Thematische Bibliographien / Genocide in the theater

Auswahl der wissenschaftlichen Literatur zum Thema „Genocide in the theater“

Autor: Grafiati

Veröffentlicht am 27. Juli 2024

Zuletzt aktualisiert am 30. Juli 2024

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Zeitschriftenartikel zum Thema "Genocide in the theater"

Kaplan, Ellen Wendy. „Refuge and Resistance: Theater with Kurds and Yezidi Survivors of ISIS“. Humanities 11, Nr. 5 (02.09.2022): 111. http://dx.doi.org/10.3390/h11050111.

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This essay looks at ongoing efforts to revitalize arts and culture among the Yezidi and broader Iraqi Kurdish communities. The Yezidi are survivors of the 2014 genocide perpetrated by the Islamic State (ISIS, also known by its Arabic acronym Da’esh) which resulted in mass killing, captivity and expulsion from their ancestral homeland of Mt. Sinjar in northern Iraq. They are part of the Kurdish people, who have engaged in centuries of struggle to protect their cultural and political identity, establish autonomy and ensure their security in the broader Middle East. After a brief overview of the Yezidi genocide and its aftermath, we trace some theatrical efforts in the 20–21st century and look at two embryonic theater initiatives in Iraqi Kurdistan. The description of cultural projects at Springs of Hope Foundation (Shariya Camp) is followed by personal reflection and analysis of the aims, uses and challenges of Applied Theater. This ‘umbrella term’ refers to a process that uses a theatrical tool-kit in non-theater contexts. The aesthetic, ethical and political challenges inherent in this work are considered: the essay explores questions of ethical care and the implications and pitfalls of working with vulnerable and displaced populations, issues of representation, and creating spaces for healing and expression through participatory theater. Finally, we discuss a new initiative in Iraqi Kurdistan that seeks to address ethnic and political fissures through theater. The essay culminates with a consideration of belonging and re-imagining home.

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Makward, Christiane, und Helene Cixous. „Theatre of Genocide“. Women's Review of Books 3, Nr. 6 (März 1986): 17. http://dx.doi.org/10.2307/4019816.

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Ahmadova, Gulkhara. „WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER“. Scientific Journal of Polonia University 58, Nr. 3 (01.09.2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All three theaters, which have a great tradition of Armenian influence, have undoubtedly struck a blow. The annals of the Theater, which went through a tumultuous journey and was repeatedly subjected to Armenian vandalism, is a part of the historical destiny of our compatriots in the ancient lands of Azerbaijan. The article discussed the history, activity, and post-deportation activities of the Yerevan State Azerbaijan Drama Theater in exchange for all these processes. At the same time, attention was drawn here to the current situation of the Iravan State Azerbaijan Drama Theater and the works in the theater's repertoire. It was emphasized that the theater, which went through a difficult and turbulent path, goes on tours today, stages new plays, and gives successful performances. The article is dedicated to the ongoing processes related to the Yerevan State Azerbaijan Drama Theater.

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Skloot, Robert. „Review Essay: Old Concerns and New Plays in the Theater of Genocide“. Genocide Studies and Prevention 5, Nr. 1 (2010): 114–20. http://dx.doi.org/10.1353/gsp.0.0041.

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Skloot, Robert. „‘Where Does It Hurt?’: Genocide, the Theatre and the Human Body“. Theatre Research International 23, Nr. 1 (1998): 51–58. http://dx.doi.org/10.1017/s0307883300018216.

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Our desire for a humane future, for a future diminished in violence and enhanced in human possibility, insists that every means possible be used to warn and work against genocidal activity. Political scientists, historians, psychologists and others have their disciplinary agendas when they seek to sound the genocidal alarm, and to prevent the eruption of wholesale slaughter. I am concerned with the arts and how they contribute to moving us ‘toward the understanding and prevention of genocide’, specifically how the art of theatre can be used for the purpose of creating a world less violent and more protective and supportive of human life.

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Kalisa, Chantal. „Theatre and the Rwandan Genocide“. Peace Review 18, Nr. 4 (Dezember 2006): 515–21. http://dx.doi.org/10.1080/10402650601030476.

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Kalisa, Chantal. „Theatre and the Rwandan Genocide“. Journal of Dramatic Theory and Criticism 27, Nr. 2 (2013): 159–66. http://dx.doi.org/10.1353/dtc.2013.0014.

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Čirić-Fazlija, Ifeta. „“Not the time for fighting but for taking care of each other”: Portrayals of the Second World War in Two Asian-American Plays“. Društvene i humanističke studije (Online) 7, Nr. 2(19) (20.05.2022): 139–52. http://dx.doi.org/10.51558/2490-3647.2022.7.2.139.

