Abstract Recent years have seen a distinctive revival in blacksmithing and bladesmithing as seen within the genre of Reality TV in the form of the History Channel’s Forged in Fire series, which competitively pits bladesmiths, farriers, and blacksmiths against each other to produce knives and historically based weapons. This article examines the cultural representation of this craft and shows how David Pye’s classic concept of the workmanship of risk helps understand the representation of craft within the series. However, his concept of risk is rearticulated in an artificial way due to against-the-clock challenges instilled by the format of the series. Furthermore, the article explores the ways in which makers respond to such challenges and exemplifies Howard Risatti’s conception of the expression of poiesis within their metalcraft work. As such, although a Reality TV series, Forged in Fire can be situated as a potent representation of the craft production of bladed weapons and metalwork that consistently explores the technical nature of the craft and stresses the extent to which traditional skills such as bladesmithing and blacksmithing are being practiced in vibrant professional contemporary craft communities. However, the simulated and spectacle-driven nature of the series does raise questions concerning how television represents craft practice and is compelled to artificially dramatize it.

中文翻译：

---

风险工艺遇上真人秀：历史频道在火中锻造

摘要 近年来，铁匠和刀匠出现了独特的复兴，如历史频道的“火中锻造”系列形式的真人秀节目，该系列让刀匠、马蹄铁匠和铁匠相互竞争以生产刀具和基于历史的武器。本文研究了这种工艺的文化表现形式，并展示了 David Pye 的风险工艺的经典概念如何帮助理解该系列中工艺的表现形式。然而，由于该系列赛的格式灌输的计时挑战，他的风险概念以人为的方式重新表述。此外，本文还探讨了制造商应对此类挑战的方式，并举例说明了 Howard Risatti 在其金属工艺作品中表达诗意的概念。因此，尽管是一部真人秀电视剧，《火中锻造》可以作为刀刃武器和金属制品工艺生产的有力代表，它始终如一地探索工艺的技术性质，并强调刀匠和锻造等传统技能的实践程度在充满活力的专业当代手工艺社区。然而，该系列的模拟和奇观驱动的性质确实引发了关于电视如何代表工艺实践的问题，并被迫人为地将其戏剧化。Forged in Fire 可以作为刀刃武器和金属制品工艺生产的有力代表，它始终如一地探索工艺的技术性质，并强调刀匠和铁匠等传统技能在充满活力的专业当代手工艺社区中得到实践的程度. 然而，该系列的模拟和奇观驱动的性质确实引发了关于电视如何代表工艺实践的问题，并被迫人为地将其戏剧化。Forged in Fire 可以作为刀刃武器和金属制品工艺生产的有力代表，它始终如一地探索工艺的技术性质，并强调刀匠和铁匠等传统技能在充满活力的专业当代手工艺社区中得到实践的程度. 然而，该系列的模拟和奇观驱动的性质确实引发了关于电视如何代表工艺实践的问题，并被迫人为地将其戏剧化。