Enacting History

Enacting History is a collection of new essays exploring the world of historical performances. The volume focuses on performances outside the traditional sphere of theatre, among them living history museums, battle reenactments, pageants, renaissance festivals, and adventure-tourism destinations. This volume argues that the recent surge in such performances have raised significant questions about the need for, interest in, and value of such nontraditional theater. Many of these performances claim a greater or lesser degree of historical "accuracy" or "authenticity," and the authors tease out the representational and historiographic issues related to these arguments. How, for instance, are issues of race, ethnicity, and gender dealt with at museums that purport to be accurate windows into the past? How are politics and labor issues handled in local- or state-funded institutions that rely on volunteer performers? How do tourists' expectations shape the choices made by would-be purveyors of the past? Where do matters of taste or censorship enter in when reconciling the archival evidence with a family-friendly mission? Essays in the collection address, among other subjects, reenactments of period cookery and cuisine at a Maryland renaissance festival; the roles of women as represented at Minnesota's premiere living history museum, Historic Fort Snelling; and the Lewis and Clark bicentennial play as cultural commemoration. The editors argue that historical performances like these-regardless of their truth-telling claims-are an important means to communicate, document, and even shape history, and allow for a level of participation and accessibility that is unique to performance. Enacting History is an entertaining and informative account of the public's fascination with acting out and watching history and of the diverse methods of fulfilling this need.

Enacting History is a practical guide for educators that provides methodologies and resources for teaching the Holocaust through a variety of theatrical means, including scripted texts, verbatim testimony, devised theater techniques and process-oriented creative exercises. A close collaboration with the USC Shoah Foundation I Witness program and the National Jewish Theater Foundation Holocaust Theater International Initiative at the University of Miami Miller Center for Contemporary Judaic Studies resulted in the ground-breaking work within this volume. The material facilitates teaching the Holocaust in a way that directly connects students to individual people and historical events through the art of theater. Each section is designed to help middle and high school educators meet curricular goals, objectives and standards and to integrate other educational disciplines based upon best practices. Students will gain both intellectual and emotional understanding by speaking the words of survivors, as well as young characters in scripted scenes, and developing their own performances based on historical primary sources. This book is an innovative and invaluable resource for teachers and students of the Holocaust; it is an exemplary account of how the power of theater can be harnessed within the classroom setting to encourage a deeper understanding of this defining event in history.

What is re-enactment and how does it relate to heritage? Re-enactments are a ubiquitous part of popular and memory culture and are of growing importance to heritage studies. As concept and practice, re-enactments encompass a wide range of forms: from the annual ‘Viking Moot’ festival in Denmark drawing thousands of participants and spectators, to the (re)staged war photography of An-My Lê, to the Titanic Memorial Cruise commemorating the centennial of the ill-fated voyage, to the symbolic retracing of the Berlin Wall across the city on 9 November 2014 to mark the 25th anniversary of its toppling. Re-enactments involve the sensuousness of bodily experience and engagement, the exhilarating yet precarious combination of imagination with ‘historical fact’, in-the-moment negotiations between and within temporalities, and the compelling drive to re-make, or re-presence, the past. As such, re-enactments present a number of challenges to traditional understandings of heritage, including taken-for-granted assumptions regarding fixity, conservation, originality, ownership and authenticity. Using a variety of international, cross-disciplinary case studies, this volume explores re-enactment as practice, problem, and/or potential, in order to widen the scope of heritage thinking and analysis toward impermanence, performance, flux, innovation and creativity. This book was originally published as a special issue of the International Journal of Heritage Studies.

This is a collection of new essays opening introspective space for further exploration into constructions of “We the People…” during the mid-to-late nineteenth century. It does so by interrogating intersections of pro-enslavement and anti-enslavement expressions of cultural nationalism, investigating assorted expressions of partisanship within dramatic literature and live performance (broadly defined), and by probing effects of armed conflict on notions of “nation,” “theatre,” “performance,” and other markers of communal identity. Enacting Nationhood is distinctive in that the essays collected here call into question many widely-held assumptions about the intricate theatrical past of the period under review. This said, the essays in this collection are certainly not to be taken as a comprehensive set of viewpoints. Rather, they are to be understood as an accompanying voice in a continuing discussion regarding an ever-shifting aesthetic contract between cultural nationalism and dramatic literature and live performance (broadly defined) from 1855–1899.

