in original. 10 See Bruno Latour, “Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern,” Critical Inquiry 30.2 (2004): 225–48. 11 Academic debate about this term was triggered by Rustom Bharucha’s essay “Notes on the Invention of Tradition” in his Theatre and the World: Performance and the Politics of Culture (1990; London: Routledge, 1993), 193–211. 12 Dipesh Chakrabarty, Provincializing Europe: Postcolonial Thought and Historical Difference (2000; new ed., Princeton: Princeton University Press, 2007). 13 These comments are from a podcast of 2018 based on a lecture at Australian National University; see “The Knowledge We Value: Dipesh Chakrabarty Talks the Contentious Politics of Knowledge Production,” The Familiar Strange, 4 February 2018, https://thefamiliarstrange.com/2018/02/04/ep-7-dipesh-chakrabarty/, accessed 17 May 2021. 14 Bernard S. Cohn, “History and Anthropology: The State of Play,” Comparative Studies in Society and History 22.2 (1980): 198–221. 15 John London, “The Uncertainty of Fascist Aesthetics: Political Ideology and Historical Reality,” Culture, Theory and Critique 42.1 (1999): 49–63, at 53. 16 Dipesh Chakrabarty, “The Climate of History: Four Theses,” Critical Inquiry 35.2 (2009): 197–222. For a pioneering essay in theatre studies, see Bruce McConachie, “Ethics, Evolution, Ecology, and Performance,” in Readings in Performance and Ecology, ed. Wendy Arons and Theresa J. May (New York: Palgrave Macmillan, 2012), 91–100. The topic is placed on the international theatre studies agenda in Lisa Woynarski et al., “Dossier: Climate Change and the Decolonized Future of Theatre,” Theatre Research International 45.2 (2020): 179–208. 17 See What Is Adaptive about Adaptive Memory?, ed. Bennett L. Schwartz et al. (Oxford: Oxford University Press, 2014). 18 Paul Stoller, Sensuous Scholarship (Philadelphia: University of Pennsylvania Press, 1997), xvi. 19 Robin Nelson, “Practice-as-Research and the Problem of Knowledge,” Performance Research 11.4 (2006): 105–16.

中文翻译：

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玩真实：模仿，媒体和恶作剧林赛·布兰登·亨特（Lindsay Brandon Hunter）。伊利诺伊州埃文斯顿：西北大学出版社，2021；pp. xxiv + 162, 1 个插图。99.95 美元的布，34.95 美元的纸，34.95 美元的电子书。

在原来。10 见布鲁诺·拉图尔，“为什么批评已经过时了？从事实到关注的问题，”批判性调查 30.2 (2004): 225–48。11 Rustom Bharucha 在他的 Theatre and the World: Performance and the Politics of Culture (1990; London: Routledge, 1993), 193–211 中的论文“传统的发明笔记”引发了关于这个术语的学术争论。12 Dipesh Chakrabarty，欧洲地方化：后殖民思想和历史差异（2000 年；新版，普林斯顿：普林斯顿大学出版社，2007 年）。13 这些评论来自 2018 年基于澳大利亚国立大学讲座的播客；参见“我们重视的知识：Dipesh Chakrabarty 谈论知识生产的有争议的政治”，熟悉的怪人，2018 年 2 月 4 日，https://thefamiliarstrange.com/2018/02/04/ep-7-dipesh-chakrabarty/，2021 年 5 月 17 日访问。 14 Bernard S. Cohn，“历史与人类学：游戏状态”，社会与历史比较研究 22.2（1980 年）：198-221。15 John London，“法西斯美学的不确定性：政治意识形态和历史现实”，Culture, Theory and Critique 42.1 (1999)：49-63，第 53 页。 16 Dipesh Chakrabarty，“历史气候：四个论点”，批判调查 35.2 (2009): 197–222。有关戏剧研究的开创性文章，请参阅 Bruce McConachie，“Ethics, Evolution, Ecology, and Performance”，在 Readings in Performance and Ecology 编辑中。Wendy Arons 和 Theresa J. May（纽约：Palgrave Macmillan，2012），91-100。该主题被列入 Lisa Woynarski 等人的国际戏剧研究议程，“档案：气候变化和戏剧的非殖民化未来”，国际戏剧研究 45.2（2020）：179-208。17 见什么是自适应记忆的自适应？，编辑。Bennett L. Schwartz 等人。（牛津：牛津大学出版社，2014 年）。18 Paul Stoller，Sensuous Scholarship（费城：宾夕法尼亚大学出版社，1997 年），xvi。19 Robin Nelson，“实践即研究和知识问题”，绩效研究 11.4（2006 年）：105-16。