Search results

You are looking at 1 - 10 of 11,077 items for :

  • Refine by access: All content x
Clear All
Open Access (free)
Susan M. Johns

witnessing 5 Witnessing awise countess of Gloucester (d. 1197) attested 75 per cent of the charters of her husband, Earl William.1 Her title is comitissa, sometimes elaborated as comitissa Glouc(estrie). On one charter she is Haw(is)ia uxore mea. She is the first witness in all but four acta.2 The charter witness lists place Hawise at the apex of the internal hierarchy of the Gloucester power structure on her husband’s charters. Hawise was also involved in transactions where she was the recipient of countergifts. One is a charter confirming the grant by a

in Noblewomen, aristocracy and power in the twelfth-century Anglo-Norman realm
Abstract only
Testimonial knowledge as ongoing memory transmission
Audrey Rousseau

. 13 One might say that this was another opportunity missed by the government and Irish society to fully comprehend and to institute truth, justice, and redress for survivors of the Magdalen Laundries and their descendants. Owing to the gaps in the official history of the Laundries, this chapter focuses on the role of witnessing in the production of ‘testimonial knowledge’ and the ongoing transmission of memory. 14 This will be deepened by analysing testimonies of two

in Legacies of the Magdalen Laundries
Valérie Gorin

Save the Children or Oxfam used advocacy to raise criticism over power dynamics and resource allocations between the Global North and South, humanitarian advocacy gained more political attention because it also aims to increase protection, assistance, and access. The birth of Médecins Sans Frontières (MSF) in 1971 and its use of témoignage questioned the principle of ‘speaking out’ and the witnessing status of the humanitarian worker. In the following conversation with Maria Guevara and Marc DuBois, we discuss witnessing strategies, visual evidence, and the

Journal of Humanitarian Affairs
Abstract only
Exclusive affects
Helen Hills

To witness with thine eyes what some perhaps Contented with report heare onely in heav’n. (Milton, Paradise Lost, iii.700) My heart so hardened that I cannot repent. (Christopher Marlowe, The Tragicall History of the Life and Death of Dr. Faustus, scene vi) Witnessing the miracle Ribera’s superb altarpiece in San Gennaro’s Treasury Chapel explores what it is to witness a miracle ( Plates 4 & 13 ). Gennaro witnesses in miraculously surviving the furnace, while those around him, uncomprehending, are dashed against the edges of

in The matter of miracles
Towards the decolonisation of testimonial theatre
Amanda Stuart Fisher

3 Theatre of witnessing: towards the decolonisation of testimonial theatre To me ‘testimonial theatre’ is a genre wrought from people bearing witness to their own stories through remembrance and words. Material culled from memory is crafted into a compelling yet true narrative, which is then brought to life through text, performance and the visual devices of theatre. The essential component of this genre lies in its capacity for healing through speaking, hearing and being heard. (Farber, 2008b: 19) In 2007, I interviewed the South African playwright and

in Performing the testimonial
Abstract only
The poetics and politics of testifying to environmental violence
Shela Sheikh

Sovereign Forest (2011–ongoing); and theatre director and lighting designer Zuleikha Chaudhari’s staged hearing, Landscape as Evidence: Artist as Witness (2017–ongoing). Taken together, these works allow for two insights: first, each reflects upon the limitations of existing legal, scientific, and political frameworks for responding to climate change, environmental violence, and the destruction of more-than-human lifeworlds, especially as this concerns evidence and testimony. Secondly, and crucially given the speculative

in Art and knowledge after 1900
Abstract only
Documentary theatre in twenty-first-century Russia

Since the early 2000s, Russia’s most innovative theatre artists have increasingly taken to incorporating material from real-life events into their performance practice. As the Kremlin’s crackdown on freedom of expression continues to tighten, playwrights and directors are using documentary theatre to create space for public discussion of injustice in the civic sphere and its connections to the country’s twentieth-century past. This book traces the history of documentary theatre’s remarkable growth in Russia since its inception in 1999 and situates the form’s impact within the sociopolitical setting of the Putin years (2000–). It argues that through the practice of performing documents, Russia’s theatre artists are creating a new type of cultural and historical archive that challenges the dominance of state-sponsored media and invites individuals to participate in a collective renegotiation of cultural narratives. Drawing on the author’s previous work as a researcher, producer, and performer of documentary theatre in contemporary Russia, Witness Onstage offers original insight into the nature of the exchange between audience and performance as well as new perspectives on the efficacy of theatre as a venue for civic engagement.

Abstract only
History, belief, and the theatre of enactment
Molly Flynn

4 Material witness History, belief, and the theatre of enactment Russia’s twenty-first-century documentary theatre artists draw upon the legacy of their country’s twentieth century in their search for new methods with which to stage collisions between theatre and everyday life. Chapter 2 illustrated how the artists of the Joseph Beuys Theatre and Moscow’s Sakharov Center use documentary theatre to make meaningful interventions in Russia’s culture of commemoration. Chapter 3 showed how the artists at Teatr.doc draw out important connections between the

in Witness onstage
Patrick Duggan

4 Performance ‘texts’ as sites of witness One of the defining characteristics of a theatrical event is the fact that it takes place in the presence of spectators, in front of a live audience. (Rokem 2002: 167) Western theatre is itself predicated on the belief that there is an audience. (Phelan 1997: 31) [T]o witness an event is to be present at it in some fundamentally ethical way, to feel the weight of things and one’s own place in them even if that place is simply for the moment, as an onlooker[…] The art-work that turns us into witnesses leaves us, above all

in Trauma-tragedy
Absolutism and the conscience in John Donne’s England

John Donne is best known as a poet and preacher. His Pseudo-Martyr (1610), a learned defence of the Jacobean oath of allegiance, has received undeservedly little attention. In Pseudo-Martyr, Donne puts forward a defence of royal absolutism and argues that Catholics who were executed after refusing to forswear papal claims to power to depose kings were not true but false martyrs. Witnessing to the Faith discusses the political ideas which underlined this position, in the thought of Donne and of his contemporaries. In placing Donne firmly within the mainstream of contemporary late Elizabethan and Jacobean conformist thought, the book also pays much attention to their ideas on martyrdom, religious truth and the role of a doubting conscience in the formation of religious beliefs. Donne came from a Catholic family (which included Sir – and Saint – Thomas More, who was often regarded as a martyr) but later took high office in the Church of England. His supposed conversion from Catholicism to Protestantism is sometimes portrayed by commentators as a, or the, central event in Donne’s psychological development, and as a major aspect of his biography. The book contends that Donne never did convert, but instead conformed to the State Church, while always maintaining that there was one true, foundational Christian religion.