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Massacres and mass killings have always marked if not shaped the history of the world and as such are subjects of increasing interest among historians. The premise underlying this collection is that massacres were an integral, if not accepted part (until quite recently) of warfare, and that they were often fundamental to the colonizing process in the early modern and modern worlds. Making a deliberate distinction between 'massacre' and 'genocide', the editors call for an entirely separate and new subject under the rubric of 'Massacre Studies', dealing with mass killings that are not genocidal in intent. This volume offers a reflection on the nature of mass killings and extreme violence across regions and across centuries, and brings together a wide range of approaches and case studies.
If violence is a terrible thing, why do we watch it? Nevitt explores the use of violence in theatre and its effect on spectators. Critically engaging with examples of stage combat, rape, terrorism, wrestling and historical re-enactments, she argues that studying violence through theatre can be part of a desire to create a more peaceful world.
"Originally published in French in 2016 by Seuil, France, as Historie de la violence"--Title page verso.
This profound and deeply compassionate study aims to reach into the complexities of political violence and to expend our understanding of the patterns of conflict that almost drew South Africans into a vortex of total disintegration during the apartheid era. While many accounts have focused on the victims of state repression, this unique volume documents the often contradictory and confusing stories of those who acknowledge having committed some dreadful deeds. Individuals on various sides of the apartheid divide, from state security structures to the ANC, PAC and grassroots activists, tell their own stories. The authors also offer the first critical examination of the TRC's amnesty process, show how media representations of perpetrators inform public perceptions, and scrutinise international scholarly reflection on the issue of political violence.
A collection of pieces examining the theatre's role in fostering a culture enamoured of violence. Areas covered include violence as an integral part of dramatic text and performance, facets of the staging of violence, and examples of theatrical violence at the fringes of social acceptability.
In the mid-19th century, rhetoric surrounding slavery was permeated by violence. Slavery’s defenders often used brute force to suppress opponents, and even those abolitionists dedicated to pacifism drew upon visions of widespread destruction. Provocative Eloquence recounts how the theater, long an arena for heightened eloquence and physical contest, proved terribly relevant in the lead up to the Civil War. As antislavery speech and open conflict intertwined, the nation became a stage. The book brings together notions of intertextuality and interperformativity to understand how the confluence of oratorical and theatrical practices in the antebellum period reflected the conflict over slavery and deeply influenced the language that barely contained that conflict. The book draws on a wide range of work in performance studies, theater history, black performance theory, oratorical studies, and literature and law to provide a new narrative of the interaction of oratorical, theatrical, and literary histories of the nineteenth-century U.S.
For years theater director Bryan Doerries has been producing ancient Greek tragedies for a wide range of at-risk people in society. His is the personal and deeply passionate story of a life devoted to reclaiming the timeless power of an ancient artistic tradition to comfort the afflicted. Doerries leads an innovative public health project—Theater of War—that produces ancient dramas for current and returned soldiers, people in recovery from alcohol and substance abuse, tornado and hurricane survivors, and more. Tracing a path that links the personal to the artistic to the social and back again, Doerries shows us how suffering and healing are part of a timeless process in which dialogue and empathy are inextricably linked. The originality and generosity of Doerries’s work is startling, and The Theater of War—wholly unsentimental, but intensely felt and emotionally engaging—is a humane, knowledgeable, and accessible book that will both inspire and enlighten.
This book examines a series of contemporary plays where writers put theatre itself on stage. The texts examined variously dramatize how theatre falls short in response to the demands of violence, expose its implication in structures of violence—including racism and gender-based violence—and illustrate how it might effectively resist violence through reconfiguring representation. Case studies, which include Jackie Sibblies Drury’s We Are Proud to Present and Fairview, Ella Hickson’s The Writer and Tim Crouch’s The Author, provide a range of practice-based perspectives on the question of whether theatre is capable of accounting for and expressing the complexities of structural and interpersonal violence as both lived in the body and borne out in society. The book will appeal to scholars and artists working in the areas of violence, theatre and ethics, witnessing, memory and trauma, spectatorship and contemporary dramaturgy, as well as to those interested in both the doubts and dreams we have about the role of theatre in the twenty-first century.
This assured debut novel from acclaimed Chilean author Andrea Jeftanovic explores the devastating psychological effects of the conflict in the Balkans on a family who flee to South America to build a new life. It is told from the perspective of the young Tamara, as she tries to make sense of growing up haunted by a distant conflict. Yet the ghosts of war re-emerge in their new land – which has its own traumatic past – to tear the family apart.Staging scenes from childhood as if the characters were rehearsing for a play, the novel uses all the imaginary resources of theatre director, set paint- er and lighting designer to pose the question: how can Tamara salvage an identity as an adult from the ruins of memory, and rediscover the ability to love? With themes that echo Elif Shafak’s The Bastard of Istanbul , a sensitive narrator recalling Eimear McBride’s A Girl is a Half-Formed Thing , and a focus on the body in the style of Elfriede Jelinek, this is an artfully construct- ed, widely praised work from one of the most exciting novelists at work in Latin America today.
How did the most powerful nation on earth come to embrace terror as the organizing principle of its security policy? In The Theater of Operations, Joseph Masco locates the origins of the present-day U.S. counterterrorism apparatus in the Cold War's "balance of terror." He shows how, after the attacks of 9/11, the U.S. global War on Terror mobilized a wide range of affective, conceptual, and institutional resources established during the Cold War to enable a new planetary theater of operations. Tracing how specific aspects of emotional management, existential danger, state secrecy, and threat awareness have evolved as core aspects of the American social contract, Masco draws on archival, media, and ethnographic resources to offer a new portrait of American national security culture. Undemocratic and unrelenting, this counterterror state prioritizes speculative practices over facts, and ignores everyday forms of violence across climate, capital, and health in an unprecedented effort to anticipate and eliminate terror threats—real, imagined, and emergent.