DOI: 10.25136/2409-868X.2021.10.36390

Abstract: The relevance of this article is substantiated by the need for scientific comprehension of the versatile experience of commemorative activity of the communities united within the framework of the All-Russian Public Movement “Clubs of Historical Reconstruction of Russia”. The object of this research is the collective commemorations that accumulate various forms of culture-making memorial initiatives of the indicated movement. The subject is the transformation processes of commemorative practices of the reenactment movement in the context of network society. The goal is to determine the key vectors of transformation of commemorations of the cultural-historical reconstruction, which reflects fundamental changes in the modern memorial space in the context of network society. The author advances the opinion that major changes in the commemorative practices of reenactors are substantiated by the transition towards the project-network form of interaction with a wide circle of social actors, the cooperation with which is based on the mutually beneficial exchange of deficit resources. The novelty of this work lies in explication and empirical testing of the concept of “memorial management” ( terminology of Aleida Assmann) for articulation of the specificity of the current stage of transformation of commemorations of cultural-historical reconstructions in the context of project-network society. The new material on the public memorial initiatives in the network projects of reenactors is introduces into the scientific discourse, which allows concluding that the transformation of commemorations of cultural-historical reconstruction is a complex multi-vector process that reveals a range of multidirectional trends characteristic to the Russian memorial space. The fundamental changes in commemorative practices of reconstruction manifest in the expansion of their scientific, educational, and inclusive components.

DOI: 10.25136/2409-868X.2020.12.34421

Abstract: The object of this research is images of the past, actualized in the festival practices of cultural-historical reconstruction. The subject of this research is the mechanisms of formation and strategies of representation of images of the past in the festivals of cultural-historical reconstruction. It is noted that the author views festival as the representative of the more general phenomenon –  cultural-historical reconstruction, an integral interpretation of which allows embracing the variety of nonacademic practices aimed at studying and most accurate reconstruction of the material and spiritual culture of the past, preservation, actualization, representation and conveyance of cultural-historical values. In the context of commemorative practices of reconstruction, arrangement and representation of images of the past is conducted “intentionally, collectively and adapted for stage”. Relevance of the selected topic is defined by the fact that the reenactment movement becomes an increasingly meaningful actor in commemorative space of modern Russia, which significantly affects the formation of consensual images of the past. From theoretical and methodological perspective, the conducted analysis is based on the conceptual approaches presented in the Russian historical-culturological research on imagery. Internet resources, such as websites and forums of reenactors, social networks, and online media, served as the empirical foundation for this research. In the course of preparation and execution of cultural-historical reconstructions, the author employed quantitative and qualitative methods, including of thorough overt observation. As a result of the conducted analysis, the author determines specificity of the mechanisms for creating authentic images of the past and strategies for revealing collective representations on the past in the festivals of cultural-historical reconstruction, which have a positive impact upon ordinary consciousness.

DOI: 10.7256/2310-8673.2020.3.33758

Abstract: The relevance of the study is determined by the need to study and generalize the positive experience of implementing inclusive practices initiated by non–state actors - formal and informal associations of reconstructors. The subject of the research in this article is the inclusive culture of urban communities of historical reenactors, and the main goal is to identify the specifics of inclusive culture based on the analysis of the normative and value system of the reenactor movement and current socio–cultural practices implemented in the public space of the Russian city. The theoretical and methodological foundations of the analysis are the conceptual provisions of the model of inclusive culture of the city, developed by the participants of the interdisciplinary project of the RFBR "Inclusive culture of social time: modern urban context (Lower Volga region)". Empirical research methods are used – included observation, secondary analysis of interviews. The novelty of the presented research is determined by the introduction into scientific circulation of new empirical material, the analysis of which allows us to reveal the inclusive readiness and specifics of the inclusive culture of the reenactors who are part of the All-Russian social movement "Historical Reconstruction Clubs". The author comes to the conclusion that the associations of reenactors belong to an inclusive community that shares key inclusive values – acceptance and support of diversity and participation. An important aspect of the inclusive culture of reenactors is participation in practical activities aimed at creating a barrier-free urban environment, an interactive communicative space in order to represent the world and domestic cultural and historical experience.

DOI: 10.7256/2310-8673.2019.3.29882

Abstract: The object of this research is the cultural identity of urban communities of the historical reenactors. The subject of the author’s scientific interest is the mechanisms and practices substantiating the specificity of positive cultural identity of the communities, united within the framework of the historical reenactment movement. The article examines the dominant trends in the development of modern reenactment movement: trend towards the fragmentation of movement and complication of the structure of collective identity, and intention towards unity. Special attention is given to the identification of mechanisms that allow retaining and maintaining balance between the processes of differentiation and integration of reenactment movement. Methodologically, the author’s understanding of the specificity of collective identity of the historical reenactors is based on the theoretical ideas of H. Blumer, N. Smelser and P. Sztompka, as well as the theory of new social movements that focus attention on their sociocultural dimension. The scientific novelty consists in the fact that this article is first to comprehensively analyze cultural components of the collective identity of the historical reenactment movement; as well as determine its structural components, mechanism and characteristic attributes. It is substantiated that under the influence of the modern global trends, cultural identity of reenactors along with the basic components attaints the new ones that contribute to the expansion of cultural-historical mobility and cohesion of reenactment movement.