RÖMISCH-GERMANISCHE KOMMISSION, FRANKFURT A. M. des Deutschen Archäologischen Instituts

Integrating Archaeology Science – Wish – Reality

International Conference on the Social Role, Possibilities and Perspectives of Classical Studies

edited by Nina Schücker

Funded by the of the European Commission

and the commission cannot be held responsible for any use

Bibliographische Information der Deutschen Nationalbibliothek http//dnb.ddb.de Daten sind im Internet über abrufbar

Frankfurt a. M. I Content

I Nina Schücker Integrating archaeology in contemporary Europe Preface XI

I Integrating archaeology: community and public I Kostas Kasvikis, Eleftheria Theodoroudi and Kostas Kotsakis The past and the public History and monuments in the Aristotelous Axis, Thessaloniki (Greece) 3

I Michał Pawleta The past in the present The case of the ancient stone rings in Pomerania (Poland) 9

I Nicole Rodrigues Saint-Denis, archaeology, territory and citizenship (Archéologie, territoire et citoyenneté) Assessment and prospects 17

I Raimund Karl The public? Which public? 23

I Cath Neal Community archaeology in the UK Setting the agenda 29

I Gerhard Ermischer Digging up history A case study from the Spessart () 35

I Xurxo M. Ayán Vila Public archaeology, democracy and community Experiences from Iron Age hillforts at Galicia (Spain) 41

I Monique H. van den Dries and Sjoerd J. van der Linde Collecting oral histories for the purpose of stimulating community involvement at Tell Balata (Palestine) 49

I Karl-Friedrich Rittershofer Volunteering and fundraising Excavations in the Dünsberg oppidum in the vicinity of Gießen (Germany) 57

I Daniel Burger and Sabine Kuhlmann Opportunities and limitations Working within an association as a way to support post-graduates 63

I Sylvie Jérémie Indigenous people of the American French Territory (the case of French Guiana) Processes and dynamics of identity construction through archaeology 69

I Integrating archaeology: different approaches I Stefanie Samida Reenacted prehistory today Preliminary remarks on a multidisciplinary research project 75

I Birgit Jaeckel Archaeological story-telling Facts in fiction 81 V I Maria and Jörg Courtial Making history emotionally tangible with the help of digital reconstruction 87

I Wolfgang Meier and Kurt Frank Temporary archaeologists 91

I Matthias Jung Case studies on the motivations of amateur archaeologists 95

I Christoph Scholz Virtual archaeology The concept and implementation of an extraordinary touring exhibition 103

I Integrating archaeology: all ages I Peter Lautzas Archaeology in the German education system Issues and requests from a practical perspective 111

I Miriam Sénécheau Digging in the books Finding interactions between archaeology, politics and education by textbook research 115

I Kostas Kasvikis Prehistory in Greek primary education 1975 – 2012 Representations of a mythic and Hellenised past 121

I Ulrike Radke “Pick ‘n’ mix!” On the diversity of educational programmes in archaeological exhibitions 127

I Bernd Werner Schmitt Archaeology A meeting of generations 131

I Jenny Linke Experiencing our industrial heritage at every age Programmes for older citizens at the LWL-Industry Museum 135

I Integrating archaeology: working world and economic issues I Franz Schafranski and Katrin Wunderlich EU demonstration project LIMES Promotion of cultural tourism in rural areas by means of mobile services 143

I Michaela Reinfeld and Güzden Varinliog˘lu Maritime archaeology versus diving tourism Cultural heritage management in Kas¸ (Turkey) 147

I Sandra Hatz and Wolfgang Dietz The primeval entrepreneurs In the Bavarian Forest, the bfz runs the Celtic village of Gabreta 155

I Maria Theresia Starzmann The political economy of archaeology Fieldwork, labor politics and neocolonial practices 159

I Barbara Wewerka and Alexandra Krenn-Leeb ASINOE Over 20 years of experience in a socially integrative employment project 163 VI I Alexandra Krenn-Leeb and Barbara Wewerka BALANCE Promoting health and occupational safety as integrative parameters in archaeology 167

