CONTRIBUTORS

Robbert-Jan Adriaansen is assistant professor for the theory of history and historical culture at Erasmus University Rotterdam, the Netherlands. His research focuses on conceptions of history and historical time in the past and in the present.

Vanessa Agnew is professor ofEnglish at the University of Duisburg-Essen, Germany, and senior fellow at the Australian National University. She was educated at the University of Queensland (BMus), New York University (MA), University of Wales (PhD), Open University (BSc), and, currently, Humboldt University (MSc). She was associate professor of German at the University of Michigan until 2013. Enlightenment Orpheus: The Power of Music, in Other Worlds (Oxford UP, 2008) won the Oscar Kenshur Prize for 18th-Century Studies and the American Musicological Society's Lewis Lockwood Award. She co-edited Settler and Creole Reenactment (Palgrave, 2010), special issues of Rethinking History 11 (2007) and Criticism 46 (2004), and book series: Historical Reenactment (Palgrave) and Music in Society and Culture (BoydeIl and Brewer). Her co-edited books include Refugee Routes (Transcript, 2020) and Reenactment Case Studies (Routledge, forthcoming). Her children's book It's Not That Bad is appearing with Sefa Verlag. Her exhibi­tion Right to Arrive was shown in Canberra, Australia, in 2018.

Inke Arns is director of Hartware MedienKunstVerein in Dortmund, Germany. Since 1993, she has worked internationally as an independent curator and theorist specializing in media art, net cultures, and Eastern Europe.

Kamila Baraniecka-Olszewska is a researcher at the Institute of Archaeology and Ethnology of Polish Academy of Sciences, where she has worked since 2007. She studied ethnology and Latin American studies. Her main areas of interest are the anthropology of religion and per­formance studies, and in particular forms of religious expression. In 2011, she received her PhD from the University ofWarsaw with a dissertation on participation in Polish passion plays. She has conducted research on historical reenactment in Poland and on multisensory religious imagery in Catholic shrines. She is the author of articles on contemporary religiosity and repre­sentations of history and of the book, The Crucified: Contemporary Passion Plays in Poland (2017).

Stephanie Benzaquen-Gautier is an art historian. She is currently an ERC-Research Fellow at COTCA (Cultures of Occupation in Twentieth Century Asia), University of Nottingham. She received her PhD at the Erasmus University Rotterdam (‘Images of Khmer Rouge atrocities, 1975—2015'), and was associate researcher at the university's Centre for Historical Culture for several years.

Kate Bowan is a lecturer in the Centre for Heritage and Museum Studies at the Australian National University. As a cultural musicologist, Kate explores the intersections between musi­cology and social and political history with a particular focus on transnational history. Her recent work has drawn upon music's potential to be used as a heuristic device in the telling of transnational histories, while exploring uses of music in the 19th- and early 20th-century radical political sphere across the Anglophone world. Her recent publications include the co-authored book with Paul Pickering, Sounds of Liberty: Music, Radicalism and Reform in the Anglophone World, 1790-1914, published by Manchester University Press (2017) and a book chapter with Cambridge University Press, ‘Friendship, cosmopolitan connections and late Victorian socialist songbook culture' in Cheap Print and Popular Song in the Nineteenth Century:A Cultural History of the Songster (2017), edited by Derek B. Scott, Patrick Spedding, and Paul Watt.

Anne Br®dder is currently the coordinator of the research program Uses of the Past at Aarhus University, Denmark, and part-time lecturer at Roskilde University, Denmark, mostly teaching within the area of uses of the past and gender studies.

Juliane Brauer is a research scientist at the Max Planck Institute for Human Development, Centre for the History of Emotions in Berlin, Germany. Her research interests include the history of education, public history, and cultural and music history of the 19th and 20th centu­ries. Her most important publications are “Empathy as an emotional practice in historical peda­gogy” (Miscellanea Anthropologica et Sociologica, 2016), “Disciplining Young People's Emotions in the Soviet Occupation Zone and the Early German Democratic Republic” in Stephanie Olsen (ed.), Childhood, Youth and Emotions in Modern History. National, Colonial and Global Perspectives, 2015, and (together with Ute Frevert et al.) Learning How to Feel. Children’s Literature and the History of Emotional Socialization, c. 1870-1970 (Oxford University Press, 2014).

