List of Contributors
Vanessa Agnew is a Professor of Anglophone Studies at the Universitat Duisburg-Essen and a senior fellow in the Research School of Humanities and the Arts at The Australian National University.
She directs the Critical Thinking Program of Academy in Exile at Freie Universitat Berlin. Her Enlightenment Orpheus: The Power of Music in Other Worlds (Oxford University Press, 2008) won the Oscar Kenshur Prize from the Center for Eighteenth-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 the book series Historical Reenactment (Palgrave), Music in Society and Culture (Boydell and Brewer), and Ostrakon (UDE). Other co-edited books include The Routledge Handbook of Reenactment Studies (Routledge, 2020) and Refugee Routes (transcript, 2020). Her children’s book, We’ll Make It, appeared with Sefa Verlag in 2021. Her exhibition Right to Arrive was shown in Canberra (2018) and Berlin (2021); What We Brought with Us is being shown in Berlin in 2022.Nikola Bakovic studied history at the University of Belgrade, the University of Missouri, and Central European University in Budapest. From 2012 to 2018, he worked as an archivist at Regional Historical Archives of Cacak (Serbia). He was a member of the International Graduate Centre for the Study of Culture in Giessen from 2015 to 2018, and in 2019 he was a guest researcher at the Leibniz Institute for European History in Mainz. In 2022, he defended his doctoral dissertation on the trans-local linking through ritual mobilities in the Second Yugoslavia at Justus Liebig University in Giessen. Currently, he is preparing the publication of monographs on this topic in English and Croatian.
Stephanie Benzaquen-Gautier is an art historian and ERC Research Fellow in the project “Cultures of Occupation in Twentieth Century Asia” (COTCA), University of Nottingham, UK.
She received her PhD at Erasmus University Rotterdam and was an Associate Researcher at the university’s Center for Historical Culture for several years. She was a Fellow at the Forum Transregionale Studien and ICI Institute for Cultural Inquiry in Berlin (2018-2019), the United States Holocaust Memorial Museum (2012), the Stone Summer Theory Institute at the School of the Art Institute in Chicago (2010), and the Theory Department at Jan van Eyck Academie in the Netherlands (2005-2006). She is currently working on her first monograph (Beyond Skulls: Western Visual Culture and the Memory of the Cambodian Genocide). She has contributed to essay collections, exhibition catalogs, and such journals as Cinema & Cie, Dapim: Studies on the Holocaust, Memoires en Jeu, Journal of Perpetrator Research, Kunstlicht, and Media, Culture & Society.Charley Boerman is a PhD candidate at Radboud University Nijmegen. Her research project, titled Framing Famines: Memory, Museums and Visual Culture, explores the heritage and cultural memory of the Ukrainian Holodomor, 19th-century Finnish famines, and the Greek famine that occurred during the occupation by the Axis powers. Charley holds a Research MA in Cultural Analysis obtained from the University of Amsterdam. She previously studied Philosophy, Literature and History at University College Maastricht as well as at the University of California, San Diego.
James Chandler teaches at the University of Chicago, where he is the William K. Ogden Distinguished Service Professor with the Department of English and the Department of Cinema and Media Studies. His books include An Archaeology of Sympathy: The Sentimental Mode in Literature and Cinema (Chicago, 2013) and England in 1819: The Politics of Literary Culture and the Case of Romantic Historicism (Chicago, 1998). Since 1989, he has served as General Editor for Cambridge Studies in Romanticism at Cambridge University Press. From 2001 to 2018, he was the Director of the Franke Institute for the Humanities, where he was Principal Investigator for a series of Mellon-funded projects addressing the transformation of humanities and social science disciplines.