I Christian Kaster Archaeology at a rural municipal level 175

I Integrating archaeology: excluded groups I Christian Soldner and Stefanie Schween Curiosity, challenge and the wish to leave traces Why do young men help to build a Celtic house 181

I Rachael Kiddey “I’d never thought about me being part of the history.” The value of heritage work with socially excluded people 185

I Integrating archaeology: ethnic groups I Achim Müller Bridging the gap Understanding and evaluating the role of Value in Audience Development 193

I Christine Gerbich and Susan Kamel Welcome on the Diwan! Experiences with the visitor panel of the Museum für Islamische Kunst at the Pergamonmuseum in Berlin (Germany) 199

I Maria Pia Guermandi Museums as Places for Intercultural Dialogue Experiences, reflections and practices from Europe and Emilia Romagna 205

I Silvia Rückert Evet – ja, ich will! Wedding traditions and fashion from 1800 to the present: A German-Turkish encounter An exhibition on cultural history as a contribution to intercultural exchange 213

I Eva Rusch Second Home Cologne (Zweite Heimat Köln) How to engage new population groups with their Municipal Museum 221

I Integrating archaeology: new media I Patrick Hadley Web 2.0 as a communication tool between archaeologists and beyond 231

I Diane Scherzler On humility, power shift and cultural change Archaeology on Web 2.0 sites 237

I Tinne Jacobs De Kogge (Antwerp, Belgium), testimony of a medieval shipwreck Never too old for social media 241

I Marcus Cyron “Wikipedian in Residence” at the German Archaeological Institute 249

VII I Reenacted prehistory today Preliminary remarks on a multidisciplinary research project

Stefanie Samida Zentrum für Zeithistorische Forschung

Historical and archaeological topics have been I The project will investigate the experience of very popular for many years. This is witnessed the participants and the viewers – their emotional by a variety of events and developments: well- processing and involvement. Thus, the research attended exhibitions, so-called “medieval mar- group is profoundly multidisciplinary and inte- kets”, an ongoing success of historical documen- grates methods and knowledge from European taries, a booming market of specialised books ethnology, media / contemporary history and ar- and magazines, as well as star-studded histori- chaeology (Fig. 1).2 cal movies. Living history formats on television or historical “docu-soaps” also attract millions of viewers (see, e.g., Black Forest House 1902” / I Current state of the research “Schwarzwaldhaus 1902 ”, “Stone Age – The Experiment” / “Steinzeit – Das Experiment ”). The term “living history”, in Germany often trans- Remarkably, documentaries on pre- and pro- lated as lebendige / wiederbelebte / erlebte tohistory1 build a large contingent in German Geschichte, stands for a specific form of popular historical TV programs beyond those on World representation of history. While it has its roots in War II. Moreover, this period is very popular in the USA, it might almost be termed a global phe- open-air museums, memorial culture or “themed nomenon today. The English term “reenactment” walks” – for instance, the crossing of the Alps is quite often used as a synonym, but originally “in the steps” of “Ötzi the Iceman”. While these referred to the replay or reenactment of concrete approaches to “popular history” or living history historical events (often battles), while living his- have been en vogue for at least two decades, tory tries to simulate living conditions of the past academic historical research has discovered this in the present. Thereby, reenactors can act in field of study only recently. different interpretative modes: While first-person The project “Living History: Reenacted Prehistory reenactors try to act like a specific historical or between Research and Popular Performace” will, some fictitious ordinary person of the past, the therefore, analyse different popular performanc- third-person interpreters predominantly seek es of prehistory. Research will focus on television to retain the distance between the present and documentaries, open-air museums, history sites the time setting on which their narrative focuses. and “themed walks”. These performances will be Living history is valuated as a participatory his- explored from three perspectives: torical culture, but also as effect-orientated. It is I We will examine the production of living his- not limited to a specific time or to historical role- tory, particularly its relationship with academic playing and theatrical performance of history, but history, the didactical concepts, the reenactors’ includes approaches of “themed environments” professional and personal background and their (Schlehe et al. 2010). motives. One of the pioneers of living history research, the I We will analyse the presentations and perfor- American folklorist Jay Anderson (1982, 291), mances themselves, their narratives, visualisa- defined the topic as “an attempt by people to tion, realisation and staging. simulate life in another time”. He distinguished

