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<p class="MsoNormal">Dear colleagues, <o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Since many CANDRAMA subscribers were involved in the conference that we hosted in Ottawa, we thought that some of you might be interested to know about our book
<b><i>History, Memory, Performance</i></b> just out from Palgrave Macmillan: <o:p>
</o:p></p>
<p class="MsoNormal"><a href="http://www.palgrave.com/page/detail/?K=9781137393883&WT.mc_id=EMI_PALGRAVE_1501_SRL1273-Author-Publication-Notification-Jan-AUTFORTY%20(1)&WT.i_dcsvid=&spMailingID=47779682&spUserID=MTIyNjY2OTk2NTgxS0&spJobID=601357872&spReportId=NjAxMzU3ODcyS0">http://www.palgrave.com/page/detail/?K=9781137393883&WT.mc_id=EMI_PALGRAVE_1501_SRL1273-Author-Publication-Notification-Jan-AUTFORTY%20(1)&WT.i_dcsvid=&spMailingID=47779682&spUserID=MTIyNjY2OTk2NTgxS0&spJobID=601357872&spReportId=NjAxMzU3ODcyS0</a><o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">We’re really proud of the insightful, engaging essays that our contributors wrote for this collection:<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">1. Discursive Practices and Narrative Models: History, Poetry, Philosophy; Freddie Rokem<o:p></o:p></p>
<p class="MsoNormal">2. Performing Pasts for Present Purposes: Reenactment as Embodied, Performative History; Katherine Johnson<o:p></o:p></p>
<p class="MsoNormal">3. Minding the Gap: The Choreographer as Hyper-historian in Oral History-based Performance; Jeff Friedman
<o:p></o:p></p>
<p class="MsoNormal"><span lang="FR-CA">4. Un/becoming Nomad: Marc Lescarbot, Movement, and Metamorphosis in Les Muses de la Nouvelle France; VK Preston
<o:p></o:p></span></p>
<p class="MsoNormal">5. Group Biography, Montage, and Modern Women in Hooligans and Building Jerusalem; Nancy Copeland
<o:p></o:p></p>
<p class="MsoNormal">6. Alexander Pushkin's Boris Godunov as Epic Theatre; J. Douglas Clayton<o:p></o:p></p>
<p class="MsoNormal">7. Shakespeare Inside out: Hamlet as Intertext in the USSR 1934-1943; Irena R. Makaryk<o:p></o:p></p>
<p class="MsoNormal">8. Raoul Wallenberg on Stage – or at Stake? Guilt and Shame as Obstacles in the Commemoration of a Holocaust Hero; Tanja Schult<o:p></o:p></p>
<p class="MsoNormal">9. Staging Auschwitz, Making Witnesses: Performances between History, Memory, and Myth; Rachel E. Bennett
<o:p></o:p></p>
<p class="MsoNormal">10. Real Archive, Contested Memory, Fake History: Transnational Representations of Trauma by Lebanese War Generation Artists; Johnny Alam<o:p></o:p></p>
<p class="MsoNormal">11. Performing Collective Trauma: 9/11 and the Reconstruction of American Identity; Josy Miller
<o:p></o:p></p>
<p class="MsoNormal">12. Brazilian Contemporary Theatre: Memories of Violence on the Post-Dictatorship Stage; Claudia Tatinge Nascimento
<o:p></o:p></p>
<p class="MsoNormal">13. Bent and the Staging of the Queer Holocaust Experience; Samantha Mitschke<o:p></o:p></p>
<p class="MsoNormal">14. Partners in Conversation: Ethics and the Emergent Practice of Oral History Performance; Edward Little and Steven High<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Cordially,<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">David Dean<o:p></o:p></p>
<p class="MsoNormal">Yana Meerzon<o:p></o:p></p>
<p class="MsoNormal">Kathryn Prince<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
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