“…However, it is a pursuit principally being undertaken by politically conservative white men. While a handful of studies have employed ethnographic methods to highlight re-enacting as a serious leisure pursuit involving a search for historical meaning (Allred 2009;Daugbjerg 2013;Hart 2007;Hunt 2004;Schneider 2011;Turner 1990), these are concerned with challenging the popular belief that this re-enacting is a superficial act of 'playing war' rather than highlighting its relationship to nation and the public sphere. Conversely, as detailed below re-enacting has often been cast as the epitome of postmodern hyperreality Radtchenko 2006;Walsh 1992).…”
“…However, it is a pursuit principally being undertaken by politically conservative white men. While a handful of studies have employed ethnographic methods to highlight re-enacting as a serious leisure pursuit involving a search for historical meaning (Allred 2009;Daugbjerg 2013;Hart 2007;Hunt 2004;Schneider 2011;Turner 1990), these are concerned with challenging the popular belief that this re-enacting is a superficial act of 'playing war' rather than highlighting its relationship to nation and the public sphere. Conversely, as detailed below re-enacting has often been cast as the epitome of postmodern hyperreality Radtchenko 2006;Walsh 1992).…”
“…Theoretical framework. The analysis of the study presented in the discussion section draws on theoretical concepts of time and theories of uncertainties found in contemporary anthropology [26][27][28] and social geography [29]. As will become apparent throughout the paper, the logics and social processes that take place during neurorehabilitation treatment at NISU cannot be understood solely from a "here and now perspective," as more temporalities play out simultaneously in the clinical field.…”
Section: The Context: An Intermediate Hospital Stationmentioning
confidence: 99%
“…This practice, we argue, can be viewed as a certain form of clinical reenactment. As anthropologist Mads Daugbjerg [27,41] shows in his studies of American Civil War reenactment, time travel and 'living history' performances, the use of materiality (historical artefacts, uniforms, weapons etc.) plays in particular an important role in recreating an experience from the past in the present.…”
Section: A Logic Of Clinical Reenactmentmentioning
The aim of the study is to investigate how time and uncertainties of clinical action and decision-making plays out in the practical work of early neurorehabilitation in order to present new analytical ways to understand the underlying logics and dynamic social processes that take place during professional treatment of patients with severe acquired brain injury. Drawing on ethnographic fieldwork in a Danish neuro-intensive step-down unit (NISU) specialising in early neurorehabilitation, we found that negotiation of futures takes place in the modern ICU in the present by strategically building upon past experiences. We have argued that the clinical programme therefore cannot be understood only from a "here and now perspective", since the early neurorehabilitation practice is embedded in overlapping temporalities of the past, the present, and desired futures. The study discusses the underlying logics-often hidden or unnoticed-that impact clinical practice of early neurorehabilitation, in what we have termed a logic of clinical reenactment, a logic of future negotiation and a logic of paradox.
“…According to this rule, everything that looks historically accurate from a distance of five metres is permitted. And Daugbjerg has noted that in Civil War re‐enactments, historical authenticity is judged by the visual impression created by practitioners: ‘Your materials, posture and knowledge all had to come together to shape a convincing and deep impression that could not be reduced to a semiotic signifier or “capital” but must be filled with experience, given life, inhabited’ (: 729). Here, a ‘convincing and deep impression’ does not refer to the superficiality of external appearance, but is based on the conviction that recognising the quality of re‐enactments requires a schooling of the eye that is based in collective knowledge:Impression in this understanding thus concerns a great deal of expression, and it also comprises and binds together a number of less outright material factors such as stature and pose, facial work, and fidelity and skill.…”
During the last decade, mimetic practices of imagining, embodying and situating (past) events evolved into a prevalent phenomenon of vernacular culture symptomatic of an increasingly mediatised world. To explore popular historical re‐enactments as media practices, I draw on the example of the Cologne Tribes (Kölner Stämme) from Cologne/Germany, a community of amateurs whose members emulate the historic lifeworlds of the Huns and Mongolians as a leisure activity. In their performances they creatively appropriate a wide range of global visual, sonic and textual inscriptions that are translated into bodily actions and material artefacts in a complex process of re‐mediation. Whereas academics commonly consider the embodied knowledge produced in popular re‐enactment as false, fake or mere fantasy, to the practitioners the construction of ‘authenticity’ is a matter of continuous negations. This paper explores how the concept of ‘skilled mediation’ resonated with the local notion of the ‘Hunnic eye’ that the Cologne Tribes developed to designate an ‘aesthetic of authenticity’ that is constituted in the eye of the beholder.
scite is a Brooklyn-based organization that helps researchers better discover and understand research articles through Smart Citations–citations that display the context of the citation and describe whether the article provides supporting or contrasting evidence. scite is used by students and researchers from around the world and is funded in part by the National Science Foundation and the National Institute on Drug Abuse of the National Institutes of Health.
