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首页> 外文学位 >Global Politics and (Trans)National Arts: Staging the 'War on Terror' in New York, London, and Cairo.
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Global Politics and (Trans)National Arts: Staging the 'War on Terror' in New York, London, and Cairo.

机译：全球政治与（跨）民族艺术：在纽约，伦敦和开罗举行“反恐战争”。

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摘要

In the post-9/11 era, over a hundred theatric performances exploring the fallout from the "war on terror" have been staged in Cairo, London, and New York. Though never discussed in relation to one another, the works from major cultural centers on three continents provide valuable insights into how people from three cultures have responded to the wars and political policies since 9/11, as well as how they have attempted to form their resistance to those policies.;To explore this, my study begins with a historiography of "terrorism," exploring the term's roots in the French Revolution as a means by which to discuss state violence, a use that was standard throughout the nineteenth century. However, during the twentieth century, as the nation-state became the normative structure for political organization, resistance to it--- "subnationals," as they would come to be called in State Department parlance---were redefined as "terrorist." Therefore, the construction of the United Nations, the development of human rights discourse, and the codification of terrorism laws occurred within the same era of organizing (un)acceptable political behavior.;The next three chapters of the dissertation then undertake examining theatric works within each of the nations under consideration alone. From there, the following five chapters focus on formal or thematic concerns---the political efficacy of musical theater, representations of Afghanistan, the staging of Iraqi voices, stories of soldiers returning from war, and diasporic theater---in cross-cultural analyses, comparing how similar narratives and structures have been used in different cultural contexts to resist both the "war on terror" and local forms of political oppression. The final chapter of the dissertation looks at Naomi Wallace's theater-making practices, before closely examining her play The Fever Chart: Three Visions of the Middle East, one of the few American dramas to draw connections between Palestine and Iraq, as well as one of the few plays about the "war on terror" to have been staged in Cairo, London, and New York.;Through an examination of these performances, I argue for the necessity of a more intimate form of transnationalism, one that can understand the effects of global political events on the smallest spaces of distant lives, as well as one that resists the underlying systems of oppression, rather than their symptoms. The conclusion then expands on this argument as not only a call for artistic production, but also for scholarly endeavors in a world where artistic production has become more global and diffuse.
机译：在9/11后时代，在开罗，伦敦和纽约上演了一百多场关于“反恐战争”后果的戏剧表演。尽管从未相互讨论过，但三大洲主要文化中心的作品为我们提供了宝贵的见解，使人们了解自9/11以来三种文化的人们如何应对战争和政治政策，以及他们如何尝试形成自己的民族。为了探索这一点，我的研究从“恐怖主义”的史学开始，探讨了该词在法国大革命中的根源，以此作为讨论国家暴力的手段，这种用法在整个19世纪都是标准的。但是，在20世纪，民族国家成为政治组织的规范结构时，对它的抵抗-被称为国务院的“次国家/地区”被重新定义为“恐怖分子”。 ”因此，联合国的建设，人权话语的发展和恐怖主义法的编纂发生在组织（不接受）政治行为的同一时期。论文的后三章在此范围内对戏剧作品进行了研究。每个国家都在考虑之中。从那以后，接下来的五章着重于跨文化的形式或主题方面的关注-音乐剧院的政治效力，阿富汗的代表，伊拉克声音的上演，士兵从战争中回来的故事以及流散的剧院-分析，比较在不同文化背景下如何使用相似的叙述和结构来抵制“反恐战争”和当地形式的政治压迫。论文的最后一章着眼于内奥米·华莱士（Naomi Wallace）的戏剧制作实践，然后仔细检查了她的剧作《发烧图：中东的三种景象》，这是美国为数不多的将巴勒斯坦与伊拉克联系起来的戏剧之一，也是其中一部。在开罗，伦敦和纽约上演过的有关“反恐战争”的戏剧很少；通过对这些表演的考察，我认为有必要采取更亲密的跨国主义形式，这种形式可以理解其影响在遥远生命的最小空间上发生的全球政治事件，以及抵制潜在压迫系统而不是其症状的事件。然后，在这个论点上得出结论，不仅是对艺术创作的呼唤，而且是对这个艺术创作变得更加全球化和扩散的世界的学术努力的呼唤。

著录项

  • 作者

    Potter, George.;

  • 作者单位

    University of Cincinnati.;

  • 授予单位 University of Cincinnati.;
  • 学科 Literature Comparative.;Literature Middle Eastern.;Theater.
  • 学位 Ph.D.
  • 年度 2011
  • 页码 391 p.
  • 总页数 391
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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