리빙 히스토리: 두 판 사이의 차이
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[[File:Bundesarchiv Bild 183-1982-0703-021, Schwerin, Indianistiktreffen.jpg|thumb|Eastern German Living history at an "Indianistikmeeting" 1982 in [[Schwerin]]]] | [[File:Bundesarchiv Bild 183-1982-0703-021, Schwerin, Indianistiktreffen.jpg|thumb|Eastern German Living history at an "Indianistikmeeting" 1982 in [[Schwerin]]]] | ||
[[진정성]]을 얻기 위한 리빙 히스토리 접근법은 다른 재현 분야에서와 같이 계획된 대본에 따라 특정 이벤트를 재연하는 | |||
Living history approach to gain [[authenticity in art|authenticity]] is less about replaying a certain event according to a planned script as in other reenactment fields. It is more about an immersion of players in a certain [[era]], to catch, in the sense of [[Walter Benjamin]] the 'spiritual message expressed in every monument's and every site's own "trace" and "aura"', even in the [[The Work of Art in the Age of Mechanical Reproduction|Age of Mechanical Reproduction]].<ref name= MP>Michael Petzet: "ln the full richness of their authenticity" - The Test of Authenticity and the New Cult of Monuments, Nara Conference on Authenticity in Relation to the World Heritage 1994.</ref> | Living history approach to gain [[authenticity in art|authenticity]] is less about replaying a certain event according to a planned script as in other reenactment fields. It is more about an immersion of players in a certain [[era]], to catch, in the sense of [[Walter Benjamin]] the 'spiritual message expressed in every monument's and every site's own "trace" and "aura"', even in the [[The Work of Art in the Age of Mechanical Reproduction|Age of Mechanical Reproduction]].<ref name= MP>Michael Petzet: "ln the full richness of their authenticity" - The Test of Authenticity and the New Cult of Monuments, Nara Conference on Authenticity in Relation to the World Heritage 1994.</ref> | ||