This international analysis of theatrical case studies illustrates the ways that theater was an arena both of protest and, simultaneously, racist and imperialist exploitations of the colonized and enslaved body. By bringing together performances and discussions of theater culture from various colonial powers and orbits-ranging from Denmark and France to Great Britain and Brazil-this book explores the ways that slavery and hierarchical notions of "race" and "civilization" manifested around the world. At the same time, against the backdrop of colonial violence, the theater was a space that also facilitated reformist protest and served as evidence of the agency of Black people in revolt. Staging Slavery considers the implications of both white-penned productions of race and slavery performed by white actors in blackface makeup and Black counter-theater performances and productions that resisted racist structures, on and off the stage. With unique geographical perspectives, this volume is a useful resource for undergraduates, graduates, and researchers in the history of theater, nationalism and imperialism, race and slavery, and literature.

Focusing on eighteenth-century cultural productions, Wendy Sutherland examines how representations of race in philosophy, anthropology, aesthetics, drama, and court painting influenced the construction of a white bourgeois German self. Sutherland positions her work within the framework of the transatlantic slave trade, showing that slavery, colonialism, and the triangular trade between Europe, West Africa, and the Caribbean function as the global stage on which German bourgeois dramas by Friedrich Wilhelm Ziegler, Ernst Lorenz Rathlef, and Theodor Koerner (and a novella by Heinrich von Kleist on which Koerner's play was based) were performed against a backdrop of philosophical and anthropological influences. Plays had an important role in educating the rising bourgeois class in morality, Sutherland argues, with fathers and daughters offered as exemplary moral figures in contrast to the depraved aristocracy. At the same time, black female protagonists in nontraditional dramas represent the boundaries of physical beauty and marriage eligibility while also complicating ideas of moral beauty embodied in the concept of the beautiful soul. Her book offers convincing evidence that the eighteenth-century German stage grappled with the representation of blackness during the Age of Goethe, even though the German states were neither colonial powers nor direct participants in the slave trade.

Written for Higher Education educators, managers and policy-makers, Plagiarism, the Internet and Student Learning combines theoretical understandings with a practical model of plagiarism and aims to explain why and how plagiarism developed. It offers a new way to conceptualize plagiarism and provides a framework for professionals dealing with plagiarism in higher education. Sutherland-Smith presents a model of plagiarism, called the plagiarism continuum, which usefully informs discussion and direction of plagiarism management in most educational settings. The model was developed from a cross-disciplinary examination of plagiarism with a particular focus on understanding how educators and students perceive and respond to issues of plagiarism. The evolution of plagiarism, from its birth in Law, to a global issue, poses challenges to international educators in diverse cultural settings. The case studies included are the voices of educators and students discussing the complexity of plagiarism in policy and practice, as well as the tensions between institutional and individual responses. A review of international studies plus qualitative empirical research on plagiarism, conducted in Australia between 2004-2006, explain why it has emerged as a major issue. The book examines current teaching approaches in light of issues surrounding plagiarism, particularly Internet plagiarism. The model affords insight into ways in which teaching and learning approaches can be enhanced to cope with the ever-changing face of plagiarism. This book challenges Higher Education educators, managers and policy-makers to examine their own beliefs and practices in managing the phenomenon of plagiarism in academic writing.

Written for Higher Education educators, managers and policy-makers, Plagiarism, the Internet and Student Learning combines theoretical understandings with a practical model of plagiarism and aims to explain why and how plagiarism developed. It offers a new way to conceptualize plagiarism and provides a framework for professionals dealing with plagiarism in higher education. Sutherland-Smith presents a model of plagiarism, called the plagiarism continuum, which usefully informs discussion and direction of plagiarism management in most educational settings. The model was developed from a cross-disciplinary examination of plagiarism with a particular focus on understanding how educators and students perceive and respond to issues of plagiarism. The evolution of plagiarism, from its birth in Law, to a global issue, poses challenges to international educators in diverse cultural settings. The case studies included are the voices of educators and students discussing the complexity of plagiarism in policy and practice, as well as the tensions between institutional and individual responses. A review of international studies plus qualitative empirical research on plagiarism, conducted in Australia between 2004-2006, explain why it has emerged as a major issue. The book examines current teaching approaches in light of issues surrounding plagiarism, particularly Internet plagiarism. The model affords insight into ways in which teaching and learning approaches can be enhanced to cope with the ever-changing face of plagiarism. This book challenges Higher Education educators, managers and policy-makers to examine their own beliefs and practices in managing the phenomenon of plagiarism in academic writing.

Focusing on eighteenth-century cultural productions, Wendy Sutherland examines how representations of race in philosophy, anthropology, aesthetics, drama, and court painting influenced the construction of a white bourgeois German self. Sutherland positions her work within the framework of the transatlantic slave trade, showing that slavery, colonialism, and the triangular trade between Europe, West Africa, and the Caribbean function as the global stage on which German bourgeois dramas by Friedrich Wilhelm Ziegler, Ernst Lorenz Rathlef, and Theodor Koerner (and a novella by Heinrich von Kleist on which Koerner's play was based) were performed against a backdrop of philosophical and anthropological influences. Plays had an important role in educating the rising bourgeois class in morality, Sutherland argues, with fathers and daughters offered as exemplary moral figures in contrast to the depraved aristocracy. At the same time, black female protagonists in nontraditional dramas represent the boundaries of physical beauty and marriage eligibility while also complicating ideas of moral beauty embodied in the concept of the beautiful soul. Her book offers convincing evidence that the eighteenth-century German stage grappled with the representation of blackness during the Age of Goethe, even though the German states were neither colonial powers nor direct participants in the slave trade.