75 three types or dimensions of living history which presentations and acquirements in different en- are relevant for us (ibid. 290 f.): vironments, namely museums and historic sites, I Living history can be part of “research”; ac- television documentaries, as well as “themed cording to Anderson this means, for example, walks” with common questions. In doing so, we that through “experimental” living history ar- will concentrate on the following six objectives: chaeological hypotheses on specific questions of I First, the project will analyse the mutual re- technology can be tested. lationship between academic history and liv- I Living history can be pursued as a vehicle ing history in much more detail than has been of spreading interpretations of the past. In this done thus far. On the one hand we will research sense it is being used as a “tool” of knowledge whether living historians or reenactors integrate dissemination. historical and accordingly archaeological insights I Living history can be carried out as “play”. In into their performances and to what extent their doing so, it serves as a “recreation” where one performances function as a means of transferring can “participate in an enjoyable recreational ac- knowledge about the past. To deal with these and tivity that is also a learning experience”. similar questions we will need to collect informa- Anderson’s classification, however, has led to ter- tion on the “professional”, i.e. academic knowl- minological blurring since living history is, in fact, edge of the reenactors and how they acquire located in both an academic or professional and it. What information material (e.g. publications, a public, non-professional sphere. Due to some films) do they use and how do they gain archaeo- overlapping with experimental archaeology, the logical advice? The involvement of academic impact of archaeologists in the development of researchers is also investigated: their role as su- living history is often highlighted. However, ex- pervisors, as contact or subject in presentations. perimental archaeology is a subfield of archae- I Second, we are interested in acquiring in- ology in general, which by means of scientific formation on pedagogical or didactical aspects experiments intends to obtain deeper insights which are connected to living history performanc- into certain pre- and protohistorical phenomena es under consideration. In this context, questions (e.g. Eggert / Samida 2009, 54 ff.). Although the of quality management and professionalisation term “living history” is fuzzy, it is used here be- are also important. Which tendencies towards a cause of its common and widespread usage. professionalisation of living history performances Currently, research on living history is restricted to can be pointed out, e.g. at museums, and which single aspects analysed from different disciplinary are missing? perspectives. The main focus of studies of living I Third, the project will analyse the reenactors’ history has been in the context of museums and professional and personal background and their historic sites. Therefore questions about “authen- motives to engage in living history activities and ticity” play an important role. Further interesting re- to acquire prehistory. It is, for instance, generally search has been done on so-called “medieval mar- assumed that both reenactors and persons who kets” and commercialisation of medieval history. In enjoy “themed walks” share similar motives. This the recent past reenactments in television docu- is, however, just one of the many hypotheses of mentaries – some call them “televised reenact- living history which are still widely unexplored. ments” – are also taken into account. Contrary to I Fourth, we will research the realisation of the quite intense discussion within the Anglophone authenticity. Reenactments seem to be popular humanities (e.g. Criticism 2004), the subject is because they emanate a hands-on atmosphere widely unexplored in Germany. For instance the and impart what the audience considers as au- relationship of academic and public history has thentic experience. Reenactors often employ a not yet been dealt with in any thorough manner. whole range of visual, acoustic and haptic pos- The effect of such performances on their audience sibilities, the effect of which is underscored by has also rarely been analysed in current research. the seeming authenticity of their costumes and Moreover, neither the American and British nor the equipment. This specific kind of historical repre- continental research has focused on living history sentation is based on the persuasiveness of the in archaeological contexts thus far. “real”, the “tangible”, and the “comprehensible”. Living history performances are effective in that they constitute an emotive approach to the past I Aims of the living history through an active involvement of both parties, project i.e. reenactors and audience. I Fifth, we will study the reception of living his- Our project explores the specifics of living history tory and its influence on the historical awareness as performances of prehistory, especially their (Geschichtsbewusstsein) on all participants in- relation to historical and archaeological research. cluding audiences. We have to assume that the Therefore, the project will analyse the produc- reenactors and audience perceive and memorise tion, realisation and reception of living history quite different aspects of history than it might be