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Most of humanity’s recorded history has been indelibly marked by armed conflicts in various places around the world, yet the scale and effect of the two world wars in the first half of the twentieth century were unprecedented. Both wars remapped the geography, politics, economies, and consciousness of prior realities, and echoed deafeningly throughout the modern works of literature of diverse nations. Anglophone literature overtly portrays wartime atrocities and human ordeals, and concurrently raises awareness of, and agitates against, the savagery of warfare. It does so through its poignant Trench Poetry, the anti-war novels of the Lost Generation, dramas of the Holocaust, and theater of genocide, among others. Another, relatively recent, a subgenre of Anglophone drama also addresses the subject of armed conflicts and their consequences, although its critics and reviewers mostly focus on identity politics, minority and ethnic studies, and the mix of ideas and images that are features of Asian-American theater. Within it researchers can find arresting examples of how an English-speaking theater represents conflict-induced displacement and migration and other repercussions of the Second World War, while dealing with one of the most discomfiting events in recent US history. This paper examines Wakako Yamauchi’s representation of the state-controlled relocation of Asian-American citizens and their consequent experiences, in her play 12-1-A; and Velina Hasu Houston’s portrayal of the Second World War’s ideological and socio-economic repercussions in the Japanese community, in Asa Ga Kimashita (Morning Has Broken).

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Songolo, Aliko. „Marie Béatrice Umutesi's Truth: The Other Rwanda Genocide?“ African Studies Review 48, Nr. 3 (Dezember 2005): 107–19. http://dx.doi.org/10.1353/arw.2006.0040.

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Une tragédie n'exclut pas l'autreet il n'existe aucune hiérarchie dans la souffrance.(One tragedy does not cancel out the other,and there is no hierarchy in suffering.)Calixthe Beyala (2005)There can be no reconciliation between Hutu and Tutsi withoutjustice, and no justice without truth. This proposition holds truefor all three states of former Belgian Africa.René Lemarchand (1998)The title of Marie Béatrice Umutesi's book, Fuir ou mourir au Zaïre: Le vécu d'une Réfugiée Rwandaise—or in its English version, Surviving the Slaughter: The Ordeal of a Rwandan Refugee in Zaïre—might prove confusing for some readers on at least two counts. Because the name Rwanda will forever be associated in our memory with the horror of the 1994 genocide, one might surmise that this is the story of a Tutsi survivor taking refuge in neighboring Zaire, as in previous massacres in 1959, 1963, and 1973. But then again, considering the disastrous wars that have raged in that country for the last decade, one might conclude that Umutesi's book tells the story of a Rwandan refugee caught in the crossfire between competing forces, Rwanda versus Uganda and their proxies within the former Zaire. Both assumptions would be only half true. The missing half in both inferences is that the ordeal of this refugee and her cohort originated in the Rwandan conflict that began in 1990 and culminated in the genocide four years later. Shrewdly orchestrated and largely perpetrated by the Tutsi-dominated regime that took power in Rwanda in the aftermath of the genocide, the slaughter of these Hutu refugees has been concealed behind a curtain of silence on the part of the international community. In the drama that unfolds in Umutesi's book, Zairian territory is the unwitting, albeit highly significant, theater of the cynically suppressed story of the disappearance of nearly a quarter million Hutu refugees from Rwanda at the hands of shadowy “rebels.”

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Breed, Ananda. „Performing the Nation: Theatre in Post-Genocide Rwanda“. TDR/The Drama Review 52, Nr. 1 (März 2008): 32–50. http://dx.doi.org/10.1162/dram.2008.52.1.32.

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While grassroots theatre brings together perpetrators and survivors of the Rwandan genocide, government-driven campaigns can manipulate theatre for reconciliation to serve its own nationalist agenda. The Mutabaruka company use their performances in Burundi to resurrect/construct the identity of a precolonial Rwanda; the Mashirika theatre focus on reconciling the Hutu, Tutsi, and Twa.

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Dissertationen zum Thema "Genocide in the theater"

Breed, Ananda. „Theatre for reconciliation in post-genocide Rwanda“. Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.505470.

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This thesis aims to identify how theatre is used in post-genocide Rwanda, specifically between 2004 and 2009 during the span of doctoral research. Although I initially selected the title, 'Theatre for Reconciliation in Post-Genocide Rwanda' to frame my inquiry into how theatre can be used for healing in a post-conflict zone, I found theatre to be one of various methods used by a conflict-torn nation to create a renewed sense of national identity, forge fresh relationships between survivors and perpetrators and encode systems of governance, among other objectives beyond reconciliation.

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Maedza, Pedzisai. „Chains of memory in the postcolony: performing and remembering the Namibian genocide“. Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/29210.