This edited three volume edition brings together significant papers previously published in the Journal of information Technology (JIT) over its 30 year publication history. The three volumes of Enacting Research Methods in Information Systems celebrate the methodological pluralism used to advance our understanding of information technology's role in the world today. In addition to quantitative methods from the positivist tradition, JIT also values methodological articles from critical research perspectives, interpretive traditions, historical perspectives, grounded theory, and action research and design science approaches. Volume 1 covers Critical Research, Grounded Theory, and Historical Approaches. Volume 2 deals with Interpretive Approaches and also explores Action Research. Volume 3 focuses on Design Science Approaches and discusses Alternative Approaches including Semiotics Research, Complexity Theory and Gender in IS Research. The Journal of Information Technology (JIT) was started in 1986 by Professors Frank Land and Igor Aleksander with the aim of bringing technology and management together and bridging the ‘great divide’ between the two disciplines. The Journal was created with the vision of making the impact of complex interactions and developments in technology more accessible to a wider audience. Retaining this initial focus, the JIT has gone on to extend into new and innovative areas of research such as the launch of JITTC in 2010. A high impact journal, JIT shall continue to publish leading trends based on significant research in the field.

"This book is grounded in the field of curriculum studies, within which we ask: What do curriculum workers do outside of graduate schools of education? How do scholar-practitioners (K-12 teachers, teacher educators, and community educators) do curriculum work influenced by theory and that influences theorizing in our field? In this book, we will highlight the work of six influential curriculum studies scholars: Maxine Greene, Janet Miller, William Pinar, William Schubert, William Watkins, and Carter G. Woodson. After introducing and contextualizing the work of the featured scholar, we will include three chapters by scholar-practitioners (teachers, teacher educators, and community educators) influenced by the work and ideas of the featured scholar. These essays illustrate how curriculum studies scholars are influencing practice in a variety of places; explore the ways that curriculum studies theorizing can be an intervention against technical pedagogical or curricular approaches; and focus on the conversations between theory and practice"--

Non-academic history – ‘public history’ – is a complex, dynamic entity which impacts on the popular understanding of the past at all levels. In Consuming History, Jerome de Groot examines how society consumes history and how a reading of this consumption can help us understand popular culture and issues of representation. This book analyzes a wide range of cultural entities – from computer games to daytime television, from blockbuster fictional narratives such as Da Vinci Code to DNA genealogical tools – to analyze how history works in contemporary popular culture. Jerome de Groot probes how museums have responded to the heritage debate and the way in which new technologies have brought about a shift in access to history, from online game playing to internet genealogy. He discusses the often conflicted relationship between ‘public’ and academic history, and raises important questions about the theory and practice of history as a discipline. Whilst mainly focussing on the UK, the book also compares the experiences of the USA, France and Germany. Consuming History is an important and engaging analysis of the social consumption of history and offers an essential path through the debates for readers interested in history, cultural studies and the media.

Brittany offers an excellent example of a French region that once attracted a certain cultivated elite of travel connoisseurs but in which more popular tourism developed relatively early in the twentieth century. It is therefore a strategic choice as a case study of some of the processes associated with the emergence of mass tourism, and the effects of this kind of tourism development on local populations. Efforts to package Breton cultural difference in the late nineteenth and early twentieth centuries marked a significant advance in heritage tourism, and a departure from what is commonly perceived to be a French intolerance of cultural diversity within its borders. This study explores the means by which key actors - middle class associations, businesses, governmental bodies, cultural intermediaries - pursued tourist development in the region and the effect this had on Breton cultural identification. Chapters are arranged thematically and consider the rise of rural tourism in France and the preservation, display, and enactment of Breton culture in its most visible locations: the natural landscape of Brittany, Breton dress, early heritage festivals and religious Pardons. The final chapter explores the staging of Breton culture at the Paris World's Fair of 1937 and the roots of state-sponsored mass tourism. Beyond those interested in the history of French tourism, this study will also be invaluable to historians and social scientists concerned with understanding the dynamics involved in the emergence of mass tourism, its causes and consequences in particular locales in the present as well as in the past.