Stella Bruzzi is professor of film and executive dean of the Faculty of Arts and Humanities at University College London, UK. In 2013, she was made a Fellow of the British Academy. She has published widely in the fields of documentary, costume and fashion, and masculinity and cinema. Her most recent publications are Men’s Cinema: Masculinity and Mise-en-Scene in Hollywood (EUP, 2013) and (co-edited with Pamela Church Gibson) Fashion Cultures Revisited (Routledge, 2013). The monograph Approximation: Documentary, History and the Staging of Reality will be published in 2020 by Routledge and includes a chapter on reenactment.

Amanda Card is a former dancer and senior lecturer with the Department of Theatre and Performance Studies at the University of Sydney, Australia. Her research and teaching are in the areas of movement and dance studies, particularly the history of theatrical and social dance, the appropriation of Indigenous dance in (post)colonial contexts, the practice of intercultural performance, and the application of theories of embodiment to performance analysis.

Alexander Cook is a historian based at the Australian National University. He specializes in the cultural and intellectual history of Europe and its colonial worlds. His primary research is devoted to the Enlightenment, the French Revolution, and their aftermaths. He also stud­ies cultures and practices of memory, in the past and the present. In this area, he has published several articles on reenactment, and participated in the joint BBC/History Channel series The Ship. His publications on reenactment include “The Use and Abuse of Historical Reenactment: Thoughts on Recent Trends in Television History” (Criticism, 2005) and “Sailing on the Ship” (History Workshop, 2004). He served as editor of History Australia, the journal of the Australian Historical Society from 2013-2016.

Mads Daugbjerg is associate professor of anthropology at Aarhus University, Denmark. His primary research concerns the intersections of cultural and natural heritage, experiential tour­ism, and national and transnational identity and memory practices. He has published widely on these themes, including co-edited volumes of History and Anthropology (Globalized Heritage, 2011), The International Journal of Heritage Studies (Reenacting the Past, 2014), and a section of Critical Military Studies (Becoming a Warring Nation: Adjusting to War and Violence in Denmark, 2017). His first monograph, entitled Borders of Belonging: Experiencing History, War and Nation at a Danish Heritage Site, was published by Berghahn in 2014. He has been a visiting fellow at the University of Manchester, UK (2007), at Gettysburg College, USA (2010), and at the European University Institute in Florence, Italy (2015).

David Dean is professor of history at Carleton University in Ontario, Canada, where he is also co-director of the Carleton Centre for Public History and coordinator of the MA in public history. He is the editor of A Companion to Public History (Wiley, 2018) and co-editor of History, Memory, Performance (Palgrave, 2015). His articles have appeared in journals such as Re-thinking History, Memoria e Ricerca, The Public Historian, Museum & Society, and the Journal of British Studies. He has blogged for Public History Weekly and History@Work. David was Company Historian to Canada's National Art Centre's English Theatre Company between 2008 and 2012. A Fellow of the Royal Historical Society and a Life Member of Clare Hall, Cambridge, David is a member of the steering committee of the International Federation for Public History and co-editor of its new journal, International Public History.

Anja Dreschke is an anthropologist, filmmaker, and curator based in Cologne, Germany. Her research interests and publications include visual and media anthropology, with a focus on the theory and practice of audiovisual media at the intersection of experimental ethnog­raphy, essayistic film, and artistic research. Currently, she is a research fellow in the department of media and cultural studies at the Heinrich Heine University in Dusseldorf. Her publica­tions include Trance Mediums and New Media. Spirit Possession in the Age of Technical Reproduction (Fordham University Press, 2015, with Heike Behrend and Martin Zillinger) and Reenactments. Medienpraktiken zwischen Wiederholung und kreativer Aneignung [Re-enactments. Media Practices Between Repetition and Creative Appropriation] (2016).

