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

一百年过去了，第一次世界大战仍然在英国的文化记忆中扮演着重要的角色。这场战争被称为“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- 1918年的事件成为英国民众的记忆。随着时间的推移，对战争的描述发生了变化，但自20世纪50年代末以来，占主导地位的叙述之一一直是悲剧。与人们对第二次世界大战的普遍记忆相比，这不是英国的“最辉煌的时刻”;这是“驴子领导的狮子”。尽管最近有各种尝试将这场战争重新定义为战略性的军事胜利，但占主导地位的看法是，英国被卷入冲突的原因大多数人都不理解，勇敢的人被无能的军官领导，许多人留下了身体和精神上的伤疤。历史编纂中对情感的转向，加上对第一次世界大战的心理和情感表现的兴趣，为纪念活动的新风格和新叙事的探索创造了肥沃的氛围。围绕第一次世界大战一百周年的纪念活动包括大量以行为艺术为基础的纪念活动，这些活动借鉴了重演的元素（以下称为“表演重演”），并激发了表演者及其观众的情感参与。虽然基于历史和记忆的研究，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，以表现为基础的第一次世界大战纪念活动。随着第一次世界大战从人们的记忆中消失，为什么表演性重演在百年纪念期间成为一种越来越受欢迎的纪念方式，它对第一次世界大战更广泛的文化记忆有什么贡献？更广泛的文化转向强调经验和情感是否开辟了新的可能性，通过表演性重演，我们可以增强对过去在现在的用途的理解？表演性重演的个体主观体验与集体记忆的传递之间有什么关系？表演性重演在多大程度上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2014-2018百年期间，作为一种模式纪念的表演性重演的体验与参与者和观众之间历史知识和文化记忆的循环之间的关系。为了确定是否表演重演可以被看作是一种尝试，从沟通记忆到文化记忆，或，换句话说，作为一种方式，试图保持亲密的联系沟通记忆，失去了几代人的死亡。

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.