76 1 Project structure.

intended by the organisers. In doing so, different tion (for details see below). Concerning matters modes of processing and knowledge acquisition of theory, the project is related to the “performa- will be investigated in regards to living history tive turn” in cultural studies, which sees the pro- audiences in general. The proposed project may duction of meaning as a result of the interaction also contribute to answer the question whether between all participants of performances (actors, knowledge acquisition and entertainment are ex- audiences) and the symbolic order of the whole clusive effects or whether both can be achieved setting. While research on this concept in the field equally well with living history formats. of rituals, art and politics has been quite exten- I Finally, if living history performances exert an sive in recent years, the performing of historical influence on the historical awareness, we need knowledge has been neglected. Additionally, we to investigate what kind of historical knowledge will examine the theoretical concept of “staging” is predominantly communicated. We assume that (Inszenierung), which describes media-related reenactors support the interest in details of “eve- practices in which something makes an appear- ryday history” (Alltagsgeschichte). It appears to ance. us that there is a certain difference to other kinds We will also make use of approaches of the re- of “popular history” – e.g. historical novels, non- search on “public history” which do not perceive fiction books – in which “grand narratives” about popular history simply as a popularisation or dis- peoples and ages are pointed out (as “The Celts”, semination of research, but underline the mutual “The Germanic Tribes”, “The Bronze Age”). By relationship between academic research and analysing the specific interests of living history public presentations. Furthermore, our attention we will contribute to differentiation of “popular will turn to approaches of research on media ef- history”. This will be discussed in relation to spe- fects and reception research of communication cialised archaeological research, which seeks studies (Medienwirkungsforschung). to understand and explain prehistoric man as a Due to the multidisciplinary approach (Fig. 1), social being, and therefore uses a differentiated the three sub-projects use different methods range of methods to gain and interpret archaeo- and sources. Contrary to still missing and gener- logical remains (e.g. excavations, different kinds ally accepted definitions of interdisciplinarity and of prospections, ethnographic analogies). transdisciplinarity – both represent thoroughly misty concepts – there is apparently a broad consensus on the term “multidisciplinarity”. In I Theory, methods and objects common understanding it refers to a situation of the project in which two or more disciplines engage in tack- ling a given task. The important point here is that Our project is based on empirical qualitative and each of these disciplines is largely self-centred in quantitative methods. It uses a range of methods that it proceeds on the basis of its own methods and techniques in order to implement the gather- and perceives the task from its proper perspec- ing of data on reenactors’ behaviour, background tive. Certainly, cooperation within the disciplines and motives, on the audience’s reception modes is wanted so that each discipline profits from this and, finally, on the interrelationship between kind of corporate investigation. scholars and the public. Some of these methods, The first sub-project will study the representation however, differ between the disciplines and may of prehistory in German and British television also depend on the questions under considera- documentaries in the last decades (Frank Bösch

