Those who knew about my creative history would probably furrow their brows and think this is a cold joke. But the archival investments of current reenactment practices also include what Kate Elswit in Chapter 9 calls their “ ‘future’ potential.” The recovery of past dances has come to constitute a new contemporary choreographic and performative activity with a forward-looking dimension, associating reenactment with a future impregnated with recovery. If the body itself becomes document, record, or evidence, and the dancer the archival agent or subject rather than object, hierarchical allocations that are entwined with the dichotomy of textual documents (as standing for the same) and embodied acts (as standing for the other) are no longer tenable. There is more than a single thematic nucleus or a single guiding thesis in The Oxford Handbook of Dance and Reenactment, and its textual displacement affects and is affected by the range of conceptual coinages. in advance” the choreographic present (Chapter 8).7 In a reversal of Walter Benjamin’s thought image (or in fact, movement image) of the Angelus Novus, whose gaze is directed toward a (catastrophic) past while he is driven toward a future that lies behind his back, reenactments are facing the future in its double shape as both past and present futurity; yet at the same time, going backward, they also recede from it. . (7) Julia Wehren echoes Thurner’s position. The afterword is often confused with the postscript. In other words, Douglas ensures in this work that the actual past’s absence is a conspicuous one. (p. 611) Körper als Archiv in Bewegung. 1993. See Franko, Chapter 24, in this volume. By casting a black performer and filmically intervening into a canonical dance piece, Kentridge may not rewrite, but does revisualize a prominent example of Western dance heritage, repossessing it to powerful effect for those whom this heritage excluded. They have an “investigative dimension [ . Définition de postface dans le dictionnaire français en ligne. As an embodied practice, it is also always more than metaphorical. Postfaces are quite often used in books so that the non-pertinent information will appear at the end of the literary work, and Dancers “re-member knowledge through their movements as the body acts” (Foster 2009, 8). (10) Reenactments can thus provide impulses for an academic practice of dance historiography that is at the height of current (performed) theorizing. (p. 608) Click (+) beside Postface/Afterword. The 1963 Interview: Sonic Bodies, Seizures, and Spells, Reenactment, Dance Identity, and Historical Fictions, Bound and Unbound: Reconstructing Merce Cunningham’s Crises, The Motion of Memory, the Question of History: Recreating Rudolf Laban’s Choreographic Legacy, To the Letter: Lettrism, Dance, Reenactment, Letters to Lila and Dramaturg’s Notes on Future Memory: Inheriting Dance’s Alternative Histories, Not Made by Hand, or Arm, or Leg: The Acheiropoietics of Performance, Pedagogic In(ter)ventions: On the Potential of (Re)enacting Yvonne Rainer’s Continuous Project/Altered Daily in a Dance Education Context, What Remains of the Witness? Reenactment testifies to a new sense of agency in relationships with the past. By interweaving performance cultures without negating or homogenizing differences but permanently de/stabilizing and thus invalidating their authoritative claims to authenticity, performances, as sites of in-betweeness, are able to constitute fundamentally other, unprecedented realities. [1] It generally covers the story of how the book came into being, or of how the idea for the book was developed. What is more, its own conceptual work of the “re-” also follows this logic.1 Reenactments remain marked by the resistant Afterword to the Second German Edition I must start by informing the readers of the first edition about the alterations made in the second edition. (2) “Introduction.” New Literary History 42: vii–xii.Find this resource: Wehren, Julia. “It is as though a work,” Noland writes, conceived originally for a different audience, discursively framed in a different way, bore in its very DNA the possibility of evolving along other lines. In Chapter 25, writing on fifteenth-century basse danse and bassadanza manuals, Seeta Chaganti speaks of a kind of time that is “recursive and multidirectional [ . 1996. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. The discussions among the team rest on a shared commitment to learning about something that remains far away and impossible to assimilate, but that is still traceable as a historical form of movement with its own psycho-choreographical qualities.27. Postfaces are quite often used in books so that the non-pertinent information will appear at the end of the literary work, and not confuse the reader. Following Rebecca Schneider, to refer to the live acts of bodily movement as archival findings or documents unsettles the distinction between documents on the one side and performance acts on the other. 