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This research project is an interdisciplinary investigation of the memory of the 1904-1908 Namibian genocide through its performance representation(s). It lies at the intersection of performance, memory and genocide studies. The research considers the role of performance in remembering, memorialising, commemorating, contesting, transmitting and sustaining the memory of the genocide across time and place. The project frames performance as a media through which history is narrated by positioning performance as a complex interlocutor of the past in the present. This claim is premised on the assumption that the past is not simply given in memory ‘but it must be articulated to become memory’ (Huyssen, 1995:3). The research considers commemoration events and processes as fruitful performance nodes to uncover the past as well as the politics of the present. It makes the case that while the Namibian genocide has so far been denied official or state acknowledgement, it is chiefly through the medium of performance that the genocide memory is remembered, contested and performed. The project offers a variety of perspectives on the relationship between genocide violence, memory and space by focusing on what is remembered, how it is remembered and by paying attention to when it is remembered. The research contributes to an understanding and reconstruction of memory and performance of the Namibian genocide on two fronts. Firstly, as a cultural phenomenon and secondly, as a form of elegy and memorial in contemporary times. These insights contribute to the emerging body of scholarly work on performance and the cultural memory of the Namibian genocide. The project also charts avenues of inquiry in the production and transmission of memory across time and generations, within and beyond Namibian national borders. It pays close attention to performance’s contribution to the formation of cultural memory by exploring the conditions and factors that make remembering in common possible such as language, images, rituals, commemoration practices, exhibitions, theatre and sites of memories. Through examining the specific role of performance as a medium of cultural memory of the Namibian genocide the study considers ‘memory as performing history’ (Shuttleworth et al., 2000:8). The research interrogates how contemporary artistic performance representations and interpretations from within and outside of Namibia inform the way societal history and the present are presented and remembered. Performance becomes an aperture to investigate the enduring contemporary role of the memory of the Namibian genocide as well as its simultaneous reconfiguration. This enables the project to investigate how memories circulate across time and place - transnationally and across generations. This cross-border and transgenerational reflection is essential to understanding how the Namibian genocide has and is articulated, circulated, structured and remembered through performance in the postcolony.

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Martz, Kuhn Émilie. „Ecritures scéniques de la catastrophe humaine dans le théâtre contemporain : Etude de cas et recherche-création“. Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030062.

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Cette thèse de doctorat en littérature et arts de la scène et de l’écran examine les écritures scéniques de la catastrophe humaine dans le théâtre contemporain. Elle explore les dynamiques qui sous-tendent la représentation de la barbarie au sein de formes spectaculaires marquées par une forte dimension visuelle. Divisé en deux volets – un premier, critique et un second, pratique –, le travail s’articule d’abord autour d’un corpus composé de trois spectacles : Kamp du collectif Hotel Modern, Rwanda 94 du Groupov et Rouge décanté signé par Guy Cassiers. En observant les oeuvres à la lumière de la complexité et en les abordant à l’aide d’une approche systémique,l’étude tente de révéler les mouvements – esthétiques, perceptifs et thématiques – qui animent ces écritures hétérogènes. La seconde partie de la thèse rend compte d’un processus d’expérimentation mené dans l’espace scénique. Ce dernier, consacré à esquisser une création artistique originale, questionne les mémoires occidentales du génocide des Tutsi du Rwanda.L’expérience pratique fait écho à plusieurs des problématiques soulevées par l’investigation critique et propose une autre forme de réflexion, menée directement sur le plateau
This doctoral thesis in performing arts looks into scenic writings of human disasters incontemporary theatre. It examines dynamics underlying the representation of barbarism withinspectacular forms imprinted with a visual dimension. Split into two parts – a first one, critical anda second one, practical -, the work is firstly structured around a corpus composed of three shows :Kamp of the Hotel Modern group, Rwanda 94 of Groupov and Rouge décanté by Guy Cassiers.Through the observation of the works in the light of the complexity and by analysing it with asystemic approach, the study attempts to reveal the moves – aesthetic, perceptive and thematic –that drive these heterogeneous writings. The second part of the thesis deals with a process ofexperimentation led in the scenic space. The latter, dedicated to outline an original artisticcreation, questions occidental memories on the Tutsi genocide in Rwanda. The practicalexperience echoes back to several issues raised by the critical investigation and proposes anotherform of reflection, directly led on the stage

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Buck, Isaac D. „GENOCIDE: WHO CARES?“ Miami University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1146013539.

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Eltringham, Nigel Paul. „Discourse and genocide : the contest for 'reality' in post-genocide Rwanda“. Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368688.

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Ahmed, Nahleen. „Pluralism and Genocide: Case Study of the Genocide in Bangladesh, 1971“. W&M ScholarWorks, 1987. https://scholarworks.wm.edu/etd/1539625401.

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Lancaster, Philip Charles. „Reason, necessity and genocide“. Thesis, University of Ottawa (Canada), 2000. http://hdl.handle.net/10393/9233.