This work was connected with a trilogy of special issues for Critical Inquiry: “Questions of Evidence” (1992), “Arts of Transmission” (vol. 31, no. 1, Autumn 2004), and “The Fate of Disciplines” (2009). He is currently completing a book entitled How to Do Criticism, commissioned for Blackwell.Marie Gasper-Hulvat is an Associate Professor of Art History at Kent State University at Stark. Her research interests include early Stalinist art and visual culture, as well as the pedagogy of art history. She has previously published articles on the performative nature of Russian Orthodox icons (RES: Anthropology and Aesthetics) as well as on Kazimir Malevich’s peasant paintings (The NEP Era Journal), his exhibition history (Il Capitale Culturale), and the historical circumstances of his 1927 trip abroad (The Space Between: Literature and Culture 1914-1945). Further related publications include two chapters on the visual culture of the peasantry/folk in Soviet children’s picture books (Childhood by Design, 2018 and Constructing Race on the Borders of Europe, 2021, Bloomsbury), an article on Malevich’s World War I propaganda (Print Quarterly), and a chapter on Malevich’s Suprematist cross paintings (Iconology of Abstraction, Routledge). She completed her doctorate in the History of Art at Bryn Mawr College and her undergraduate degree at Xavier University, Cincinnati.
Ralf Hoppadietz is an archaeologist and PhD student at the University of Leipzig. After graduating in Prehistoric Archaeology, Religious Studies, and Ancient History, he worked as a Research Assistant and Lecturer with the Department of Pre- and Early History, University of Leipzig. Since 2013, he has supervised excavations by teams from Durham University, Universite libre de Bruxelle, and Universite de Bourgogne Dijon at the BIBRACTE—Centre archeologique europeen, Glux-en- Glenne (France). His PhD thesis centers on urban transformation processes and spatial dynamics as a testimony of cultural change through the example of the Late Iron Age Celtic Oppidum Bibracte—Mont Beuvray (Burgundy, France).
Since 2007, he has also been researching theory and practices of historical representation and appropriation processes of history in museums and reenactment, especially with regard to overlaps and interactions with modern subcultures, political actors, and Neopagan communities.Bjorn-Ole Kamm (www.b-ok.de) gained his doctoral degree from Heidelberg University and currently works as Associate Professor in Transcultural Studies at Kyoto University, where he coordinates Japan’s first international joint degree program in the humanities. His previous research engaged stereotypes, media use, gender, and the border-crossing flows of non-digital gaming in and from Japan (Role-Playing Games of Japan: Transcultural Dynamics and Orderings, Palgrave, 2020; Simulation & Gaming 50, no. 5, 2019; Replaying Japan Journal 1, 2019). He is co-editor of the open-access, bilingual Japanese Journal of Analog Role-Playing Game Studies (jarps.net). Together with colleagues in special needs psychology as well as experience design, and funded by the Japan Society for the Promotion of Science, he currently explores live-action role-play (larp) in Japanese educational and therapeutic contexts, co-designing a larp about the everyday challenges of autists.
Donna Landry is a Professor Emeritus of English and American Literature at the University of Kent, a Fellow of the Royal Asiatic Society, and a member of MOVES (Migration and Modernity: Historical and Cultural Challenges) (projectmoves.eu). Landry is the author, co-author, or co-editor of seven books, including Cosmopolitan Animals (Palgrave, 2015) and Noble Brutes: How Eastern Horses Transformed English Culture (The John Hopkins University Press, 2009). With Ercihan Dilari, Gerald MacLean, and Caroline Finkel, she founded the Evliya ^elebi projectList of Contributors xvii leading to Turkey’s first UNESCO-approved equestrian cultural route (http://kent.ac.uk/english/evliya/index.html). The Evliya Qelebi Way now forms part of the Via Eurasia.
Landry regards horseback travel as a form of multispecies cross-cultural exchange. Her current projects include a monograph on Waterloo from the horses’ point of view; articulating ecological questions with soldiers’ writing about the natural world; and the effects of Ottoman influence, or “the Eastern Question” as it would come to be called, on the war against Napoleon.Gerald MacLean is an Emeritus Professor of the University of Exeter. He is the author, most recently, of Abdullah Gul and the Making of the New Turkey (Oneworld, 2014), Looking East: English Writing and the Ottoman Empire before 1800 (Palgrave, 2007; Turkish, ODTU 2009), and The Rise of Oriental Travel: English Visitors to the Ottoman Empire, 1580-1720 (Palgrave, 2004; Turkish, Yapi Kredi 2006). With Nabil Matar, he is co-author of Britain and the Islamic World, 1558-1713 (Oxford, 2011), and with Donna Landry of Materialist Feminisms (Blackwell, 1993). He is the editor of Britain and the Muslim World: Historical Perspectives (Cambridge Scholars, 2012), Writing Turkey: Explorations in Turkish History, Politics, and Cultural Identity (Middlesex UP, 2006), and Re-Orienting the Renaissance (Palgrave, 2005). With Ercihan Dilari, Caroline Finkel, and Donna Landry, he is a founding member of the Evliya Celebi Way Project, which established a UNESCO- approved equestrian cultural route in Western Anatolia (2009-2013). He is currently writing about Britain and the Kurds.