2009. In real life, you often have to deal with … Rather, the archival structure facilitated—and still facilitates for us—that which appears to have been the project’s initial driving momentum. Sens du mot. afterword containing epilogue Having included normally participle past past participle piece text 19 suffixes (Nouveaux mots formés en ajoutant une ou plusieurs lettres à la fin du mot.) Afterword. Arnaud Blin, Gustavo Marin ¤ 5 December 2009 ¤ Translations: français (original) . (21) but who is not the chief author of a work The question of the here and now is explicitly enacted in dissemination). English Translation of “postface” | The official Collins French-English Dictionary online. Results from this project are accessible on a website that puts at our disposal a set of historiographical tools.25 These tools consist not only in the making available of archival material, but also in recordings of the physical production of such material. You've got the pronunciation (2014, 12–15). If the discipline of history, as Michel Foucault has it, was for a long time deemed to be “a practice disengaged from the present,” reenactment’s allegiances to the body’s here and now would preclude that it can act on this discipline’s behalf. At some point in one of the recorded conversations among the Errand into the Maze re-creation team, Roller talks about his motivations for embarking on The Source Code. See Philip Auslander, “The Performativity of Performance Documentation,” Performance Art Journal 84 (2006): 1–10; Amelia Jones: “‘Presence’ in Absentia: Experiencing Performance as Documentation,” Art Journal 56 (Winter 1997): 11–18; see also my discussion of Jochen Roller’s The Source Code later in this afterword. A brief oration or script at the end of a literary piece; an afterword (computing) A component of a computer program that prepares the computer to return from a routine. Volume 50 Édition spéciale. It recalls to action, acts on, and thus reintroduces impact in the present to that which has been said and done. afterword (redirected from afterwords) afterword a concluding section, commentary, etc. Gratuit. Les Mémoires (Postface) reproduisent une lettre datée du 28 mars 1858 que Berlioz veut adresser à l'empereur pour lui demander son soutien pour faire monter l'opéra.The Memoirs reproduce a letter dated 28 March 1858 which Berlioz intended to send to the emperor asking for his support in getting les Troyens performed. (20) Here Dada Masilo’s reenactment of Loïe Fuller’s Serpentine Dance, which is shown in reverse, literally re-embodies time, showing how to perform it otherwise.5. . ] [aui] An afterword is a literary device that is often found at the end of a piece of literature.It generally covers the story of how the book came into being, or of how the idea for the book was developed. Define postface. Resounding with Judith Butler’s model of performativity, reenactments reiterate rather than repeat, thinking with, but not within, the prescriptions of the past. (1981, 7). “Introduction: Interweaving Performance Cultures—Rethinking ‘Intercultural Theatre:’ Toward an Experience and Theory of Performance Beyond Postcolonialism.’” In The Politics of Interweaving Performance Cultures: Beyond Postcolonialism, edited by Erika Fischer-Lichte, Torsten Jost, and Saskya Iris Jain, 1–24. Les avantages de Python Le langage d’implémentation de la base de Sage est le langage Python (voir [Py]), même si le code … Antonymes [modifier le wikicode] préface Dérivés [modifier le wikicode] postfacier Traductions [modifier le] Add a new section 1. Wehren explores the historiographical aspects of current performance practice by Olga de Soto, Foofwa d’Imobilité, Thomas Lebrun, and Boris Charmatz and argues that “their choreographic rethinking of history […] represents dance history in meaningful and adequate ways,” in Körper als Archiv in Bewegung. An afterword is imbued with the generic flaw of the supplement, of that which remains exterior to “real,” “original,” or “timely” contents. 2014. (p. 620) It can be most powerful if construed as an advertent effect of latency, as in Stan Douglas’s fictional histories that are the object of his photographs for Disco Angola (2012).2 Catherine Soussloff writes in Chapter 29 that actual history, the fact that “Angola descended into a perpetual battlefield, while disco was impugned for its commercialization and ‘bad’ music,” is left out in Douglas’s utopian reenactments, thus making obvious the constructed nature of Disco Angola’s redemptive élan, and its politically motivated refusal to reactivate the historical past.3 In this case, such a refusal must be seen as an emancipatory act. Concurrently, an afterword’s analeptic reenactment of a collection of chapters, which brings back certain aspects of past writing while passing over others, does not assume the status of an exhaustive reconstruction. En 1994, Sterling a publié le livre pour Internet avec une nouvelle postface. The postface can be written by the author of a document or by another person. London: Routledge.Find this resource: Roller, Jochen. Reflecting upon contents that always will have happened already, the genre of the afterword corresponds to the out-of-time topic of this Handbook: reenactment. “Presence” in Absentia: Experiencing Performance as Documentation.” Art Journal 56 (Winter): 11–18.Find this resource: Klein, Gabriele. Auslander, Philip. This process met with success because after three centuries the late Roman emperor Constantine the Great made Christianity the official cult of the state. Post- and prefaces belong to what Jacques Derrida calls the hors livre or “outwork,” those texts or not-quite texts that dwell at the margins of what is usually considered the main body of a book. The postface—or afterword—is an untimely genre. The book includes an afterword by Deputy Minister of Foreign Affairs Gaëtan Lavertu. The aesthetic of the reconstructor, the kinetic particularities of the dancers, and the attitude of the contemporary audience all pull the choreography further in a direction latent in the choreography. “For the postface,” Gérard Genette writes in Paratexts, “it is always both too early and too late” (1997, 239). Such other, unprecedented realities emerge in Elswit’s and Nair’s reenactment of Kurt Jooss’s gift to Swedish-based Indian dancer Lilavati Häger, and in Beyoncé’s “borrowing” of movement material by Anne Teresa De Keersmaeker, as discussed in Chapter 18 by Anthea Kraut;20 they arise in Randy Martin’s “logics of derivation” which he detects in Trisha Brown’s postmodern dance, in breakdancing, and in skateboarding (Chapter 28), and in Janez Janša’s subversive reappropriation during the 2007 Exodos Festival in Ljubljana of canonical contemporary dance works from the United States, Germany, and Japan.21 They can be witnessed in Ecuadorian Fabián Barba’s “illusions of authenticity” when performing Mary Wigman’s dances (Chapter 20), and in Richard Move’s “sonic incarnations” of Martha Graham (Chapter 4). London: Routledge.Find this resource: Phelan, Peggy. Styles of movement, dance pieces, and dancers migrate; forms of dance On memory, see also Yvonne Hardt (Chapter 12) and P. A. Skantze (Chapter 16) in this volume. It is therefore a privileged space for conversation between dancers (who are often also researchers) and researchers (who are often also dancers), which is evident in the selection of contributors to this volume who share an interest in questions of revitalization and return from various practical and discursive positions. Postface 2017-02-25T11:08:27+00:00 After. “the project of historiography by acting on that which seemed to belong forever more to the register of language (the writing of history)” (Chapter 1 in this volume). When visiting the website as a researcher and clicking on the various documents, one reenacts, as it were, the reenactment process: one thematic level is called “Constantly Moving,” and this is what the digital interface encourages, interspersed with moments of halt and attentiveness, zooming in on a historical photograph, an audio recording of a former Bodenwieser dancer, or a studio clip. Crises emerged from a process in which the choreographer’s body gave in to being transformed by the movement qualities of one of his dancers, in this case Viola Farber. The postface is separated from the main body of the book and is placed in the appendices pages. Taking into account current archival theories, this notion has a literal and a metaphorical dimension; it implies both “a body of documents and the institutions that house them” and “a metaphoric invocation for any corpus of selective collections and the longings that the acquisitive quests for the primary, originary, and untouched entail” (Stoler 2009, 45). Choreographie als historiografische Praxis (Bielefeld: Transcript, 2016), 220 (my translation). The postface is separated from the main body of the book and is placed in the appendices pages. 2016. Postface Postface Pourquoi Python ? It generally covers the story of how the book came into being, or of how the idea for the book was developed. Afterword to ‘Jesus was Caesar’ The territory in which the new Christian religion spread two thousand years ago can be defined as the Imperium Romanum. A firm assignment of place is of course impossible with regard to the many locations of this book’s contributions. For a complementary discussion of The Source Code, see Sabine Huschka (Chapter 30) in this volume. Il est généralement placé après le nom et s'accorde avec le nom (ex : un ballon bleu, une balle bleue). [1] Postfaces are quite often used in books so that the non-pertinent information will appear at the end of the literary work, and not confuse the reader. This is what Christina Thurner proposes in Chapter 26. As Schneider argues, “crossing the wires of this long-sedimented binary” effectuates an important theoretical shift, providing “a fertile way to interrogate the very privilege that document, inscription, and textuality have held over incorporation” (2011, 197). (p. 610) It might still follow a traditionally discursive model, but tell (hi)stories that reflect inter-temporality and global interconnectedness in their thematic reaches and approaches. (p. 616) “Making Time: Temporality, History, and the Cultural Object.” New Literary History 46: 361–386.Find this resource: Caruth, Cathy. 