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This work examines core assumptions of the rationalism that underlies liberal political theory by placing it against the background of a dramatic historical phenomenon---genocide. An attempt is made to draw on historical accounts of two genocides to develop a critique of liberal political theory as it has been articulated during the latter years of the 20th Century by John Rawls. Ultimately, this thesis attempts to sort out the conceptual problems arising at the junction point of normative and descriptive theories of politics and argues that the basic elements of both kinds theories would benefit greatly from closer attention to history. The first chapter is devoted to a discussion of the ways in which political reason can be adapted to the needs of state and suggests that there are problems associated with the attempt to universalize the notion of human rights across a community of nations lacking the basic contextual requirements for rights. Chapter two considers the uncomfortable fit between political structure and value in liberal political theory. It argues that the administrative structure of states now exists as an important part of contemporary formal reality and thus ought to be a critical element in any serious study of politics. An argument begins here that works towards the final conclusion that states constitute an arena within which individualist and collectivist values collide. The third chapter examines the relationship between liberal values and rationality. It includes a technical discussion of Max Weber's theory of rationality but limits the discussion to political applications. This chapter raises a series of questions about the concept of rationality used in the construction of political theory. Chapters four, five and six examine the complications that arise when a liberal perspective is taken to issues of ontological existence, community values and the powers inhering in states to shape identity frames in the interests of administrative efficiency. This leads into a more technical discussion of rationality as represented in the theories of John Rawls and Alan Gewirth that is contained in the seventh chapter. Chapters eight and nine are devoted to discussions of elements of the Holocaust and the Rwandan genocide respectively. Both examples are used as a means of illustrating the complex power relations arising out of the various forms of collective agency needed to sustain state sovereignty and which complicate political theory far beyond the explanatory power of liberal rationalism. The examples are used to argue that theories based on notions of disassociated rational persons just fail to support their normative conclusions. The final chapter argues for a re-examination of the way in which political theory is read and suggests that liberal theory, in particular, tends towards abstraction in ways that limit its usefulness as either explanatory or normative theory.

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Pinnetti, Carlo Gerardo. „The architecture of genocide“. Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/29323.

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The central purpose of this thesis is to reinterpret the crime of genocide. To accomplish this task, I explore genocide by external and immanent critique. An external critique means comparing genocide as a policy to other kinds of contrasting practices which rest upon different standards of value than those which substantiate genocide. An immanent critique entails turning the language, intentions and consequences of genocide in on itself by evaluating this policy internal to the governmental authority’s own standards of value. To establish a basis for this critique, I first explore the history of genocide in international law and politics, and critically evaluate its current conceptual meanings within genocide studies. I argue for a reading of genocide that is consistent with the work of Rafael Lemkin, while exploring the limits of other approaches. Secondly, I address the theories of genocide and argue for a conceptual distinction between war and genocide. I then establish a central proposition of the thesis: that genocide is a deeply paradoxical policy in two essential respects, one concerning victimology, whilst the other in reference to perpetrator intention. I explore these two paradoxes through a cooperative examination of Rwanda and Stalinist Russia. To account for these paradoxes, I then turn to an examination of the form of government empirically most associated with genocide: totalitarianism. Through an examination of Arendt’s theory of politics and totalitarianism I show how genocide is fundamentally opposed to authentic politics because of how this policy diverges from positive law. Through this analysis of genocide and law, I argue for a new understanding of genocide in topographical terms, which specifically entails that genocide is a policy that collapses political and social space. I explore how a policy of genocide constrains the purposes of subjective action in perverse and puzzling ways.

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Lancaster, Phil. „Reason, necessity and genocide“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ57050.pdf.

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Ahmad, Mohammed. „From blueprint to genocide“. Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/14928.

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Through an analysis of the Iraq’s engineered genocides against Kurds during the years of Saddam Hussein’s regime, this work aimed to reveal the weakness of the current political and social situation in Iraq. The purpose was to offer an overview of the dangers posed by the current difficult coexistence between the Federal Government in Baghdad and the Kurdish Regional Government in Erbil. The birth of a new political system after the fall of Saddam's regime meant that every institutional power had to be built from scratch in a political and social reality new to most Iraqis. This process of renovation, already witnessed in Europe after World War II, in particular in Italy and Germany, implied the writing of a new constitution and of a new set of legal frames with the purpose to give the country a strong and reliable democratic base. In the case of Iraqi Kurds, who suffered discrimination, death and, ultimately genocide, it is important to revisit their recent past in order to feel they are an integral part of the new country born after the last Gulf War in 2003. Despite the international interest in the Kurdish case, Kurdish people did not have the opportunity to see the ones responsible of the crimes committed against them brought to international justice, as happened in the past in the case of Rwanda and Bosnia. The execution of Saddam Hussein in 2006 meant that the charges against him and his commanders related to the Kurdish case were not discussed in court preventing Kurdish people not only from obtaining the justice they were entitled to but, most importantly, from gaining access to the truth about the massacres and human rights abuses carried out by Saddam's regime between 1963 and 2003. Through an analysis of the Iraq’s engineered genocides against Kurds during the years of Saddam Hussein’s regime, this work aimed to reveal the weakness of the current political and social situation in Iraq. The purpose was to offer an overview of the dangers posed by the current difficult coexistence between the Federal Government in Baghdad and the Kurdish Regional Government in Erbil. The birth of a new political system after the fall of Saddam's regime meant that every institutional power had to be built from scratch in a political and social reality new to most Iraqis. This process of renovation, already witnessed in Europe after World War II, in particular in Italy and Germany, implied the writing of a new constitution and of a new set of legal frames with the purpose to give the country a strong and reliable democratic base. In the case of Iraqi Kurds, who suffered discrimination, death and, ultimately genocide, it is important to revisit their recent past in order to feel they are an integral part of the new country born after the last Gulf War in 2003. Despite the international interest in the Kurdish case, Kurdish people did not have the opportunity to see the ones responsible of the crimes committed against them brought to international justice, as happened in the past in the case of Rwanda and Bosnia. The execution of Saddam Hussein in 2006 meant that the charges against him and his commanders related to the Kurdish case were not discussed in court preventing Kurdish people not only from obtaining the justice they were entitled to but, most importantly, from gaining access to the truth about the massacres and human rights abuses carried out by Saddam's regime between 1963 and 2003.

