Research Essay writing
Yan Xu
Professor Sarah Kleeb
ACMB01
1006078076
13 March, 2020
Annotated Bibliography
Willis, Emma. “Metatheatre and Dramaturgies of Reception in Jackie Sibblies Drury's We Are Proud to Present...” Journal of Contemporary Drama in English, vol. 4, no. 1, 2016, pp. 196-211.
This article defines the play of Jackie Sibblies Drury’s We Are Proud to Present a Presentation About the Herero of Namibia is a particular work of metatheatre contains extreme violence. The author argues the metatheatre allows writers to intervene in the complexity of representative politics and to explicitly position the audience in such politics which allows viewers to think and discuss their position in multiple frames and perspectives, in this case, better understand the conflict in the history of genocide.
Graham-Jones, Jean. “The Theatre of Genocide: Four Plays about Mass Murder in Rwanda, Bosnia, Cambodia, and Armenia (Review).” Human Rights Quarterly, vol. 30, no. 3, 2008, pp. 807–810., doi:10.1353/hrq.0.0021. This article introduces a theatre about humanitarian and introspective genocide: The Theatre of Genocide. In the article, these four different episodes are used to describe the cruelty of genocide brought by the war. These four episodes include Robert Skloot's powerful anthology of genocide in the twentieth century.
Bonds, Anne, and Joshua Inwood. “Beyond White Privilege.” Progress in Human Geography, vol. 40, no. 6, Oct. 2016, pp. 715–733., doi:10.1177/0309132515613166. This article builds on academic research on whites and white privileges and reveals that white supremacism is a lasting social, economic, and political influence as a well-founded approach. The article states that the supremacy of white people is not as a historical relic or as an extreme position, but as a basis for the continuous development of racial and racist practices in the settler's country.
Hamrick, Ellie, and Haley Duschinski. “Enduring Injustice: Memory Politics and Namibia’s Genocide Reparations Movement.” Memory Studies, vol. 11, no. 4, 2017, pp. 437–454., doi: 10.1177/1750698017693668. In this article, it examines post-colonial memory politics in contemporary Namibia. It analyzes how the Naama and Herrero genocide compensation activists have worked to incorporate genocide in the German colonial era into the national narrative of contemporary Namibian countries. It emphasizes the importance of memory to compensation activists, examines the way
Yan Xu
Professor Sarah Kleeb
ACMB01
1006078076
13 March, 2020
compensation claims are formed and the influence of political factors on memory production in the state of memory after apartheid on compensation.
Nielsen, Mads Bomholt. “Selective Memory: British Perceptions of the Herero–Nama Genocide, 1904–1908 and 1918.” Journal of Southern African Studies, vol. 43, no. 2, 2017, pp. 315– 330., doi:10.1080/03057070.2017.1286843. This article examines British officials' views and participation in the Herero-Nama war and its subsequent genocide in southwestern Germany from 1904 to 1908. It is defined as the first genocide of the 20th century, and German colonialism was considered extremely cruel.
Kössler, Reinhart. “Facing a Fragmented Past: Memory, Culture and Politics in Namibia*.” Journal of Southern African Studies, vol. 33, no. 2, 2007, pp. 361–382., doi: 10.1080/03057070701292640. This article emphasizes the process, controversy and multifaceted nature of the process of defining and negotiating public memory. The creation of public memory, including a formal interpretation of history, involved various actors, including civil society, was still prevalent in Namibia during the postcolonial period, and these actors used a variety of memories and relied on serious inequality to promote them.
Carlson, Marvin. “Postdramatic Theatre and Postdramatic Performance.” Revista Brasileira De Estudos Da Presença, vol. 5, no. 3, 2015, pp. 577–595., doi:10.1590/2237-266053731. This article discusses the late 20th century, the Western drama emphasizes the importance of theatre arts in addition to other elements of the text. Postdramatic Performance is well developed in Germany. This kind of performance re-emphasizes "watching" as a Postdramatic Theatre, which is the essence of the theatre.
Aragay, Mireia, and Enric Monforte. “Introduction: Theatre and Spectatorship – Meditations on Participation, Agency and Trust.” Journal of Contemporary Drama in English, vol. 4, no. 1, Jan. 2016, doi:10.1515/jcde-2016-0002. This article indicates the trust in the relationship between practitioners, industry and theatre scholars and audiences is an indispensable reference point in the field of theatre spectatorship. Trust in the audience is a key component of Andy Smith’s theatre.
Yan Xu
Professor Sarah Kleeb
ACMB01
1006078076
13 March, 2020
Charny, Israel W. The Genocide Contagion: How We Commit and Confront Holocaust and Genocide. Rowman Et Littlefield, 2016. In the book The Spread of Genocide, Israel W. Charny draws on historical and current examples, such as the Holocaust and Armenian genocide, and prompts readers around the world to consider how they can contribute to genocide. Given a large number of people who have died from genocide or suffered indirect consequences such as forced immigration, Charny believes that we must work hard to resist and understand ourselves before the moment of truth emerges.
Hargrave, Matt. “Side Effects: an Analysis of Mind the GapsBooand the Reception of Theatre Involving Learning Disabled Actors.” Research in Drama Education: The Journal of Applied Theatre and Performance, vol. 15, no. 4, 2010, pp. 497–511., doi: 10.1080/13569783.2010.512184. This article analyses Mind the Gap's Boo, which features a cast of learning disabled actors. It is concerned with the public reception of the work, particularly the ‘effect’ of an all-disabled cast. The author indicates as long as people understand these side effects can lead to important insights into the meaning of disability in performance.