chronicle of a Summer and The Human Pyramid) in the late 1950s. And, through Bazin, it reflects on the quandaries of celebrity biopics: how the circularity of the star’s iconography is checked by her corporeal limits (Sophia: Her Own Story and the docudrama Torero!). In Person traces a shift from the exemplary and transformative ethos of 1950s reenactment toward the unredemptive stance of contemporary reenactment films such as Lanzmann’s Shoah, Zhang Yuan’s Sons, and Andrea Tonacci’s Hills of Chaos. It defines continuities between verité testimony (Chronicle and Moi un Noir) and later parajuridical films such as The Karski Report and Rithy Panh’s S21: The Khmer Rouge Killing Machine, suggesting the power of co-presence and in-person actualization for an ethics of viewership.
Ivone Margulies
- Published in print:
- 2019
- Published Online:
- January 2019
- ISBN:
- 9780190496821
- eISBN:
- 9780190496852
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190496821.003.0007
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter examines Rithy Pahn’s S21: The Khmer Rouge Killing Machine and its disturbing tableaus featuring the ex-guards of S21 reenacting acts of torture and reciting documents extracted under ...
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This chapter examines Rithy Pahn’s S21: The Khmer Rouge Killing Machine and its disturbing tableaus featuring the ex-guards of S21 reenacting acts of torture and reciting documents extracted under duress at the very site where these atrocities were committed. Following an interest in the dissonant effects of spare, empty sites, this chapter explores the affinity between contemporary reenactment film and juridical and psychoanalytic discourse; it considers the theatrical effects of the perpetrators’ affectless behavior in relation to notions of traumatic reenactment, and it posits, through close readings of a number of scenes, a parajuridical aesthetics based on a triangulation between performance, recitation, and a narrating figure that serves as judge/professor. Panh’s articulation of an indicting, evidentiary structure and of a disturbing witnessing position for the viewer are analyzed in contrast to documentaries made around and about the International Court of Cambodjian Crimes, including juridical reconstructions at the site.Less
This chapter examines Rithy Pahn’s S21: The Khmer Rouge Killing Machine and its disturbing tableaus featuring the ex-guards of S21 reenacting acts of torture and reciting documents extracted under duress at the very site where these atrocities were committed. Following an interest in the dissonant effects of spare, empty sites, this chapter explores the affinity between contemporary reenactment film and juridical and psychoanalytic discourse; it considers the theatrical effects of the perpetrators’ affectless behavior in relation to notions of traumatic reenactment, and it posits, through close readings of a number of scenes, a parajuridical aesthetics based on a triangulation between performance, recitation, and a narrating figure that serves as judge/professor. Panh’s articulation of an indicting, evidentiary structure and of a disturbing witnessing position for the viewer are analyzed in contrast to documentaries made around and about the International Court of Cambodjian Crimes, including juridical reconstructions at the site.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0001
- Subject:
- History, European Medieval History
This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of ...
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This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of worldly measures of time and space, existing between the real and the unreal. To make this case, Strange Footing reenacts prevalent traditions of performing and representing dance, such as carole and danse macabre.Less
This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of worldly measures of time and space, existing between the real and the unreal. To make this case, Strange Footing reenacts prevalent traditions of performing and representing dance, such as carole and danse macabre.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0002
- Subject:
- History, European Medieval History
This chapter defines the terms reenactment, experience, and virtuality. It elucidates Strange Footing's reenactment method, which juxtaposes medieval and contemporary dance.
This chapter defines the terms reenactment, experience, and virtuality. It elucidates Strange Footing's reenactment method, which juxtaposes medieval and contemporary dance.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0006
- Subject:
- History, European Medieval History
This chapter reenacts the round dance often called carole by juxtaposing it with Mark Morris’s L’Allegro, il Penseroso ed il Moderato (1988). In this reenactment, the carole reveals its virtual ...
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This chapter reenacts the round dance often called carole by juxtaposing it with Mark Morris’s L’Allegro, il Penseroso ed il Moderato (1988). In this reenactment, the carole reveals its virtual circles and arcs of force. These virtual supplements to the dance, untimely and spatially estranging, complicate the carole's superficial appearance of symmetry and periodicity.Less
This chapter reenacts the round dance often called carole by juxtaposing it with Mark Morris’s L’Allegro, il Penseroso ed il Moderato (1988). In this reenactment, the carole reveals its virtual circles and arcs of force. These virtual supplements to the dance, untimely and spatially estranging, complicate the carole's superficial appearance of symmetry and periodicity.