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Bücher zum Thema "Genocide in the theater"

Robert, Skloot, Hrsg. The theatre of genocide: Four plays about mass murder in Rwanda, Bosnia, Cambodia, and Armenia. Madison, Wis: University of Wisconsin Press, 2008.

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Asso, Annick. Le théâtre du génocide: Shoah et génocides arménien, rwandais et bosniaque. Paris: Honoré Champion éditeur, 2013.

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Robert, Skloot, Hrsg. The theatre of genocide: Four plays about mass murder in Rwanda, Bosnia, Cambodia, and Armenia. Madison, Wis: University of Wisconsin Press, 2008.

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Alabi-Isama, Godwin. The tragedy of victory: On-the-spot account of the Nigeria-Biafra War in the Atlantic theatre. Ibadan, Nigeria: Spectrum Books Limited, 2013.

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Haerens, Margaret. Genocide. Detroit: Greenhaven Press, 2012.

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Leonard, Paul. Genocide. London, Great Britain: BBC Books, 1997.

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Jones, Adam. Genocide. 1 Oliver's Yard, 55 City Road, London EC1Y 1SP United Kingdom: SAGE Publications Ltd, 2008. http://dx.doi.org/10.4135/9781446261804.

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Rubinstein, W. D. Genocide. Harlow: Longman, 2004.

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Moses, A. Dirk. Genocide. Abingdon: Routledge, 2010.

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Jones, Adam. Genocide. Third edition. | Abingdon, Oxon ; NewYork, NY : Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315725390.

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Buchteile zum Thema "Genocide in the theater"

Breed, Ananda. „Resistant Acts in Post-Genocide Rwanda“. In Anthropology, Theatre, and Development, 127–46. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137350602_6.

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Cole, Catherine M. „Representing Genocide at Home: Ishi, Again“. In Theatre and Human Rights after 1945, 128–50. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137362308_8.

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Lis, Marianna. „The History of Loss and the Loss of History: Papermoon Puppet Theatre Examines the Legacies of the 1965 Violence in Indonesia“. In The Indonesian Genocide of 1965, 253–68. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71455-4_13.

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Breed, Ananda. „Gender-based Violence and Human Rights: Participatory Theatre in Post-Genocide Rwanda“. In Theatre and Human Rights after 1945, 171–89. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137362308_10.

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Smith, Mairéad. „Bearing Witness to the “Unspeakable”? Poetry Writing in the Aftermath of the Êzîdî Genocide“. In Theatre Responds to Social Trauma, 84–92. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003197034-9.

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Rummel, R. J. „Genocide, Genocide, Genocide“. In Democide, 43–45. New York: Routledge, 2022. http://dx.doi.org/10.4324/9780429336874-4.

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Linstroth, J. P. „Cultural Genocide, Genocide, and Amerindian Genocide“. In Politics and Racism Beyond Nations, 87–138. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-91720-3_4.

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Brojmohun, Archana, und Domenic Craner. „Genocide“. In Encyclopedia of Immigrant Health, 733–37. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4419-5659-0_315.

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Anderton, Charles H., und Jurgen Brauer. „Genocide“. In Encyclopedia of Law and Economics, 921–29. New York, NY: Springer New York, 2019. http://dx.doi.org/10.1007/978-1-4614-7753-2_581.

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Anderton, Charles H., und Jurgen Brauer. „Genocide“. In Encyclopedia of Law and Economics, 1–9. New York, NY: Springer New York, 2015. http://dx.doi.org/10.1007/978-1-4614-7883-6_581-1.

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Konferenzberichte zum Thema "Genocide in the theater"

ابراهيم عزيز حسين, لمى. „Genocide in Halabja“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/8.

