163 Kasper er med i gruppen Odingruppen. Interviewet 26. april 2014 til intern arbejdsdag på Hjemmeværnsgården ved Karup. Keld er med i gruppen WW2reenactment. Interviewet 23. maj 2014 til Bunker by Night på Silkeborg Bunkermuseum. Lasse er med i gruppen Regimentet. Interviewet 6. juli 2014 til 2. verdenskrigstræf på Museumscenter Hanstholm. Leo er med i gruppen Tommies. Interviewet 6. juli 2014 til 2. verdenskrigstræf på Museumscenter Hanstholm. Mads er med i gruppen Yanks. Interviewet 6. september 2014 til Garderhøj Klassiske Militærshow på Garderhøjfortet. Martin er med i gruppen Regimentet. Interviewet 6. juli 2014 til 2. verdenskrigstræf på Museumscenter Hanstholm. Mette er med i gruppen Tommies. Interviewet 5. juli 2014 til 2. verdenskrigstræf på Museumscenter Hanstholm. Observationer Bunker by Night på Silkeborg Bunkermuseum 23.-24. maj 2014. 2. verdenskrigstræf på Hanstholm Museumscenter 4.-6. juli 2014. Garderhøj Klassiske Militærshow 6. september 2014. ANNE BRÆDDER PH.D. VIDENSKABELIG ASSISTENT PÅ AARHUS UNIVERSITET EKSTERN LEKTOR PÅ ROSKILDE UNIVERSITET ANNEBRAEDDER?GMAIL.COM ABSTRACT(UK) Anne Brædder: Memory and emotions: Reenactors’ simulations and managements of World War II The article examines the relation between memory and emotions. Employing Sarah Ahmed’s ideas on ’sticky feelings’ and Arlie Hochschild’s ’emotional labour’ it is analysed how WWII reenactors portraying German, British and American soldiers and Danish resisters simulate and handle a past connected with feelings as well as a powerful collective memory. The empirical material consists of interviews with reenactors and observations done at public WWII reenactment events in Denmark. The body is in focus of the analysis of the reenactors’ emotional and memory practices. The reenactors’ choice of war actors they embody, what parts of the war they bodily simulate and what embodied movements they do are analysed as emotion management of WWII so they are done in accordance with what the reenactors presume are appropriate to the other reenactors, the museums hosting the reenactment events and the guests at the events. The reenactors’ engagement with WWII must be understood taking both emotions and the memory context the reenactment activity is played out in into account. Thus, the author argues for a greater exchange between memory studies and history of emotions where the relation between power, time, emotions and memory are examined.
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