(Reenactment) Attractiveness Factors
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{Download PDF} Renaissance & Medieval Costume
RENAISSANCE & MEDIEVAL COSTUME PDF, EPUB, EBOOK Camille Bonnard,Paul Mercuri | 128 pages | 31 Oct 2008 | Dover Publications Inc. | 9780486465142 | English | New York, United States Renaissance Costumes & Medieval Clothing The Elizabethan sumptuary laws decreed that purple silk and sable fur were reserved for royals and members of the nobility. What did the rich wear during the Renaissance? The wealthy wore their opulence to parties and in portraits, such as those of the powerful Medici family of Florence or the Tudors, who led the English Renaissance. The elaborate and richly colored clothing, topped with jewelry and makeup, inspired the Renaissance costume or look of today. Are you dressing up for a Renaissance festival or a reenactment? If so, then you have come to the right place. Sign Up for the Medieval Collectibles mailing list to receive discounts, exclusive offers, and breaking news. View All Brands. Skip to content Search. I appreciate the work you've done for me. The shirt actually came in today, looks and feels great! I don't know how things work there, what your position is, but if it would do you any good with your employer, you've got my personal commendation for being on top of this. Thanks again, take care! Don P. I am very thankful for all of the wonderful help you have given me for this. I will be sure to look at your website in the future for anything I may need. Thanks again. Dan S. Wanted to give you guys a big thanks for everything, I loved the outfits and gear! Michael M. -
Gutierrez Dissertation
Copyright by Christina Lynn Gutierrez 2013 The Dissertation Committee for Christina Lynn Gutierrez certifies that this is the approved version of the following dissertation: Staging Medievalisms: Touching the Middle Ages through Contemporary Performance Committee: Charlotte Canning, Supervisor Daniel Birkholz Omi Osun (Joni L. Jones) Deborah Paredez Paul Bonin-Rodriguez Staging Medievalisms: Touching the Middle Ages through Contemporary Performance by Christina Lynn Gutierrez, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2013 Dedication To those who imagine the medieval, and to those who create it. Acknowledgements This dissertation would not have been possible without the assistance of a number of talented and generous individuals to whom I owe thanks. First, I’d like to thank my advisor, Dr. Charlotte Canning for her invaluable advice and guidance throughout the dissertation process as well as over the course of my graduate studies. Her enthusiasm for the project and continual curiosity about the Middle Ages helped me through a number of difficult moments. Next, I would like to acknowledge the continual support and assistance of Dr. Daniel Birkholz. Dr. Birkholz has been a mentor and source of inspiration from the beginning of my work on the dissertation, and it was his “Fictions of Medievalism” class that turned on the lightbulb which ultimately led to this project. I would also like to thank my other committee members, Dr. Paul Bonin Rodriguez, Dr. Deborah Paredez, and Dr. -
The Performance of Gender at the American Renaissance Festival
“WET, DIRTY WOMEN” AND “MEN WITHOUT PANTS”: THE PERFORMANCE OF GENDER AT THE AMERICAN RENAISSANCE FESTIVAL Andie Carole Markijohn A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2009 Commttee: Dr. Scott Magelssen, Advisor Dr. Ronald Shields Dr. Lesa Lockford © 2009 Andie Carole Markijohn All Rights Reserved iii ABSTRACT Dr. Scott Magelssen, Advisor Mention the words “Renaissance festival” to your average American adult, and you’ll likely conjure up images of knights jousting on horseback, casually-dressed visitors gnawing on turkey legs, barely-restrained cleavage in tight bodices, comic variety performers on earthy wooden stages, and richly-dressed royals presiding over it all. More than diversionary entertainment, however, the American Renaissance festival provides visitors with a complex space in which elements of carnival create opportunities for identity and, most important for this thesis, gender play. Using a multidisciplinary approach that features Judith Butler’s notion of performed gender as its foundation, I examine the performances of three specific groups—the Queen and knight, the bagpipe and drum group Tartanic, and the Washing Well Wenches—in order to explore the complex gender messages each communicates both to and with their audiences. The Queen’s royal privilege and “proper” performance of femininity affect each of the subsequent performances examined, either directly or tacitly sanctioning both the masculine performances of the knights and Tartanic as well as the (un)feminine performance of the Wenches. While each of the groups tend to favor a particular gender performance (either “proper” or “improper”), each also includes moments that allow for just the opposite, from the presence of a female knight at the Joust to a male-on-male lap dance by Tartanic to the bolstering of male egos through sexual objectification at the Wash Pit. -
1 University of Wisconsin-Eau Claire Wwii
