Berg, 2001), 203–22.
42. Bevir and Trentmann, “Markets in Historical Contexts,” 3.
43. See George M. Zinkhan and Richard T. Watson, “Advertising Trends: Innovation and the Process of Creative Destruction,” Journal of Business Research 37, no. 3 (1996): 163–71.
44. James Gilmore and Joseph Pine, Authenticity: What Consumers Really Want (Boston, MA: Harvard Business School Press, 2009).
45. See S. Banet-Weiser, “Branding Consumer Citizens,” Authentic: The Politics of Ambivalence in a Brand Culture (New York: New York University Press, 2012).
46. Christopher Howard, “Touring the Consumption of the Other: Imaginaries of Authenticity in the Himalayas and Beyond,” Journal of Consumer Culture 16, no. 2 (2016): 354–73, see esp. 362.
47. For an overview of emotion and consumer behavior research, see Fleur J. M. Laros and Jan Benedict E. M. Steenkamp, “Emotions in Consumer Behavior: A Hierarchical Approach,” Journal of Business Research 58, no. 10 (2005): 1437–45.
48. Identity-signaling is a key part of decisions about consumption, meaning that the social-good dimension of attending social-justice plays may play a large role in people’s ticket-buying patterns. See Jonah A. Berger, Benjamin Ho, and Yogesh V. Joshi, “Identity Signaling with Social Capital: A Model of Symbolic Consumption” (working paper, SSRN, April 15, 2011) https://ssrn.com/abstract=1828848.
49. Adam Arvidsson, “Brand Management,” Consuming Cultures, 71–94, see esp. 87.
50. Arjun Appadurai, Modernity at Large: Cultural Dimensions of Globalisation (Minneapolis: University of Minnesota Press, 1996), 42.
51. Appadurai, Modernity at Large, 42.
52. Baudrillard, “No Reprieve for Sarajevo,” http://ctheory.net/ctheory_wp/no-reprieve-for-sarajevo/.
53. Jacques Rancière, The Emancipated Spectator, trans. Gregory Elliott (London: Verso, 2009), 2, 16.
54. John Durham Peters, “Witnessing,” in Media Witnessing, ed. Paul Frosh and Amit Pinchevski (Basingstoke, UK: Palgrave, 2008), 26.
55. Jukka Törrönen, “Between Public Good and the Freedom of the Consumer,” Media, Culture & Society 23, no. 2 (2001): 171–93.
56. Harvie, Fair Play, 29–61.
57. Paul Ricoeur, Memory, History, Forgetting, trans. Kathleen Blamey and David Pellauer (Chicago: University of Chicago Press, 2004), 162.
58. Elizabeth Jelin, State Repression and the Struggles for Memory (2003), 23, quoted in Berthold Molden, “Power Relations of Collective Memory,” Memory Studies 9, no. 2 (2016): 134.
59. Jay Winter, “Thinking about Silence,” in Shadows of War, ed. Efrat Ben-Ze’ev, Ruth Ginio, and Jay Winter (Cambridge: Cambridge University Press, 2010), 6.
60. Lisa Fitzpatrick, “Gender and Affect in Testimonial Performance: The Example of I Once Knew a Girl,” Irish University Review 45, no. 1 (2015): 126–40.
61. Dori Laub, “An Event without a Witness,” in Testimony: Crises of Witnessing in Literature, Psychoanalysis and History, ed. Shoshana Felman and Dori Laub (London: Routledge, 1992), 75.
62. Laub, “An Event without a Witness,” 80.
63. Tamar Ashuri and Amit Pinchevski, “Witnessing as a Field,” in Media Witnessing, ed. Paul Frosh and Amit Pinchevski (Basingstoke, UK: Palgrave, 2008), 133–55, see esp. 137.
64. Laub, “An Event without a Witness,” 81.
65. Peters, “Witnessing,” 23.
66. Aleida Assmann, “Truth and Memory” (lecture, UCD Humanities Institute, February 6, 2018), https://soundcloud.com/ucd-humanities/aleida-assmann-truth-and-memory.
67. Pat Palmer, The Body in Pain in Irish Literature and Culture, ed. Fionnuala Dillane, Naomi McAreavey, and Emilie Pine (London: Palgrave, 2017), 21–38, see esp. 23.
68. Peters, “Witnessing,” 23.
69. Diana Taylor, “Staging Social Memory,” in Psychoanalysis and Performance, ed. Patrick Campbell and Adrian Kear (London: Routledge, 2001), 16.
70. Bourdieu, The Social Structures of the Economy, 148.
71. Gary S. Becker and Kevin M. Murphy, Social Economics: Market Behaviour in a Social Environment (Cambridge, MA: Harvard University Press, 2000).
72. Karine Shaefer, “The Spectator as Witness?” Theatre & Performance 23, no. 1 (2003): 5–20, see esp. 7, 17.
73. Caroline Wake, “Towards a Taxonomy of Spectatorial Witness in Theatre and Performance Studies,” in Visions and Revisions, ed. Caroline Wake and Bryoni Tresize (Copenhagen: Museum Tusculaneum Press, 2013), 34.
74. Wake, “Towards a Taxonomy of Spectatorial Witness,” 42.
75. Alan Filewood, “The Documentary Body,” in Get Real, ed. Alison Forsyth and Chris Megson (Basingstoke, UK: Palgrave Macmillan, 2009): 55–73, see esp. 69.
76. Rancière, The Emancipated Spectator, 16.
77. Gareth White, Audience Participation in the Theatre: Aesthetics of the Invitation (London: Palgrave, 2013), 57.
78. Jill Dolan, Utopia in Performance (Ann Arbor: University of Michigan Press, 2005), 2.
79. Jan Assmann, “Collective Memory and Cultural Identity,” New German Critique 65 (Summer, 1995): 125–33, see esp. 127.
80. See, for example, E. Kromidha, “Social Identity and Signalling Success Factors in Online Crowdfunding,” Entrepreneurship & Regional Development 28, no. 9–10 (2016): 605–29; Roland Benabou and Jean Tirole, “Incentives and Prosocial Behavior,” The American Economic Review 96, no. 5 (2006): 1652–78; Rachel Croson, Femida Handy, and Jen Shang, “Keeping Up with the Joneses: The Relationship of Perceived Descriptive Social Norms, Social Information, and Charitable Giving,” Nonprofit Management & Leadership, 19, no. 4 (2009): 467–89; Deborah J. Terry, Michael A. Hog, and Katherine M. White, “The Theory of Planned Behaviour: Self-Identity, Social Identity and Group Norms,” The British Journal of Social Psychology 38 (1999): 225–44.
81. Rosanne Kennedy makes this argument in relation to apologies to the Australian Stolen Generation. See Rosanne Kennedy, “An Australian Archive of Feelings,” Australian Feminist Studies 26, no. 69 (2011): 257–79.
82. Hirsch, The Generation of Postmemory, 93. Favorini argues that theatre is “a connectionist rather than a storage model for memory,” Atillio Favorini, Memory in Play: From Aeschylus to Sam Shepard (New York: Palgrave Macmillan, 2008), 180.
83. Susan Sontag, Regarding the
