Use Google Scholar to find the corresponding literature according to the reading list I have given and to fulfill the academic writing requirements, please refer to the template I have given for detailed formatting.
reading list：
Angela Bartie (2013), ‘Cultural Challenge: The Creation of a ‘Fringe’ 1947–1955’ in The Edinburgh Festivals: Culture and Society in Post-war Britain, Edinburgh: Edinburgh University Press. Electronic text via library: https://go.exlibris.link/X077GLmY
Richard Knowles (2018), ‘Festivals:What Good Are They? What Are They Good at? The Case of Edinburgh 2017′, Theatre Journal, 70:3, 369-382. https://doi.org/10.1353/tj.2018.0060
Future Fringe (2022) report: https://www.thegreenhousetheatre.com/wp-content/uploads/2022/02/Future-Fringe-Steering-Group-Final-Report.pdf
Dena Davida et al. (2019). Curating Live Arts: Critical Perspectives, Essays, and Conversations on Theory and Practice. New York and Oxford: Berghahn. Electronic text via library: https://go.exlibris.link/W0RwL4bv
Lyn Gardner (2008), ‘Edinburgh festival: Free for all at the Fringe’, Guardian, 7 August. http://www.theguardian.com/culture/2008/aug/07/edinburghfestival.forestfringe
Stephen Greer (2018), ‘The Edinburgh Festival Fringe’ in Queer exceptions: solo performance in neoliberal times. Manchester: Manchester University Press, 40-48. Electronic text via library: https://go.exlibris.link/4GrFTx96
Jen Harvie (2003), ‘Cultural Effects of the Edinburgh International Festival: Elitism, Identities, Industries’, Contemporary Theatre Review, 13:4, 12-26. http://dx.doi.org/10.1080/1048680032000118378
Jenn Harvie (2013), Fair Play: Art, Performance and Neoliberalism. Basingstoke: Palgrave Macmillan. Electronic text via library: https://go.exlibris.link/nxn4Ns2f
Deborah Pearson (2015), ‘Curation as a Form of Artistic Practice: Context as a New Work through UK-Based Forest Fringe’, Canadian Theatre Review, 162, 80-81. https://muse.jhu.edu/article/579868
Bernadette Quinn (2005), ‘Arts Festivals and the City’, Urban Studies, 42: 927-943. http://usj.sagepub.com/content/42/5-6/927.abstract
Keren Zaiontz (2018) Theatre and Festivals. London: Palgrave Macmillan.
Nish Kumar (2022). ‘It’s where I learned how to be a comedian’: Nish Kumar on why the Edinburgh fringe still matters. https://www.theguardian.com/stage/2022/aug/16/its-where-i-learned-how-to-be-a-comedian-nish-kumar-on-why-the-edinburgh-fringe-still-matters