Penny Edmonds is associate professor of history and an Australian Research Council Future Fellow (2012—2017) in the School of Humanities, University ofTasmania, Australia. Her research interests include colonial/postcolonial histories, Australian and Pacific-region transnational his­tories, performance, museums, and visual culture. Her most recent book, Settler Colonialism and (Reconciliation: Frontier Violence, Affective Performances, and Imaginative Refoundings (Palgrave, 2016), was shortlisted for the 2017 Ernest Scott Prize.

Fabrizio Gallanti is a Montreal-based architect and curator who teaches at McGill University School of Architecture in Montreal, Canada, and the Architectural Association in London, UK. Together with Francisca Insulza, he is founding partner of the design and research studio Fig Projects, currently researching the relationship between architecture and labor. Fig Projects has co-edited the “No Sweat” issue of the Harvard Design Magazine (2018), dedicated to this topic, and he has curated the collective arts exhibition L’Attente at the UQAM Gallery in Montreal in 2019.

Stephen Gapps is a historian and museum curator with research interests in public history, the Australian Frontier Wars, historical reenactment, and the commemoration of the past. His PhD dissertation was a history of historical reenactments and he has participated in various reenact­ment groups and events over the last 20 years. He has taught public history at the University of Technology, Sydney, and worked as a consultant historian in heritage, museums, film and televi­sion, and history events. In 2011, he won a NSW Premier's History Award for Regional and Community History for his book Cabrogal to Fairfield — A History of a Multicultural Community. In 2016 he was awarded the NSW State Library Merewether Fellowship for research into the Australian Frontier Wars which resulted in his 2018 book The Sydney Wars — Conflict in the Early Colony 1788—1817. Stephen is currently lead curator developing a new permanent gallery dis­play at the Australian National Maritime Museum that explores deep time, environmental, and Indigenous histories. He is a conjoint lecturer with the University of Newcastle and currently developing a research project around digital mapping the Frontier Wars.

Elizabeth Haines is an honorary Research Fellow at the Science Museum, London, UK, and holds a Vice-Chancellor's Fellowship at the University of Bristol in the Department of History. She has an interdisciplinary background that includes fine art and geography, as well as history. Her specialism is the history of colonial cartography in the 20th century, which she researches with a combination of archival research, landscape archaeology, interview, and film. She also has a strong interest in the exploration of historical scholarship through a variety of public-oriented formats including film screenings, radio broadcast, exhibitions, and theater.

Rick Hilles is the author of Brother Salvage (2006) and A Map of the Lost World (2012), both pub­lished with the University of Pittsburgh Press. He is a recipient of a Whiting Award and the Amy Lowell Poetry Travelling Scholarship. He recently completed two books of poetry, The Empathy Machine and The Invisible Thread, portions of which have appeared in The Hudson Review and Missouri Review, and been translated into Italian and Mandarin. He is an associate professor of English at Vanderbilt University, USA.

Stacy Holman Jones is professor in the Centre for Theatre and Performance at Monash University, Australia. She has written over 75 articles and authored and edited 13 books, focusing on performance as a socially resistive and community building activity, particularly as it narrates and changes the lives of minoritarian subjects. She is the founding editor of Departures in Critical Qualitative Research, a journal dedicated to publishing innovative work on the theories, practices, and possibilities of critical qualitative research.

Katherine Johnson is a lecturer in performance studies at Sheffield Hallam University, UK. Her research spans performance, history, anthropology, and philosophy, with a focus on embodi­ment and performativity—in and as epistemology, pedagogy, historiography, heritage, and com­munity. Before coming to Sheffield, she taught at the University of Sydney and wrote theater criticism for digital culture magazine M/C Reviews (a sister-project of academic journal Media & Culture). Her ethnographic and archival research in Australia, Scotland, and England led to her being a visiting researcher at the University of Edinburgh and the Scottish Storytelling Centre.