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"Halabja: It is an Iraqi city located in the Kurdistan region of Iraq, near the Iranian border, about 8-10 miles away, 150 miles away from Baghdad and located in the southeast of the city of Sulaymaniyah. It is one of the important cities that contains many mosques, shrines and shrines. In 1985, this city was subjected to the former regime's aerial bombardment, where more than 450 Kurdish villages were bombed, 300 citizens executed within one month, and internationally prohibited chemical weapons were used. The Iraqi regime’s violations of human rights continued to reach their climax in 1988, which was known as the Halabja events, which will be the subject of our research, the Halabja massacre, which took place at the end of the first Gulf War or what is known as the Iran-Iraq war from 16-17 March 1988, the killing of Kurdish civilians and the use of chemical weapons against them and the effects of a war The first Gulf and the breach of the international treaty through the use of chemical weapons that are banned internationally, as well as international reports on human rights violations in Halabja, which left about 5,000 martyrs, most of whom are residents of the region, and we will also clarify who is responsible for the events of Halabja, and the truth can be highlighted through documents and evidence The editorial in the Halabja case, where these documents included information about chemical weapons in handwriting and not in a printer to evade responsibility. The document talks about the production and accumulation of chemical agents by the former regime and the intention of the former regime to strike them when necessary, in addition to other documents that we will address through the research, There is also an appendix with the names of a number of companies involved in supplying the government at that time with unconventional weapons, including missile weapons and other weapons Chemical materials and advanced technology, and this is very clear in the violation of human rights by extremely barbaric repressive methods and means, and northern Iraq has become the scene of these crimes that have been circulated between international press agencies and television screens, articles, photos and documentaries expressing the horror of the calamity and the magnitude of the tragedy. Well-known international documents and documents and what Halabja has been exposed to are classified within the concept of genocide wars. This type of war is not attended by all international laws and segments only, but also the simplest rules of behavior and human and civilized interaction between people belonging to the human race. We will also show the issue of Halabja in the corridors of the Iraqi Parliament, which was during the session on 7/3/2011 of the second electoral cycle, the first legislative year, the second legislative term in the Iraqi Council of Representatives, held in Baghdad, by submitting a proposal to the Council of Representatives regarding the position of the House of Representatives regarding the crime of bombing Halabja with chemical weapons. In conclusion, I hope you will like this summary."

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محمد كاظم حسين, شيرين. „"Genocide Sociological study "“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/4.

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"Abstract The research deals with some of the social factors causing the genocide to which they have exposed humanity According to a sociological perspective; the research deals mainly with the problem of the culture of collective violence, intolerance towards the other, and the collective spirit of the perpetrators of the crime of genocide. It also deals with the elements of social peace, as they are essential tools in building peace and curbing the idea of genocide in a society. The research comprised three axes, the first on the study concepts and terminology, the second on sociology and genocide, the third on social factors and their role in committing genocide, and the fourth on the elements of social peace to limit genocide. "

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Crump, Evan. „Amputating Shakespeare: Theater Becoming-Theater“. In 2021 AERA Annual Meeting. Washington DC: AERA, 2021. http://dx.doi.org/10.3102/1681701.

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Schirmer, Miriam, Isaac Misael Olguín Nolasco, Edoardo Mosca, Shanshan Xu und Jürgen Pfeffer. „Uncovering Trauma in Genocide Tribunals“. In ICAIL 2023: Nineteenth International Conference on Artificial Intelligence and Law. New York, NY, USA: ACM, 2023. http://dx.doi.org/10.1145/3594536.3595147.

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M. Ali Jabara, Kawthar. „The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.

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أبو الحسن اسماعيل, علاء. „Assessing the Political Ideology in the Excerpts Cited from the Speeches and Resolutions of the Former Regime After the Acts of Genocide“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/2.