77 and Georg Koch, Centre for Contemporary influence on the reenactors. It is intended to in- History, Potsdam / Zentrum für Zeithistorische tegrate the outcome of this study into a model of Forschung). While the popular representation what the author calls “didactics of archaeology” of archaeologists in documentaries and movies (Archäologiedidaktik). had been discussed increasingly in recent years The research of the archaeological sub-project (e.g. Samida 2010), the sub-project’s goal is to will concentrate on two open-air museums – investigate the changing narratives and visuali- the Lake Dwelling Museum Unteruhldingen sations of televised prehistory, the intentions and (Pfahlbaumuseum Unteruhldingen at Lake public perception of the production, and their Constance) and the Museum Village Düppel relation to academic researchers. Therefore, it (Museumsdorf Düppel, Berlin) – as well as on the will analyse different types of presentations. On “Roman Festival” (Römerfest) at the open-air mu- the one hand, it considers documentaries about seum located at the Roman site of Hechingen- the work of archaeology with scenic elements. Stein (District Zollernalbkreis, Germany). The On the other hand the project examines TV pro- Pfahlbaumuseum Unteruhldingen is the oldest grams with experimental character, which show archaeological open-air museum in Germany. It people staging the past in front of cameras, the was built in 1922 and from its very beginning pre- so-called “docu-soaps”, a hybrid genre that com- sented living history performances. Thus, there bines documentaries and soap operas. is a unique opportunity to investigate the devel- The project uses the approaches of research opment of living history. The reconstructions of in “visual history”. It will point out characteristic the Museumsdorf Düppel were chosen for similar narratives and “visiotypes” (regular visual key reasons. These two museums constitute brilliant elements) and ask how alterations within media examples for a detailed comparison on living technology changed representations of the past. history. The Römerfest at the Roman Open-Air Notably, the impact of digital virtual elements will Museum Hechingen-Stein (Freilichtmuseum be considered. In addition to the films themselves, Hechingen-Stein) is a special event organised archival sources of the selected TV productions, every two years. It brings together various reen- statistics of audiences and their public reception actment groups representing different cultures will be analysed. Their specific character is indi- (e.g. Romans, Celts and Alamanni) and is well- cated by a comparison between the key elements known for its lively performances (e.g. demon- of different decades and by comparing British and strations of Roman and Celtic handicraft, the German presentations. British documentaries reenactment of a battle between Romans and are chosen because it is assumed that Britain Alamanni). has a different way of presenting the past: they In order to implement the sub-project’s objec- have very successful archaeological series (such tives, different methods of qualitative research as “Time Team”), which regularly attract millions will be used. The fieldwork will focus on a series of viewers because they manage to combine in- of open observer techniques (e.g. photos, video- formation and entertainment in a distinct manner. documents, observance reports) and guided in- They involve researchers more directly and refer terviews with selected reenactment groups and much more to local discoveries. At the same time, individual participating performers. The structure transfers between Britain and Germany are iden- of the groups will be of special importance. It is tified. The database of the German Broadcasting intended to obtain heterogeneous samples, such Archives (Deutsches Rundfunkarchiv) and the as the Celts group “Carnyx” (a Celtic wind instru- West German Broadcasting (Westdeutscher ment) or the group of Alamanni “Ask” (Germanic Rundfunk, WDR) have already proven helpful for ash tree) whose members consist of archae- with an overview of TV productions in the past. ologists, and such groups whose members This will help in selecting a sample of representa- do not have any archaeological background. tive documentaries for each country which will be Furthermore, non-participating monitoring and analysed in much more detail. structured questionnaires will be used for ascer- The archaeological sub-project (Stefanie Samida, taining answers concerning the role of the audi- Centre for Contemporary History Potsdam) is di- ences. Guided interviews with the directors of rected at the interactions between professional both museums, staff members and visitors are archaeologists, reenactors and visitors (schol- also intended. ars, actors and recipients) in open-air museums. Finally, the ethnographic sub-project (Bernhard The main objective is to investigate the motives, Tschofen and Sarah Willner, Ludwig-Uhland- agenda and meaning of living history perfor- Department of Empirical Cultural Science, mances for all participants. A second major aim University of Tübingen, Ludwig-Uhland-Institut is to explore the reenactors’ personal and profes- für Empirische Kulturwissenschaft) examines sional background and their relation to academic practices and conceptions of