Kader Konuk is professor and chair of Turkish studies at the University of Duisburg-Essen, Germany. From 2001 to 2013 she was assistant and associate professor of comparative literature and German at the University of Michigan. Trained as a comparatist in German, Turkish, and English literatures, Konuk focuses on the disciplinary nexus between literary criticism, cultural studies, and intellectual history. In her monograph, East West Mimesis: Auerbach in Turkey (Stanford UP, 2010), she investigates the relationship between German-Jewish exile and the moderniza­tion of the humanities in Turkey. East West Mimesis won the prizes for the best book in both of her disciplines: it was awarded the Rene Wellek Prize by the American Comparative Literature Association and the DAAD award by the German Studies Association. In 2017, she founded the Academy in Exile which offers scholars-at-risk fellowships to continue their work in Germany.

Jonathan Lamb is an English literature scholar and has taught at Auckland University, New Zealand, Princeton University, and (most recently) Vanderbilt University, USA, where he holds the Andrew W. Mellon Chair of the Humanities. His recent books are The Evolution of Sympathy (2009), Settler and Creole Reenactment (2009, co-edited with Vanessa Agnew), and The Things Things Say (2011). His latest book is called Scurvy: The Disease of Discovery, published in 2017. It deals with the unevenness both of the epidemiological history of the disease and of its effects on what Thomas Trotter called “the nervous temperament.” Currently, he is speculating on the narrative and pictorial exploitation of the ellipse, defined by Marx as “two contrary motions reconciled in a single figure.”

Martin Lucke is professor of history education at the Free University Berlin, Germany. His research interests span the Holocaust and history education, diversity and intersectionality stud­ies, and public history. His most important publications are Martin Lucke, Else Engel, Lea Fenner, and Felisa Tibbitts (eds.), Change: Handbook for History Learning and Human Rights Education. For Educators in Formal, Non-Formal and Higher Education (Schwalbach/Ts.: Wochenschau, 2016) and the peer-reviewed Introduction to Public History (Series UTB Einfuhrungen,Vol. 4909, Gottingen: Vandenhoeck and Ruprecht, 2018, with Irmgard Zundorf).

Scott Magelssen is associate professor and director of the Center for Performance Studies in the University of Washington's School of Drama, where he co-heads the BA degree program. He is the author of Simming: Participatory Performance and the Making of Meaning (2014) and Living History Museums: Undoing History Through Performance (2007). He edited Theatre Historiography: Critical Interventions with Henry Bial (2010), Enacting History with Rhona Justice Malloy (2011), and Querying Difference in Theatre History with Ann Haugo (2007). He edits Southern Illinois University Press's Theater in the Americas series and hosts the website theater-historiography.org with Henry Bial.

Nena Mocnik is a postdoctoral researcher at the Turku Institute for Advanced Studies and adjunct professor at the School of History, Culture and Arts Studies, University ofTurku, Finland. In 2017, she published Sexuality after War Rape: From Narrative to Embodied Research (Routledge). Her research focuses on sexuality, structural violence, collective memory, and intergenera- tional trauma transmission. She was awarded the Bank of Montreal Award in Women's Studies (University of Ottawa, 2018) and several other fellowships, including the EnTe Fellowship (New Europe College, Bucharest, 2016—2017); the Brown International Advanced Research Institute Fellowship (Brown University, 2015); and the Fulbright Visiting Scholar Fellowship (University of Southern California, 2014).

Maria Muhle is professor for philosophy and aesthetic theory at the Akademie der Bildenden Kunste in Munich, Germany and co-founder of the publishing house August Verlag Berlin. She is a member of the DFG-research program “Media and Mimesis”, principal investiga­tor of the International Doctoral Program “Mimesis” (LMU Munich), and a member of the academic board of the German Society for Aesthetics. Her research focuses on political aes­thetics, media philosophy, mimesis, strategies of reenactment in contemporary art, and biopoli­tics. Her publications include Black Box Leben (ed. with Chr. Voss, August Verlag, 2017); Eine Genealogie der Biopolitik (Fink, 2013); Praktiken des Inkarnierens. Nachstellen, Verkorpern, Einverleiben (Zeitschrift fur Medien und Kulturforschung, 2017). She is currently working on a project on Roger Caillois' excessive mimesis.