Sandra L. Bloom and Brian Farragher
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199796366
- eISBN:
- 9780199332632
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199796366.003.0003
- Subject:
- Social Work, Health and Mental Health
This chapter begins with a vision of what things might look like if we all truly embraced the Sanctuary Commitments in our personal and organizational lives. It then explains the key barrier to ...
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This chapter begins with a vision of what things might look like if we all truly embraced the Sanctuary Commitments in our personal and organizational lives. It then explains the key barrier to change, which is reenactment—the compulsive tendency to repeat patterns of the past. Understanding and working with reenactment is the key to individual and group change. The chapter explores the normal context in which our tendency to reenact the past occurs, and what happens as a result of disrupted attachment and traumatic experience. The underlying resistance to change seen in individuals and institutions, and therefore the likelihood of repetition, results from resistance to loss. The organizational tendency to reenact past failed strategies is considered and some of the implications of growth and change for leadership are explored. The chapter concludes by offering some strategies for facilitating growth and change in caregiving organizations.Less
This chapter begins with a vision of what things might look like if we all truly embraced the Sanctuary Commitments in our personal and organizational lives. It then explains the key barrier to change, which is reenactment—the compulsive tendency to repeat patterns of the past. Understanding and working with reenactment is the key to individual and group change. The chapter explores the normal context in which our tendency to reenact the past occurs, and what happens as a result of disrupted attachment and traumatic experience. The underlying resistance to change seen in individuals and institutions, and therefore the likelihood of repetition, results from resistance to loss. The organizational tendency to reenact past failed strategies is considered and some of the implications of growth and change for leadership are explored. The chapter concludes by offering some strategies for facilitating growth and change in caregiving organizations.
Daniel R. Maher
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780813062532
- eISBN:
- 9780813051185
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813062532.003.0007
- Subject:
- Archaeology, Historical Archaeology
This chapter uses performance theory to examine the specific manner in which Fort Smith constituted the frontier complex for the specific audience of tourists. In 1955 the city exhumed its frontier ...
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This chapter uses performance theory to examine the specific manner in which Fort Smith constituted the frontier complex for the specific audience of tourists. In 1955 the city exhumed its frontier past to resurrect the “Hanging Judge’s” gallows and courtroom, not sixty years after an embarrassed town had burned down the original gallows. The Fort Smith Museum of History, the Fort Smith National Historic Site, Miss Laura’s Visitor Center, the Bass Reeves monument, and frontier reenactment groups collectively operate to fashion the frontier complex. Though ostensibly representing nineteenth century frontier history, this chapter details how these various constituents create a mythic past that reinforces contemporary ideologies. Numerous groups and individuals compete for space to perform the frontier complex into being. While some purport their authenticity to be sanctioned by the Reenactment Guild of America, it is argued here that it is not the fine art of splitting hairs over authenticity of buttons and threads that distinguishes these groups, but rather the amount of room on the theatrical stage upon which these skits are performed. Following Richard Slotkin, it is argued that the frontier complex is a space and place in America where mimed public violence is permissible and whiteness reinforced.Less
This chapter uses performance theory to examine the specific manner in which Fort Smith constituted the frontier complex for the specific audience of tourists. In 1955 the city exhumed its frontier past to resurrect the “Hanging Judge’s” gallows and courtroom, not sixty years after an embarrassed town had burned down the original gallows. The Fort Smith Museum of History, the Fort Smith National Historic Site, Miss Laura’s Visitor Center, the Bass Reeves monument, and frontier reenactment groups collectively operate to fashion the frontier complex. Though ostensibly representing nineteenth century frontier history, this chapter details how these various constituents create a mythic past that reinforces contemporary ideologies. Numerous groups and individuals compete for space to perform the frontier complex into being. While some purport their authenticity to be sanctioned by the Reenactment Guild of America, it is argued here that it is not the fine art of splitting hairs over authenticity of buttons and threads that distinguishes these groups, but rather the amount of room on the theatrical stage upon which these skits are performed. Following Richard Slotkin, it is argued that the frontier complex is a space and place in America where mimed public violence is permissible and whiteness reinforced.