Marc Andre Matten is a Professor of Contemporary Chinese History at Friedrich-Alexander University Erlangen-Nuremberg, Germany. He specializes in collective memory and national identity discourses in modern China, conceptual history in East Asia, and global history writing in Maoist and post-Maoist China. His recent publications include the edited volume Places of Memory in Modern China: History, Politics, and Identity (Brill, 2011) and the monograph Imagining a Postnational World: Hegemony and Space in Modern China (Brill, 2016).
Bill Niven is an Emeritus Professor of Contemporary German History at Nottingham Trent University.
He is the author of a number of studies on the history and memory of National Socialism, including Facing the Nazi Past (Routledge, 2001), The Buchenwald Child (Camden House, 2007), and Hitler and Film (Yale University Press, 2018). Niven is currently completing a book on the postwar history of the Nazi film Jud Suβ (to appear in German with Mitteldeutscher Verlag in 2021). Future publications include Kindertransport: A Transnational History, co-authored with Amy Williams, which will appear with Yale University Press in 2023.Boris Noordenbos is Associate Professor of Literary and Cultural Analysis at the University of Amsterdam and is affiliated with the Amsterdam School for Cultural Analysis (ASCA). His publications focus on culture’sengagements with the past, with a special interest in the former Soviet Union. Boris is the author of Post-Soviet Literature and the Search for a Russian Identity (Palgrave Macmillan, 2016) and co-editor of the volume Post-Soviet Nostalgia: Confronting the Empire’s Legacies (Routledge, 2019). He also is the Principle Investigator in the ERC-funded research project Conspiratorial Memory: Cultures of Suspicion in Post-Socialist Europe (2021-2026).
Karin Reichenbach is an archaeologist and historian affiliated with the Leibniz Institute for the History and Culture of Eastern Europe (GWZO) at Leipzig. She conducted studies and research in Germany, Slovakia, and Poland and completed her PhD with a thesis analyzing research structures and interpretation discourses of prehistoric archaeology in 20th-century Silesia. She has since worked on research about archaeological reconstructions in open-air museums and history practices of reenactment and Neopaganism. Her main focus lies in the epistemological foundations of history and archaeology and on theories of public archaeology, with particular reference to nonacademic appropriations and politicized reception cultures of the pre- and protohistoric past. Her current post-doctoral project centers on truth practices, epistemic authorities, and ideological functionalities of popular and subcultural approaches to the Early Middle Ages and their difference from academic knowledge production.
Dorota Sosnowska is a Researcher and Academic Lecturer. She holds a PhD in cultural studies and currently works as an Assistant Professor at the University of Warsaw’s Institute of Polish Culture in the Department of Theatre and Anthropology of Performance. She is also a member of the editorial board of the journal View. Theories and Practices of Visual Culture published by the View. Foundation for Visual Culture. Since 2016, she has been a member of the International Federation for Theatre Research and since 2019 a co-convener of its Historiography Working Group. She is the author of the book Krblowe PRL. Sceniczne wizerunki Ireny Eichlerbwny, Niny Andrycz i Elzbiety Barszczewskiej jako modele kobiecosci [Queens of Polish People’s Republic. Scenic images of Irena Eichlerbwn, Nina Andrycz and Elzbieta Barszczewska as models of feminity] published in 2014 by Warsaw University Press. She is primarily concerned with issues of archiving, documentation, and the tension between the acting body and its forms of recording in art and science.