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If killing a single person is considered as a major crime that forbidden by Sharia and law at the international level and at the level of all religions and divine legislation, so what about the concept of genocide!! Here, not just an individual with a weak influence on society is killed, but thousands of individuals, that means an entire nation, a future, energy and human and intellectual capabilities that can tip the scales, and on the other hand, broken and half-dead hearts are left behind from the horrific scenes of killing they witnessed before their eyes, moreover, the massacres of genocide continues to excrete its remnants and consequences for long years and for successive generations, and it may generate grudges of revenge among generations that did not receive the adequate awareness and psychological support which are necessary to rehabilitate these generations to benefit from the tragedies and bitter experiences of life to turn them into lessons and incentives to achieve progress and advancement. Genocide is a deadly poison whose toxic effect extends from generations to others unless it is wisely controlled. Here the role of the international community and its legal, legislative and humanitarian stance from these crimes is so important and supportive. Genocide can be occurred on two levels: external and internal. As for genocide on the external level: this is what happened at the hands of foreign powers against a certain people for colonial and expansionist goals in favor of the occupier or usurper. There are many examples throughout history, such as the Ottoman and British occupations...etc Whereas genocide at the internal level, can be defined as the repressive actions that governments practice against their own people for goals that could be extremist, racist or dictatorial, such as t ""Al-Anfal"" massacre in 1988 carried out by the previous regime against the Kurds in the Kurdistan region. The number of victims amounted at one hundred thousand martyrs, most of them were innocent and unarmed people from children, women and the elderly, and also the genocide which was practiced against of the organizers of Al-Shaibania Revolution in 1991 was another example of genocide in the internal level. It is possible to deduce a third level between the external and internal levels, which is the genocide that is done at the hands of internal elements from the people of the country, but in implementation of external agendas, for example, the scenes of organized and systematic sectarian killing that we witnessed daily during (2007) and (2008), followed by dozens of bloody explosions in various regions throughout the capital, which unfortunately was practiced by the people of the country who were misguided elements in order to destabilize the security of the country and we did not know until this moment in favor of which external party!! In the three aforementioned cases, nothing can justify the act of killing or genocide, but in my personal opinion, I see that genocide at the hands of foreign forces is less drastic effects than the genocides that done at the hands of internal forces that kill their own people to impose their control and to defense their survival, from the perspective of ""the survival for the strongest, the most criminal and the most dictatorial. The matter which actually dragged the country into the abyss and the ages of darkness and ignorance. As for the foreign occupier, he remains an occupier, and it is so natural for him to be resentful and spiteful and to keep moving with the bragging theory of that (the end justifies the means) and usurping lands illegally, but perhaps recently the occupier has begun to exploit loopholes in international laws and try to gain the support of the international community and international organizations to prove the legitimacy of what has no legitimacy, in the end to achieve goals which pour into the interest of the occupiers' country and from the principle of building the happiness and well-being of the occupiers' people at the expense of the misery and injustice of other peoples!! This remains absolutely dehumanizing societal crime, but at least it has a positive side, which is maximizing economic resources and thus achieving the welfare of a people at the expense of seizing the wealth of the occupied country. This remains the goal of the occupier since the beginning of creation to this day, but today the occupation associated with the horrific and systematic killing has begun to take a new template by framing the ugliness of the crime with humanitarian goals and the worst, to exploit religion to cover their criminal acts. A good example of this is the genocide that took place at the hands of the terrorist organization ISIS, that contradictory organization who adopted the religion which forbids killing and considers it as one of the greatest sins as a means to practice the most heinous types of killing that contemporary history has witnessed!! The ""Spiker"" and ""Sinjar"" massacres in 2014 are the best evidence of this duality in the ideology of this terrorist organization. We may note that the more we advance in time, the more justification for the crimes of murder and genocide increases. For example, we all know the first crimes of genocide represented by the fall of Baghdad at the hands of the Mongol leader ""Hulagu"" in 1258. At that time, the crimes of genocide did not need justification, as they were practiced openly and insolently for subversive, barbaric and criminal goals!! The question here imposes itself: why were the crimes of genocide in the past practiced openly and publicly without need to justify the ugliness of the act? And over time, the crimes of genocide began to be framed by pretexts to legitimize what is prohibited, and to permit what is forbidden!! Or to clothe brutality and barbarism in the patchwork quilt of humanity?? And with this question, crossed my mind the following ""Aya"" from the Glorious Quran (and do not kill the soul that God has forbidden except in the right) , this an explicit ""Aya"" that prohibits killing and permits it only in the right, through the use of the exception tool (except) that permits what coming after it . But the"" right"" that God describes in the glorious Quran has been translated by the human tongues into many forms and faces of falsehood!! Anyway, expect the answer of this controversial question within the results of this study. This study will discuss the axis of (ideologies of various types and genocide), as we will analyze excerpts from the speeches of the former regime that were announced on the local media after each act of genocide or purification, as the former regime described at that time, but the difference in this study is that the analysis will be according to a scientific and thoughtful approach which is far from the personal ideology of the researcher. The analysis will be based on a model proposed by the contemporary Dutch scientist ""Teun A. Van Dijk"". Born in 1943, ""Van Dijk"" is a distinguished scholar and teaching in major international universities. He has authored many approved books as curricula for teaching in the field of linguistics and political discourse analysis. In this study, Van Dijk's Model will be adopted to analyze political discourse ideologies according to forty-one criteria. The analysis process will be conducted in full transparency and credibility in accordance with these criteria without imposing the researcher's personal views. This study aims to shed light on the way of thinking that the dictatorial regimes adopt to impose their existence by force against the will of the people, which can be used to develop peoples' awareness to understand and analyze political statements in a scientific way away from the inherited ideologies imposed by customs, clan traditions, religion, doctrine and nationalism. With accurate scientific diagnosis, we put our hand on the wounds. So we can cure them and also remove the scars of these wounds. This is what we seek in this study, diagnosis and therefore suggesting the suitable treatment "

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„اثر العوامل السياسية والقانونية في التعايش السلمي وبناء السلام: انموذج العراق“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/22.

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Abud Mahdi, Huzaifa. „التسامح يف المنظور اإلسالمي وسبل تعزيزه يف المجتمع“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/39.

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سلمان عيسى, صديق, und وليد محمد عمر. „Anfal operations in Iraqi Kurdistan“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/31.