Ulf Otto is professor for theater studies and intermediality at Ludwig Maximilian University Munich, Germany. His areas of research include interconnections of theater history and history of technology, theatricality of digital cultures, gestures and genealogies of reenactments, and media performances in contemporary theater. His recent publications include Theater als Zeitmaschine. Zur peformativen Praxis des Reenactments, eds. U. Otto and J. Roselt (2012); Internetauftritte. Eine Theatergeschichte der neuen Medien (2013); and Auftritte. Strategien des In-Erscheinung-Tretens in Kunsten und Medien, eds. U. Otto, M. Matzke and J. Roselt (2015). His current research projects deal with the electrification of theater and the theatricality of electricity at the end of the 19 th century, the politics of representation in German theater, and the art of rehearsal.

Maryam Palizban is a theater studies scholar, actress, director, and poet. She earned a diploma in performing arts and theater studies at Tehran University (2004) and received her PhD from the Free University Berlin, Germany, in 2014. She has been a research fellow on Performing Martyrdom in ta’ziya as Shi’a Theater — Ritual: Martyrs on the Stage in the project Figurations of the Martyr in Near Eastern and European Literature (2012—2015) at the Center for Literary and Cultural Research Berlin (ZfL). Her research deals with religion, culture, and their theatricality, with a focus on Islamic traditions. Her dissertation, Performativity of Killing: Performing Martyrdom in Ta’ziya as Shi'a Theater-Ritual, explores Ta'ziya, a theater ritual with a malleable, religious­based content, which has been practiced among Shiites since the 17th century, especially in Iran. Recently, she became a research fellow at CERES at the University of Bochum (Center of Religious Studies, Kate Hamburger Kolleg), working on a project entitled The Theatrical Space of Beliefs: Transcendence and Immanence in Roman-Catholicism and ShCa-Islam: From Napoli to Rasht.

Julie Park is Assistant Curator/Faculty Fellow at the Elmer Holmes Bobst Library of New York University. The author of The Self and It: Novel Objects in Eighteenth-Century England (Stanford University Press, 2010), her current book projects are My Dark Room, a study of the cam­era obscura as a spatial paradigm for novelistic interiority in eighteenth-century England, and Writing's Maker, an examination of diverse inscription technologies and their materials as inter­connected channels of thinking, creating, and record making for writers of the long eighteenth century and beyond. Her co-edited collection with Miriam Jacobson, Organic Supplements: Bodies and Objects of the Natural World, 1580-1790, is forthcoming from the University of Virginia Press. A recipient of several fellowship and grant awards, she will be a visiting research fellow at the Institute for Advanced Studies in the Humanities at the University of Edinburgh in 2020.

Paul Pickering is professor of history and director of the Research School of Humanities and the Arts at the Australian National University. His most recent book (with Kate Bowan) is Sounds of Liberty: Music, Radicalism and Reform in The Anglophone World, 1790-1914 (Manchester University Press, 2017). Paul's current book project, From ‘Dark Satanic Mills' to the ‘Manchester Miracle': The politics of urban-industrial heritage in Britain, will be published by Routledge in 2019.

Stefanie Samida is associate professor of popular culture studies at Zurich University, Switzerland, where she was appointed in 2017. She studied proto- and prehistory, classical archaeology, and medieval history as well as media studies.

Katrina Schlunke is an independent scholar affiliated with the University of Sydney and the University ofTasmania, Australia. She is also a co-editor of Cultural Studies Review.

Gunter Schobel is professor at the Institute for Pre- and Protohistory and Medieval archae­ology at the University of Tubingen, Germany, where he was appointed in 2013. He studied archaeology, anthropology, and geology at the University of Tubingen from 1979 to 1982. In 1989, he received his PhD from the University of Freiburg. Since 1990, Schobel has worked as scientific advisor at the Pfahlbau Museum, Unteruhldingen and became its director in 1994. His work focuses on Neolithic and the Bronze Age archaeology, archaeology of pile dwellings in alpine lakes and bogs, experimental archaeology, archaeological research methods, archaeological open-air museums, museology, museum education, and the history of archaeology. Besides this, Schobel initiated and advised on the German living history documentary film series, Stone Age, The Experiment: Life as it was 5000 years ago, which was broadcasted on German television and radio in 2007 and accompanied by special exhibitions in several museums.