Mike Goode
- Published in print:
- 2016
- Published Online:
- January 2017
- ISBN:
- 9780823271030
- eISBN:
- 9780823271085
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823271030.003.0011
- Subject:
- Literature, 19th-century Literature and Romanticism
Goode explores how Scott’s “potent historical fictions,” their “historically resigned but elegiac narrative of the Jacobite rebellions,” are deployed by Jefferson Davis, former President of the ...
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Goode explores how Scott’s “potent historical fictions,” their “historically resigned but elegiac narrative of the Jacobite rebellions,” are deployed by Jefferson Davis, former President of the Southern Confederacy, to make sense of the “noble lost cause” of the American Civil War. For Goode, Scott’s own narrative “revivification” is best understood as an “ontological project of historical reenactment,” one that not only found resonance with apologists of the vanquished Confederacy but that is literalized in the long-running fantasy spectacle of the “living history museum” at “colonial” Williamsburg, Virginia.Less
Goode explores how Scott’s “potent historical fictions,” their “historically resigned but elegiac narrative of the Jacobite rebellions,” are deployed by Jefferson Davis, former President of the Southern Confederacy, to make sense of the “noble lost cause” of the American Civil War. For Goode, Scott’s own narrative “revivification” is best understood as an “ontological project of historical reenactment,” one that not only found resonance with apologists of the vanquished Confederacy but that is literalized in the long-running fantasy spectacle of the “living history museum” at “colonial” Williamsburg, Virginia.
Anja Dreschke
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823253807
- eISBN:
- 9780823260966
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823253807.003.0013
- Subject:
- Religion, Religion and Society
The Cologne Tribes are an association of around 80 clubs from Cologne whose members re-enact the lifeworlds of ‘foreign’ cultures and/or ancient epochs as a leisure time activity. The chapter ...
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The Cologne Tribes are an association of around 80 clubs from Cologne whose members re-enact the lifeworlds of ‘foreign’ cultures and/or ancient epochs as a leisure time activity. The chapter approaches the mutual constitution of media and trance in a twofold way. It takes the enthusiasm for Hollywood historical dramas of the members of the Cologne Tribes, as a starting point for investigating forms of the performative appropriation of media, exploring the entanglement and interactions of fascination with films and mimetic practices of alterity that she observed among the Cologne Tribes. Embodiment for them becomes a means to experience otherness, which is described by the locals of Cologne in terms of possession. Dreschke also examines how ecstatic practices associated with the cultures emulated by the Cologne Tribes are appropriated and transformed in reenactments. Through training in these practices, club members learn how to relate to things in a new way and gradually change their perception of the world. However, the sensual experience of estrangement and trance in film perception seems to interact with altered states of (un)consciousness familiar to the members of the Cologne Tribes from the local Carnival traditions.Less
The Cologne Tribes are an association of around 80 clubs from Cologne whose members re-enact the lifeworlds of ‘foreign’ cultures and/or ancient epochs as a leisure time activity. The chapter approaches the mutual constitution of media and trance in a twofold way. It takes the enthusiasm for Hollywood historical dramas of the members of the Cologne Tribes, as a starting point for investigating forms of the performative appropriation of media, exploring the entanglement and interactions of fascination with films and mimetic practices of alterity that she observed among the Cologne Tribes. Embodiment for them becomes a means to experience otherness, which is described by the locals of Cologne in terms of possession. Dreschke also examines how ecstatic practices associated with the cultures emulated by the Cologne Tribes are appropriated and transformed in reenactments. Through training in these practices, club members learn how to relate to things in a new way and gradually change their perception of the world. However, the sensual experience of estrangement and trance in film perception seems to interact with altered states of (un)consciousness familiar to the members of the Cologne Tribes from the local Carnival traditions.
Tavia Nyong’o
- Published in print:
- 2014
- Published Online:
- March 2016
- ISBN:
- 9781479857722
- eISBN:
- 9781479818334
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479857722.003.0004
- Subject:
- Society and Culture, Cultural Studies
This chapter focuses on the “historical” claims of the Tea Party movement as it reorients and reinvents the Revolutionary War archive. The temporal bend that loops the Tea Party to this revolutionary ...