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"ABSTRACT Anfal Campaign and Kurdish Genocide The term al-Anfal is the name given to a succession of attacks against the Kurdish population in Iraq during a specific period, the word Anfal has come to represent the entire genocide over decades Hundreds of thousands of men, women and children were executed during a systematic attempt to exterminate the Kurdish population in Iraq in the Anfal operations in the late 198s. Their towns and villages were attacked by chemical weapons, and many women and children were sent to camps where they lived in appalling conditions. Men and boys of 'battle age' were targeted and executed en masse. The campaign takes its name from Suratal-Anfal in the Qur'an. Al Anfal literally means the spoils (of war) and was used to describe the military campaign of extermination and looting commanded by Ali Hassan al-Majid. The Ba'athists misused what the Qur'an says. Anfal in the Qur'an does not refer to genocide, but the word was used as a code name by the former Iraqi regime for the systematic attacks against the Kurdish population.. "

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AbdalKhabir Ali, Ali, und Hajar Salah Auda. „The effect of marsh draining on biodiversity“. In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/64.

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"The marsh represents a rare natural environment of its kind for a number of reasons. First, the marshes were the cradle of the Sumerian civilization and an environment that embraces a unique biodiversity. Its geography and vast area, which is equivalent to the size of a country like Lebanon, made it a resting place and provided food and reproduction for migratory birds. It is worthy of being included in the World Heritage List as one of the treasures of the world that must be preserved, but unfortunately, the Iraqi marshes have not been subjected throughout history to extensive and systematic drying operations, which reached 95% of their total area, as they were exposed to during the era of the previous dictatorial regime in the nineties of last century, which led to the emergence of a number of environmental problems that collectively led to the disruption of natural ecological balance through the loss of the ability to achieve the environmental balance and causing biological diversity damage . This is as a result of the lack of incoming water resources and the high percentage of salinity and pollution, which caused the death of huge numbers of wildlife and aquatic life, as well as the extinction of large numbers of them, causing a mass migration of the population of those areas to other areas that provide them with a minimum standard of decent living after they lost their main sources of livelihood represented by fishing and raising animals. The paper aims to present a study on the impact of the widespread and systematic drying stages that began after the Iran-Iraq war in the eighties of last century and culminated in the nineties, bringing the percentage of the remaining water from the marshes to 5% in 2002, and the extent of its impact on the destruction of the environment and biodiversity, which includes humans and animals, as well as migratory birds from Siberia to the Indian subcontinent, which lost their habitats and places for laying eggs and breeding. It will also present a number of solutions that will help reduce the environmental degradation that the marshes have been exposed to."

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Berichte der Organisationen zum Thema "Genocide in the theater"

Moran, Roger J. Confronting Genocide in Africa. Fort Belvoir, VA: Defense Technical Information Center, März 2003. http://dx.doi.org/10.21236/ada442597.

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Keogh, Susan. Is It Genocide? The Military Implications. Fort Belvoir, VA: Defense Technical Information Center, Januar 1998. http://dx.doi.org/10.21236/ada442834.

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Chandler, Paige L. The Great White Father and Genocide. Fort Belvoir, VA: Defense Technical Information Center, Januar 2002. http://dx.doi.org/10.21236/ada403997.

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Hooker, Jr, und Richard D. U.S. Policy Choices During the Rwandan Genocide. Fort Belvoir, VA: Defense Technical Information Center, Januar 2003. http://dx.doi.org/10.21236/ada442115.

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Radonić, Ljiljana. Genocide Remembrance Cultures in a European Comparison. Verlag der Österreichischen Akademie der Wissenschaften, Januar 2023. http://dx.doi.org/10.1553/0x003dfcbd.

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Much has been written about Holocaust museums and memorials. Ljiljana Radonić focuses in this text[1] to the way the Shoah is exhibited in national museums (especially in Central and Eastern Europe) yet devoted to other tragic events. But why? It is not so much a matter of repairing an omission as of evoking Jewish suffering as a model. In many cases, the message to be understood: “Our” victims suffered “like the Jews”.

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El Halabi, Elias. Youth-led Preservation of Syriac Orthodox Heritage in Syria. Institute of Development Studies, September 2023. http://dx.doi.org/10.19088/ids.2023.048.

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This report explores the Sayfo genocide, also known as the Asyrian genocide, and a youth-led project that brought together the Syriac Orthodox community in Syria to remember and memorialise those who were killed in the genocide. Produced as part of the IDS-led and British Academy funded research project Heritage Repertoires for Inclusive and Sustainable Development in Egypt, Syria, and Beyond.

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Tribble, Stephen A. War Termination, Identity Conflict, and Genocide: A Road Map. Fort Belvoir, VA: Defense Technical Information Center, Mai 2012. http://dx.doi.org/10.21236/ada606821.

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Volino, Anthony L. Leveraging the Trinity: A Clausewitzian Framework for Genocide Prevention. Fort Belvoir, VA: Defense Technical Information Center, Mai 2014. http://dx.doi.org/10.21236/ada612151.

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Newman, J. L. Theater Missile Defense. Fort Belvoir, VA: Defense Technical Information Center, Mai 1998. http://dx.doi.org/10.21236/ada351808.

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Medlock, Glenn, und Christopher M. Stacy. Pacific Theater Operations. Fort Belvoir, VA: Defense Technical Information Center, Januar 2011. http://dx.doi.org/10.21236/ada559809.

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