Jonathan D. S. Schroeder is assistant professor of English and comparative literary studies at the University ofWarwick, UK. He is currently working on a dual biography of John Swanson Jacobs and critical edition of his autobiographical slave narrative (forthcoming from University of Chicago Press), and an edited collection, Rethinking Ahab: Melville and the Materialist Turn (forthcoming from University of Minnesota Press). His articles and translations have been pub­lished or are forthcoming in American Literary History, American Literature, The Cultural History of the Sea, and Critical Inquiry.

Anja Schwarz is professor of cultural studies at the University of Potsdam, Germany. She is a senior fellow in the research training group Minor Cosmopolitanisms and currently co-directs the German-Australian research group German Anthropological Legacies in Australia (DAAD-Universities Australia). Her most recent publications address the role of German sci­ence in the Australian colonies (special issue of the journal Postcolonial Studies on “German- Australian Colonial Entanglements”, 2018) and the legacy ofTupaia's Map (with Lars Eckstein, TheJournal of Pacific History, 2019). She has published on the reenactment TV programs The Ship, 1900 House, and Outback House, and maintains a strong interest in popular reenactment.

JulianeTomann heads the research area “History in the Public Sphere,” one of the core research areas at Imre Kertesz Kolleg, Friedrich Schiller University Jena. She studied cultural studies at the European University Viadrina in Frankfurt (Oder), Germany and Wroclaw University, Poland, between 2000 and 2007. She received her PhD from the Free University Berlin with a dissertation on the role and functions of history in deindustrialization and structural change since 1989 in the Upper Silesian (post)industrial city of Katowice, Poland. Her dissertation was awarded the Scientific Award of the Ambassador of Poland in 2015. In her recent postdoctoral book project, she focuses on historical reenactment, and examines performative practices and approaches to the past in the USA, Germany, and Poland under a comparative perspective. Furthermore, she is interested in the theory of public and applied history. As the speaker of an EU-funded project, she explores the possibilities for teaching public and applied history under a common framework in different European countries.

Martin Treml is a historian of religion and culture. He graduated from the Free University of Berlin, Germany (1996) and has, since 2000, worked as a senior research fellow at the Center for Literary and Cultural Research Berlin (ZfL). He was academic coordinator of the research project “Figurations of the Martyr in Near Eastern and European Literatures” at the ZfL (2005—2014) and fellow of academic institutions in Jerusalem, London, Berlin, Weimar, Stanford, Innsbruck, and Vienna. His research focuses on the history and methodology of cultural research around 1900, and on theory and figures ofWestern religions. He is currently working on Aby Warburg and the Cultures of Religion and has edited Aby Warburg, Werke in einem Band (Berlin, 2010; with Sigrid Weigel and Perdita Ladwig).

Amy M. Tyson is associate professor of history at DePaul University, where her research interests center on 19th- and 20th-century US social and cultural history, with a particular interest in how that history is interpreted and distilled for the larger public through museums, plays, art, music, and pageantry. She received her PhD in American studies from the University of Minnesota, where she first became interested in labor and performance at living history museums—the subject of her book The Wages of History (University of Massachusetts Press, 2013).

Pieter Van den Heede is a PhD candidate in the Departments of History and Media and Communication at Erasmus University Rotterdam, the Netherlands. He holds a master's degree in history from Ghent University. His PhD research focuses on the representation and simula­tion of history in digital games set in war-devastated European (urban) landscapes during the 20th and 21st centuries. The project is part of the broader research program War! Popular Culture and European Heritage of Major Armed Conflicts, which investigates how the heritage of modern war history is represented and appropriated in contemporary popular culture.