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This chapter focuses on the “historical” claims of the Tea Party movement as it reorients and reinvents the Revolutionary War archive. The temporal bend that loops the Tea Party to this revolutionary event camouflages its stronger historical investment in the 14th Amendment's post-Civil War reversal of the foundational terms of citizenship. Tracing the “queasiness” of this time-shifting alliance with white racial innocence, the chapter sets a contemporary performance of archival reenactment against the creative engagement with citizenship portrayed in David Walker's 1829 Appeal to the Coloured Citizens of the World. Its analysis of the Tea-Party inspired reading of the Constitution is shaped by two books, Rebecca Schneider's Performing Remains (2011) and Jill Lepore's The Whites of Their Eyes (2010), both of which engage aspects of historical reenactment culture in America.Less
This chapter focuses on the “historical” claims of the Tea Party movement as it reorients and reinvents the Revolutionary War archive. The temporal bend that loops the Tea Party to this revolutionary event camouflages its stronger historical investment in the 14th Amendment's post-Civil War reversal of the foundational terms of citizenship. Tracing the “queasiness” of this time-shifting alliance with white racial innocence, the chapter sets a contemporary performance of archival reenactment against the creative engagement with citizenship portrayed in David Walker's 1829 Appeal to the Coloured Citizens of the World. Its analysis of the Tea-Party inspired reading of the Constitution is shaped by two books, Rebecca Schneider's Performing Remains (2011) and Jill Lepore's The Whites of Their Eyes (2010), both of which engage aspects of historical reenactment culture in America.
Lynette Hi‘ilani Cruz
- Published in print:
- 2015
- Published Online:
- November 2016
- ISBN:
- 9780824847593
- eISBN:
- 9780824868215
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824847593.003.0028
- Subject:
- Anthropology, Social and Cultural Anthropology
This chapter illustrates how theatrical performance artists teach Hawaiian genealogy and kinship in public culture in Hawai‘i. It tells a story of “indigenous anthropology” on Hawaiian performance ...
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This chapter illustrates how theatrical performance artists teach Hawaiian genealogy and kinship in public culture in Hawai‘i. It tells a story of “indigenous anthropology” on Hawaiian performance arts on O‘ahu that provides cultural education through dramatic reenactments of Hawaiian history, showing the roles these performances play in understanding Hawaiian culture and identity. More than just history, the reenactment illustrates a real and present injury situated in the present time. Drama makes space for emotion, for the Hawaiian sense of na‘au (feeling settled in the gut, akin to emotional intelligence that allows us to feel calm and satisfied) to surface in acceptable ways.Less
This chapter illustrates how theatrical performance artists teach Hawaiian genealogy and kinship in public culture in Hawai‘i. It tells a story of “indigenous anthropology” on Hawaiian performance arts on O‘ahu that provides cultural education through dramatic reenactments of Hawaiian history, showing the roles these performances play in understanding Hawaiian culture and identity. More than just history, the reenactment illustrates a real and present injury situated in the present time. Drama makes space for emotion, for the Hawaiian sense of na‘au (feeling settled in the gut, akin to emotional intelligence that allows us to feel calm and satisfied) to surface in acceptable ways.
M. J. Rymsza-Pawlowska
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781469633862
- eISBN:
- 9781469633879
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469633862.003.0006
- Subject:
- History, American History: 20th Century
While the performance of the past has a longer history that dates back to the tableaux vivants and the pageants of the 19th and early 20th centuries, this chapter argues that by the 1970s, ...
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While the performance of the past has a longer history that dates back to the tableaux vivants and the pageants of the 19th and early 20th centuries, this chapter argues that by the 1970s, re-enactment was on the rise as a strategy for engaging history; for evidence, many reenactments as part of Bicentennial. The end of the chapter focuses on the Bicentennial Wagon Train and the diverging experiences and expectations of planners, participants and audiences to show that re-enactment as a practice leads to many different forms of meaning making.Less
While the performance of the past has a longer history that dates back to the tableaux vivants and the pageants of the 19th and early 20th centuries, this chapter argues that by the 1970s, re-enactment was on the rise as a strategy for engaging history; for evidence, many reenactments as part of Bicentennial. The end of the chapter focuses on the Bicentennial Wagon Train and the diverging experiences and expectations of planners, participants and audiences to show that re-enactment as a practice leads to many different forms of meaning making.
Jonathan Kahana and Noah Tsika
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781469638690
- eISBN:
- 9781469638713
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9781469638690.003.0002
- Subject:
- History, American History: 20th Century
In “Let There Be Light and the Military Talking Picture,” Jonathan Kahana and Noah Tsika analyze John Huston’s Let There Be Light in its military-historical context. They argue that the traumatized ...
