Performing Emotional Histories: Centenary Commemorations and Memories of the First World War.

一百年过去了，第一次世界大战继续在英国文化记忆中扮演着重要的角色。它被称为“结束战争的战争”，但意外的伤亡规模和全面工业战争的破坏导致1914年至1918年的事件成为英国民众记忆中的印记。对战争的描述随着时间的推移而变化，但自20世纪50年代末以来，主要的叙述之一是悲剧。与人们对第二次世界大战的普遍记忆相反，这不是英国“最美好的时刻”；是“驴牵着狮子”。尽管最近有各种各样的尝试将这场战争重新定义为一场战略军事胜利，但主流的看法是，英国被卷入这场冲突的原因大多数人都不明白，勇敢的人是由无能的军官领导的，许多人在身体和精神上留下了伤疤。史学中对情感的转向，加上对第一次世界大战的心理和情感表现的兴趣，为新型的纪念活动和探索新的叙事创造了肥沃的氛围。围绕第一次世界大战一百周年的纪念活动包括大量以表演艺术为基础的纪念活动，这些纪念活动利用了再现（以下简称“表演再现”）的元素，并激发了表演者和观众之间的情感互动。虽然基于对历史和记忆的研究，但这项研究将采取跨学科的方法，在2014年至2018年的百年纪念期间，以表演为基础的第一次世界大战纪念活动。既然第一次世界大战从人们的记忆中消失了，为什么在百年纪念期间，表演式的重演成为一种越来越流行的纪念方式？它对第一次世界大战更广泛的文化记忆有什么贡献？更广泛的文化转向对经验和情感的强调是否开辟了新的可能性，通过这种可能性，我们对过去在现在的应用的理解可以通过表演性的重演来增强？表演性重演的个体主观具体化经验与集体记忆的传递之间的关系是什么？在多大程度上，表演重演挑战或符合第一次世界大战的主流文化记忆，这种表演与围绕第一次世界大战纪念的更广泛辩论之间的关系是什么？目的探讨2014-2018年百年庆典期间，作为一种纪念方式的表演重演所体现的体验与参与者和观众之间的历史知识和文化记忆循环之间的关系。确定表演性重演是否可以被视为一种尝试，将过去的事件从交际记忆中铭刻到文化记忆中，或者，换句话说，作为一种试图维持交际记忆的亲密联系的方式，随着世代的消亡而消失。

One Hundred years on, the First World War continues to play a prominent role in British cultural memory. It was known as 'the war to end war' but the unexpected scale of causalities and the destruction of full-scale industrial warfare resulted in the events of 1914-18 becoming seared into the British popular memory. Representations of the war have shifted over time, but one of the dominant narratives since the late 1950s has been that of tragedy. In contrast with the popular memory of the Second World War this was not Britain's 'finest hour'; it was 'lions led by donkeys'. Despite various recent attempts to reconceptualise the war as a strategic military victory, the dominant perception is that Britain was drawn into a conflict for reasons most did not understand, where brave men were lead by incompetent officers, and many men were left with physical and mental scars. A turn toward affect within historiography, coupled with an interest in the psychological and affective representations of the First World War have produced a fertile atmosphere for new styles of commemorative activity and the exploration of new narratives. The commemorative activity surrounding the centenary of the First World War has included a significant amount of performance art-based commemoration that draws on elements of re-enactment (hereafter 'performative re-enactment'), and stimulates affective engagement with both performers and their audiences. While based in the study of history and memory, this research will take an interdisciplinary approach to performance-based commemorations of the First World War throughout the centenary years of 2014-2018. QuestionsAs the First World War moves out of living memory why has performative re-enactment become an increasingly popular mode of commemoration during the centenary years, and what is its contribution to the wider cultural memory of World War One?Has the wider cultural shift towards an emphasis on experience and emotion opened up new possibilities through which our understanding of the uses of the past in the present can be enhanced through performative re-enactment? What is the relationship between the individual subjective embodied experience of performative re-enactment and the transmission of collective memory?To what extent do performative re-enactments challenge, or conform to, the dominant cultural memories of the First World War, and what is the relationship between such performances and the wider debates surrounding the remembrance of the First World War?AimsTo explore the relationship between the embodied experiences of performative re-enactment as a mode commemoration, and the circulation of historical knowledge and cultural memory between participants and audiences during the centenary years of 2014-2018. To determine whether performative re-enactments can be viewed as an attempt to inscribe past events from communicative memory into cultural memory, or, alternatively put, as a way of trying to maintain the intimate bonds of communicative memory, lost as generations die out.