Sabine Stach is a Research Fellow at the Leibniz Institute for the History and Culture of Eastern Europe (GWZO) in Leipzig. Her research focus is on Czech and Polish contemporary history, public history, memory politics in state and post-socialism, history of tourism, and history in tourism. After receiving her PhD in cultural studies in 2015, she was part of the research group “Functionality of History in Late Modernity” atList of Contributors xix the German Historical Institute in Warsaw. She is currently completing a book about touristic guided tours as a means of historical knowledge production. She has contributed to edited volumes and journals such as Zeitgeschichte-Online, Docupedia-Zeitgeschichte, History & Memory, Osteuropa, and Bohemia. Most recently, she co-edited Zwischen Sozialdisziplinierung und Vergnugen. Politik und Praktiken des Spielens im Staatssozialismus [Between Social Discipline and Pleasure. The Politics and Practices of Play and Games in State Socialism] (Jahrbuch Historische Kommunismusforschung, Metropol, 2021) and published Politika odkazu. Jan Palach a Oskar Brusewitz jako politicti mucednici [Legacy Politics: Jan Palach and Oskar Brusewitz as Political Martyrs] (Academia, 2021).
Juliane Tomann is a Junior Professor for Public History at Regensburg University. Before, she was head of the research area “History in the Public Sphere” at Imre Kertesz Kolleg and taught in the realm of public history at Friedrich-Schiller-University Jena, Germany. With a background in cultural studies, she worked for NGOs and foundations in history education before receiving her PhD from Freie Universitat Berlin in 2015. Her thesis on the role and functions of history in processes of deindustrialization in the Upper Silesian city of Katowice was awarded the Scientific Award of the Ambassador of Poland in 2015. In her postdoctoral book project, she investigates reenactment as a performative practice from a comparative perspective in the United States, Germany, and Poland. From 2016 to 2019, she was one of the speakers of the EU-funded Jean Monnet Network “Applied European Contemporary History,” which explored the possibilities of teaching public history under a common framework in different European countries. She has published journal articles with, among others, The Public Historian, Docupedia Zeitgeschichte online, and Aus Politik und Zeitgeschichte. Her latest books include The Routledge Handbook of Reenactment Studies (Routledge, 2020, with Vanessa Agnew and Jonathan Lamb) and Transcending the Nostalgic: Landscapes of Postindustrial Europe beyond Representation (Berghahn Books, 2021, with George S. Jaramillo).
Christian Vium is an Associate Professor in Anthropology at Aarhus University, where he directs the Eye & Mind laboratory for Multimodal Anthropology. In addition to his scholarly work, he has exhibited and screened his award-winning research-based projects and films at more than 30 international venues. For examples of his work visit www. christianvium.com.
Brenda Werth has research interests in Latin American theater, performance, documentary film, memory studies, gender, feminist movements, and translation. She is the author of the book Theatre, Performance, and Memory Politics in Argentina (Palgrave, 2010); co-editor (with PaolaHernandez and Florian Nikolas Becker) of Imagining Human Rights in Twenty-First Century Theatre: Global Perspectives (Palgrave, 2013); and co-editor (with May Summer Farnsworth and Camilla Stevens) of Escrito por mujeres (LATR Books, University of Kansas, 2013). She also co-translated and co-edited (with April Sweeney) the anthology Fauna and Other Plays by Romina Paula, forthcoming in 2022 with Seagull Press in 2022. Her current research explores the politics of nonfiction in 21st-century Argentine theater and film. A second project examines performative responses to gender-based violence in theater and protest across Latin America.
Lise Zurne studied Cultural Anthropology and Development Sociology (VU Amsterdam) and subsequently Visual Anthropology (Leiden University), obtaining both degrees cum laude. Already early on, she focused on the politics of historical representation with a bachelor’s thesis on monuments and a master’s thesis and a documentary on the historical reenactment of the decolonization in Indonesia. The Feel of History (2017) has been screened at various ethnographic film festivals. Lise is currently a PhD candidate at the Erasmus School of History, Culture and Communication. Her project explores the representation of modern war history in reenactment practices and focuses on how reenactors engage with sensitive pasts, including decolonization, female war participation, and the representation of suffering.