UNIVERSITY OF WISCONSIN-EAU CLAIRE WWII REENACTMENT IN WEST-CENTRAL WISCONSIN: CONTEXT OF HISTORY AND MEMORY FROM THE LAST WORLD WAR BY DANIEL J. BERENS HISTORY 489 RESEARCH SEMINAR PROFESSOR: DR. JOHN MANN COOPERATING PROFESSOR: EARL SHOEMAKER DEPARTMENT OF HISTORY EAU CLAIRE, WISCONSIN MAY 2008 Copyright for this work is owned by the author. This digital version is published by McIntyre Library, University of Wisconsin Eau Claire with the consent of the author. 1 CONTENTS ABSTRACT.....................................................................................................................................3 INTRODUCTION...........................................................................................................................4 Chapter 1. A HISTORY OF REENACTMENT: BEFORE AND AFTER 1978...................................9 2. REMEMBERING THE PAST: HISTORY AND MEMORY............................................16 3. INTERVIEWS WITH THE SCREAMING WEASELS...................................................24 4. AN EVER-CHANING HOBBY........................................................................................27 5. ISSUES WITHIN REENACTMENT................................................................................30 6. WWII REENACTMENT AND MEMORY.......................................................................33 CONCLUSION..............................................................................................................................36 Appendix I. List of organized historical reenactments..........................................................................38 -
The Reenactor's Encyclopedia
Edited By F. L. Watkins FOLUMP ENTERPRISES Urbana, Illinois Dedication,— Donlyn, Mike, Tom and George Cheers! NOTE: If you are looking for fair, unbiased writing, look elsewhere. If you are looking for your point of view, you might well have to look elsewhere. The viewpoints expressed in this book are unabashedly and unashamedly those of the author. With thanks to Carolyn Steele THE REENACTOR’S ENCYCLOPEDIA © 2004 Folump Enterprises All Rights Reserved Edited By Printed in the USA First Printing—August 2004 È F. L. Watkins È ISBN 1-55680-316-8 PUBLISHED BY FOLUMP ENTERPRISES Folump Enterprises 805 East Green Urbana, Illinois Urbana, IL 61802 www.folump.com ACCEPTANCE OF LIVING HISTORY The very existence of living history is not without controversy within both INTRODUCTION academic and non-academic circles. Because reenacting in its various incarnations is not even today an integral part of contemporary culture, it attracts criticism from any number of sides. The mass media finds historical reenactment to be a source of humor; academics decry its accuracy; PETA complains about the use of leather and It’s a Kind of Magic furs; the National Park Service and others remember the lack of safety standards in reenactment from a half a century ago. Even fellow reenactors often attack other You don’t hate history, you hate the way it was taught to you in high school But history is about reenactors for being too inauthentic, for being too authentic, for being enamored people, and there is nothing more fascinating to people than other people, and living in a of a particular era or for having a differing interpretations of primary different time, in different circumstances—Stephen E. -
Download the Summer 2019 Issue (PDF)
THE GEORGE WASHINGTON UNIVERSITY MAGAZINE SUMMER 2019 Q&A: MEET THE PRESS HOST CHUCK TODD TALKS ABOUT JOURNALISM, POLITICS AND THE FIGHT FOR "SOMETIMES I THINK WHEN YOU’RE IN “We’re so much more combative THE MIDDLE OF IT, YOU DON’T FULLY in some ways with people today, APPRECIATE THE MASSIVE CHANGES and I think people think we’re not THAT ARE TAKING PLACE.” combative enough.” “I wish I could fall back on some historical “YOU HAVE TO MAKE ADJUSTMENTS AND ACCEPT THE FACT context to know how another generation of journalists dealt with similar situations, THAT YOU’RE GOING TO MAKE PEOPLE MAD.” but I don’t think we’ve had a similar situation.” “At the end of the day, “I THINK THE FUTURE OF I’m pretty cynical, but JOURNALISM AS WE KNOW I don’t like to be as IT IS ACTUALLY AT STAKE IN SOME WAYS.” cynical on TV.” Inside on... ...Page 30 gw magazine / Summer 2019 GW MAGAZINE SUMMER 2019 A MAGAZINE FOR ALUMNI AND FRIENDS CONTENTS FEATURES 30 / ‘A Competition For Facts’ Meet the Press host Chuck Todd, who attended GW in the 1990s, Q&As with GW Magazine about political journalism, “both sides” and the slow death of good faith. / By Matthew Stoss / 38 / The Border Ball For more than a century, a U.S. border town and its Mexican counterpart have thrown a festival to mark George Washington’s birthday. GW professor Elaine Peña went home to understand why, and what it says about people and dividing lines. / By Matthew Stoss / 48 / Any Place of Worship As a Muslim, Sana Ullah, MA ’17, is required to pray five times a day. -
Historically-Inspired Dress As a Personal Style Choice
HISTORICALLY-INSPIRED DRESS AS A PERSONAL STYLE CHOICE by DINA CHERISE SMITH (Under the Direction of José Blanco) ABSTRACT While elements of Retro or revival dress, or for the purpose of this study, historically-inspired dress are considered characteristic of postmodern fashion, there are some individuals who appropriate retro/revival dress not due to its popularity but as a result of sartorial symbolisms (Barnard, 2002; English, 2007; Vinken, 2005; E. Wilson, 1985). Qualitative case studies were performed to explore the motivations for wearing historically-inspired dress on a daily or near- daily basis. Two approaches were utilized based on previous literature. Historically-inspired dress bears or does not bear significant meaning in connection with the time period in which it is associated. Findings indicated that one approach alone was insufficient in explaining this practice. Findings also indicated that historically-inspired dress had less in common with historic costume and/or reenactment dress because participants do not use it to portray a historic or semi- historic persona. Instead, it serves as an alternative style choice. INDEX WORDS: Motivations, Historically-inspired Dress, Costume, Persona, Retro/Revival dress, Communication, Expression HISTORICALLY-INSPIRED DRESS AS A PERSONAL STYLE CHOICE by DINA CHERISE SMITH B.S., The University of Southern Mississippi, 2006 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF SCIENCE ATHENS, GA 2011 © 2011 Dina Cherise Smith All Rights Reserved HISTORICALLY-INSPIRED DRESS AS A PERSONAL STYLE CHOICE by DINA CHERISE SMITH Major Professor: José Blanco Committee: Patricia K. -