visitors in the con- research and didactical concepts. Finally, an text of prehistoric paths and walking tours with important objective is concerned with whether, an integral and actor-centred perspective of and if so to what extent, the audience exerts an European ethnology. The primary research inter- 78 est concentrates on motives and expectations I Acknowledgment for the use of the offers / programmes, on the relationship between the knowledge formats pro- I would like to thank Frank Bösch (Potsdam) and vided and interpretations of the body of knowl- Bernhard Tschofen (Tübingen) – both partners of edge from the paths and walking tours, as well as the project “Living-History: Reenacted Prehistory on the translation of subjective experiences and between Research and Popular Performace” – for the implicit and explicit contents. This will help discussions and their input on this manuscript. The to contribute to the understanding and theoreti- project is financed by the VolkswagenFoundation cal comprehension of performative knowledge (VolkswagenStiftung) and is conducted by the acquisition through the movement in the “space” Centre for Contemporary History Potsdam and the and the encounter with historical sites that are Ludwig-Uhland-Department of Empirical Cultural the corresponding “processed” environments. Science, University of Tübingen. Many thanks to Two different, yet comparable, historical sites Manfred K. H. Eggert (Tübingen) who corrected and their corresponding offering of prehistoric my English and made it more comprehensible – “edutainment” serve as exemplary fields: one of no easy undertaking. Michele Williams-Schmid them is the site and offers centred around “Ötzi (Dresden) did the final proofreading, thank you. the Iceman”, the well-preserved natural mummy who was found in the Alps on the border between Austria and Italy. The other are the archaeologi- I Vergangenheit erleben cal trails in the vicinity of the significant Celtic excavations at the (- Vorüberlegungen zu einem multi- Hundersingen, district in Southwest disziplinären Forschungsprojekt Germany). The emphasis of the ethnographic research is Historische und archäologische Themen erfreuen put on exploration, as well as participant obser- sich seit einigen Jahren einer großen Beliebtheit vance at the sites, guided hikes, and tours. Open in der Öffentlichkeit. Das bezeugen gut besuchte interviews will be conducted with participants Ausstellungen, so genannte „Mittelaltermärkte“, and field notes supported by photographic im- ein boomender Sachbuch- und Zeitschriftenmarkt ages will be compiled. To supplement the ethno- sowie historische Spielfilme mit Starbesetzung. graphic data on and from users of the hiking and Auch neue, so genannte Living-History-Formate tour offers, selected interviews should be con- oder historische Doku-Soaps im Fernsehen errei- ducted with experts such as scholars, tourism chen enorme Zuschaueranteile. Bemerkenswert managers, guides, as well as representatives of ist dabei, dass Fernsehdokumentationen zur hiking schools and Alpine associations. Hence, Ur- und Frühgeschichte neben solchen über the interaction with brochures, information pan- das Dritte Reich den zweitgrößten Sendeanteil els and other knowledge media is to be conse- im deutschen Geschichtsfernsehen haben. quently included in the analysis. Darüber hinaus ist festzustellen, dass gerade die ur- und frühgeschichtliche Zeit generell sehr beliebt ist, das zeigen Freilichtmuseen und so I Conclusion genannte „Themenwanderwege“, wie z. B. die Alpenüberquerung auf „Ötzis Spuren“. Während Our hypothesis is that, although such popular diese Formen einer der Öffentlichkeit zugewand- historical performances as living history are part ten Vermittlung von Geschichte (popular his- of an entertaining consumer culture, they may tory) seit etwa zwei Jahrzehnten zu beobachten lead to a certain understanding in the methods sind, beschäftigt sich die Wissenschaft erst seit and outcome of archaeology. They also have an wenigen Jahren mit diesem Phänomen. Das experimental character which constitutes a new Forschungsprojekt, das in diesem Beitrag vorge- form of historical knowledge. Consequently, our stellt wird, möchte die als Living History bezeich- project will not only enlarge our academic data neten populären Geschichtsrepräsentationen an- about current forms of popular history and its re- hand von TV-Dokumentationen, Freilichtmuseen, lation to research, but has a practical relevance, historischen Stätten und archäologischen as well: It offers didactical concepts for the pro- Themenwegen analysieren sowie die Entstehung ducers of popular history in open-air museums, dieser Repräsentationen und die in diesem Bereich television companies, organisers of “themed vielfältigen Beziehungen zur Wissenschaft dar- events”, as well as for researchers who are in stellen. Dies geschieht am Beispiel der bislang touch with them. Moreover, it provides extended wenig beachteten, aber öffentlich sehr präsenten knowledge about the perception of the partici- Ur- und Frühgeschichte. Die Forschergruppe pants and contributes to the debate on whether integriert Methoden und Kenntnisse von popular or experimental history can have an im- Archäologen, Medien- / Zeithistorikern und Kultur- pact on academic research. wissenschaftlern (Volkskundlern).