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In “Let There Be Light and the Military Talking Picture,” Jonathan Kahana and Noah Tsika analyze John Huston’s Let There Be Light in its military-historical context. They argue that the traumatized speech of returning WWII veterans, documented by the “military talking picture,” is the foundation for a mode of documentary filmmaking that is characterized by its evocative elisions and gaps. The stammering, mumbling, and silence that characterize Huston’s traumatized veterans establish both traumatic memory, evasive and partial, and reenactment, which builds narrative from these absences, as foundational to documentary filmmaking after WWII.Less
In “Let There Be Light and the Military Talking Picture,” Jonathan Kahana and Noah Tsika analyze John Huston’s Let There Be Light in its military-historical context. They argue that the traumatized speech of returning WWII veterans, documented by the “military talking picture,” is the foundation for a mode of documentary filmmaking that is characterized by its evocative elisions and gaps. The stammering, mumbling, and silence that characterize Huston’s traumatized veterans establish both traumatic memory, evasive and partial, and reenactment, which builds narrative from these absences, as foundational to documentary filmmaking after WWII.
Samson Lim
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780824855253
- eISBN:
- 9780824869106
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824855253.003.0001
- Subject:
- Society and Culture, Asian Studies
In 1986, a young Thai woman went missing. A few days later her body was found in a wooded area east of Bangkok. The police quickly arrested and brought four men to trial. The only thing connecting ...
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In 1986, a young Thai woman went missing. A few days later her body was found in a wooded area east of Bangkok. The police quickly arrested and brought four men to trial. The only thing connecting the suspects to the crime scene was the testimony of a trishaw peddler and photographs of a reenactment of that testimony. After deliberation, the provincial court where the trial took place found the men guilty of murder and sentenced them to death. They were later acquitted, but not before one had lost his life and the others had suffered serious health problems while in prison. This tragic example highlights a number of issues, including especially the increasing reliance on visual evidence by the police in particular and the legal system in general. This book is a critical look at the history of the visual practices of criminal detection.Less
In 1986, a young Thai woman went missing. A few days later her body was found in a wooded area east of Bangkok. The police quickly arrested and brought four men to trial. The only thing connecting the suspects to the crime scene was the testimony of a trishaw peddler and photographs of a reenactment of that testimony. After deliberation, the provincial court where the trial took place found the men guilty of murder and sentenced them to death. They were later acquitted, but not before one had lost his life and the others had suffered serious health problems while in prison. This tragic example highlights a number of issues, including especially the increasing reliance on visual evidence by the police in particular and the legal system in general. This book is a critical look at the history of the visual practices of criminal detection.
Samson Lim
- Published in print:
- 2016
- Published Online:
- November 2016
- ISBN:
- 9780824855253
- eISBN:
- 9780824869106
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824855253.003.0005
- Subject:
- Society and Culture, Asian Studies
The crime scene re-enactment is another prominent visual practice used by the Thai police. It is believed to have been introduced in the late 1920s as a way to categorize crime into what the police ...
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The crime scene re-enactment is another prominent visual practice used by the Thai police. It is believed to have been introduced in the late 1920s as a way to categorize crime into what the police considered rational, scientific categories, but over time it has come to take on new social, epistemological functions. In discussing a re-enactment from 1956, for example, one police officer noted how the practice allowed him to confirm a hunch about a crime that would not otherwise have been verifiable. Photos of the same re-enactment then became part of a news story in a popular weekly magazine. As courts began to press for more visual evidence and the public for crime stories the re-enactment evolved into a broader social ritual in which the police and the media, fact and fiction, technology and society came into contact to generate artifacts useful as news, entertainment, and legal evidence.Less
The crime scene re-enactment is another prominent visual practice used by the Thai police. It is believed to have been introduced in the late 1920s as a way to categorize crime into what the police considered rational, scientific categories, but over time it has come to take on new social, epistemological functions. In discussing a re-enactment from 1956, for example, one police officer noted how the practice allowed him to confirm a hunch about a crime that would not otherwise have been verifiable. Photos of the same re-enactment then became part of a news story in a popular weekly magazine. As courts began to press for more visual evidence and the public for crime stories the re-enactment evolved into a broader social ritual in which the police and the media, fact and fiction, technology and society came into contact to generate artifacts useful as news, entertainment, and legal evidence.