Come Ye to the Faire! Knights in Combat Fun at the Festival
release dates: July 4-10 27-1 (09) Go dot to dot and color. © 2009 Universal Press Syndicate from The Mini Page © 2009 Universal Press Syndicate Step Into the Middle Ages Come Ye to the Faire! Have you ever dreamed of living in the Knights engage in team time of knights, lords and ladies? This combat in a battle at an SCA Renaissance festival. time is known as the Middle Ages. For most of the Middle Ages, Renaissance (reh-nuh-SAHNTS) fairs knights promised to serve in and tournaments give modern people a the king’s army for a certain taste of life in the Middle Ages and number of days each year. In Renaissance. the late Middle Ages, knights paid a tax to get out of military To learn more about Renaissance fairs, service. The Mini Page talked to an expert from This was better for the king the Society for Creative Anachronism* because knights were around (uh-NA-kruh-ni-zum), or SCA. only during wars. With the *An anachronism is something out of its proper money paid by unwilling time or place. For example, if you were watching a knights, the king could keep movie about American pioneers and somebody an army of trained fighters all pulled out a cell phone, the phone would be an photos by Ron Lutz, courtesy Society for Creative Anachronism, Inc. the time. anachronism. SCA brings something from the past The Middle Ages The Renaissance into the present. It calls itself “creative” Experts disagree about the exact dates The Renaissance arrived at the end because certain modern conveniences, of the Middle Ages. -
Chapter I Introduction
SERIOUS LEISURE, PARTICIPATION AND EXPERIENCE IN TOURISM: AUTHENTICITY AND RITUAL IN A RENAISSANCE FESTIVAL A Dissertation by HYOUNGGON KIM Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2004 Major Subject: Recreation, Park and Tourism Sciences SERIOUS LEISURE, PARTICIPATION AND EXPERIENCE IN TOURISM: AUTHENTICITY AND RITUAL IN A RENAISSANCE FESTIVAL A Dissertation by HYOUNGGON KIM Submitted to Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved as to style and content by: Tazim B. Jamal Joseph T. O’Leary (Chair of Committee) (Member) Amanda Stronza Jane A. Sell (Member) (Member) Joseph T. O’Leary (Head of Department) December 2004 Major Subject: Recreation, Park and Tourism Sciences iii ABSTRACT Serious Leisure, Participation and Experience in Tourism: Authenticity and Ritual in a Renaissance Festival. (December 2004) Hyounggon Kim, B.A., Hanyang University (Korea); M.S., Texas A&M University Chair of Advisory Committee: Dr. Tazim B. Jamal This study examined the Texas Renaissance Festival as perceived and experienced by (serious) visitors for whom this was a form of regular, repeated and highly meaningful participation. Specifically, the focus was to gain understanding of the notion of serious leisure as defined by Stebbins, in the context of festivals, and to understand the meanings associated with festival participation. Following a qualitative (constructivism paradigm) research frame, the data were collected through participant observation and 37 in-depth interviews for highly committed tourists to the Texas Renaissance Festival. The collected data were analyzed through Grounded Theory techniques specified by Glaser (1978). -
Gunnelsj61853.Pdf (999.5Kb)
Copyright by Jennifer Sue Gunnels 2004 The Dissertation Committee for Jennifer Sue Gunnels Certifies that this is the approved version of the following dissertation: Let the Car Burn, We’re Going to the Faire: History, Performance, Community and Identity within the Renaissance Festival Committee: Charlotte Canning, Supervisor Lynn Miller Joni Jones Stacy Wolf Miodrag Mitrasinovic Let the Car Burn, We’re Going to the Faire: History, Performance, Community and Identity within the Renaissance Festival by Jennifer Sue Gunnels, B.A., M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May, 2004 Dedication For all the Rennies and the die hard audiences of Renaissance festivals everywhere. Acknowledgements I would be remiss in not taking the time to thank the many people who helped in the creation of this document. Most important are those festival personnel, especially Coy Sevier, Orvis Melvin, and Jessica Land, who took the time to answer copious questions, sent me helpful material, and let me nose around the backstage areas of their festivals. Thank you also to the many festival performers, both friends and colleagues, who have enriched this study with their thoughts and opinions. I also extend warm appreciation for the audience members who took the time to speak with me and share their love for and experiences of the Renaissance festivals. Finally, I would like to thank Tony Korol, my colleague and fellow Rennie, and Dr. Georg Schuttler I appreciated your tireless cheerleading and support in completing the process.