79 I About the author dokumentationen. In: K. Arnold / W. Hömberg / S. Kinnebrock (eds), Geschichts jour nalis- Stefanie Samida studied Pre- and Early History, mus. Zwischen Information und Inszenie- Classical Archaeology and Medieval History rung. Kommunikationsgeschichte 21 (Müns- at the Eberhard Karls University of Tübingen ter 2010) 219 – 233. and Christian Albrechts University of Kiel (both Schlehe et al. 2010 Germany). After completing her M. A. she J. Schlehe / M. Uike-Bormann / C. Oesterle / achieved a diploma degree in Media Studies and W. Hochbruck (eds), Staging the Past: received her doctorate for a thesis on “Science Themed Environments in Transcultural communication on the Internet. New Media in Perspectives (Bielefeld 2010). archaeology” (Wissenschaftskommunikation im Internet. Neue Medien in der Archäologie). She was an academic researcher at the University I References of Tübingen and, holding a research grant by the Gerda Henkel Foundation (Gerda Henkel 1 From now on and due to technical aspects, Stiftung), she focused on contemporary press I will use the term “prehistory” in the mean- reports about Heinrich Schliemann, excavator of ing of “pre- and protohistory”. Above all, “living Troy. From 2011 to 2012 she was Junior Fellow history” is put without quotation marks. of the Excellence Cluster “TOPOI. The Formation 2 The project consists of the following sub- and Transformation of Space and Knowledge projects: 1. “Performative Praktiken des in Ancient Civilizations” (Exzellenzcluster Wissenstransfers. Eine Ethnographie prähis- TOPOI), Berlin. Now she is researcher at the torischer Themenwanderwege” (principal Centre for Contemporary History (Zentrum für investigator: Prof. Dr Bernhard Tschofen; Zeithistorische Forschung) in Potsdam. doctoral candidate: Sarah Willner M.A., both Ludwig-Uhland-Department of Em pir- ical Cultural Science, University of Tübin- www.livinghistory.uni-tuebingen.de gen); 2. “Postmoderne Gegenwelten? In- sze nierung der Ur- und Frühgeschichte im deutschen und britischen Fernsehen seit I Bibliography den 1970er Jahren” (principal investiga- tor: Prof. Dr Frank Bösch; doctoral can- Anderson 1982 didate: Georg Koch M. A., both Centre J. Anderson, Living History: Simulating Ev- for Contemporary History, Potsdam); ery day Life in Living Museums. American 3. “‘Geschichte erleben’ oder Die performa- Quarterly 34.3, 1982, 290 – 306. tive Aneignung vergangener Lebenswelten Criticism 2004 in archäologischen Freilichtmuseen” (princi- Special Issue: Extreme and Sentimental pal investigator: Dr Stefanie Samida, Centre History. Criticism 46.3, 2004. for Contemporary History, Potsdam). Eggert / Samida 2009 M. K. H. Eggert / St. Samida, Ur- und Früh - geschichtliche Archäologie. Uni-Taschen- Stefanie Samida bücher UTB 3254 (Tübingen, Basel 2009). Zentrum für Zeithistorische Forschung Samida 2010 Am Neuen Markt 1 St. Samida, Ausgräber und Entdecker, 14467 Potsdam Aben teurer und Held: Populäre Geschichts- Germany vermittlung in archäologischen Fernseh- [email protected]

Illustration credit 1 St. Samida.

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