2010. As nouns the difference between afterword and postface is that afterword is an epilogue while postface is a piece of text, containing information normally included in a preface, placed at the back of a publication. A project like The Source Code activates the past not as event, then, but as process, showing us how the performance of a reenactment—which was not intended in this case—might come about, without displaying a result. adapt elements from each other; they fuse and branch out.19 Erika Fischer-Lichte calls this interconnectedness “interweaving,” and she points out that it “does not result in homogenization but generates diversity.” She holds that, moving within and between cultures is celebrated as a state of in-betweeness that will change spaces, disciplines and the subject as well as her/his body in a way that exceeds what is currently imaginable. . ] See Cathy Caruth, Unclaimed Experience: Trauma, Narrative, and History (Baltimore, MD: Johns Hopkins University Press, 1996); Peggy Phelan, Unmarked: The Politics of Performance (London: Routledge, 1993), and Mourning Sex: Performing Public Memories (London: Routledge, 1997). You could not be signed in, please check and try again. is associated with capitalism and colonialism. . 2006. “The Body as Archive: Will to Re-Enact and the Afterlives of Dances.” Dance Research Journal 42(2): 28–48.Find this resource: Phelan, Peggy. Le livre est suivi d'une postface de Gaëtan Lavertu, sous-ministre des Affaires étrangères. La préface et la postface de son livre. Le terme « utopie », du grec ancien ou‐topos (« non‐lieu » ou « en aucun lieu »), désigne littéralement un lieu qui n’existe pas. This theoretical shift not only affects ontological categorization, such as the insistence on performance’s transience; it also pertains to the ethical and political relevance of performance. . Retrospective covers of that which went before are molded by omissions. A postface is a text added to the end of a book or written as a supplement or conclusion, usually to give a comment, an explanation, or a warning. See Ann Cooper Albright and Ann Dils, Moving History/Dancing Cultures: A Dance History Reader (Middletown, CT: Wesleyan University Press, 2001); Susan Leigh Foster, ed., Worlding Dance (Basingstoke: Palgrave Macmillan, 2011); Gabriele Klein, “Inventur der Tanzmoderne. (11) A postscript at the end of a letter adds additional remarks 2011. This will to archive has much in common with what Sigmund Freud, who devoted himself to the ways in which individual, unconscious pasts can be made available for analysis, calls “working-through,” a mode of conscious remembering and appropriation of former experience that he contrasts to an unconscious mode of compulsive repetition. Find this resource: (1) “The Performativity of Performance Documentation.” Performance Art Journal 84: 1–10.Find this resource: Born, Georgina. in Legal Education Legal History on 1 January 2019 4 April 2019 Share Facebook Twitter Pinterest Google+ Email. The afterword can be thought of as being in the same family as the preface and introduction. but who is not the chief author of a work Author of dialog [aud] A person or organization responsible for the dialog or spoken commentary for a screenplay or sound recording Author of introduction, etc. See also Fabián Barba (Chapter 20) in this volume. (26) . Danced reenactment takes to task Freud’s theory. Postscript. The performativity of the site depends on how it is performed upon by the scholar. Foster, Susan Leigh. The notion of reenactment itself is not concerned to convey a definitive viewpoint on what is still a very diverse phenomenon. (8) Where? But it might also reflect, in its methodology and form, reenactment’s poetics of space and time. An afterword is a literary device that is often found at the end of a piece of literature. These notes take up themes that run through the contributions to this volume, and their after-the-fact status is visible in their headings: “Postface,” “Restance,” “Temporality,” and “Archive.” They are succeeded by a longer note on the potential of danced reenactment to reshape the historiography of dance. Español. The Oxford Handbook of Dance and Reenactment, Introduction: The Power of Recall in a Post-Ephemeral Era, Tracing Sense/Reading Sensation: An Essay on Imprints and Other Matters, Giving Sense to the Past: Historical D(ist)ance and the Chiasmatic Interlacing of Affect and Knowledge, Martha@ . Principales traductions Français Anglais postfacé adj adjectif: modifie un nom. They thus enter the archive in more than one way: like scholars, they engage in archival inquiry; but they also perform what they have found, and they perform how they relate to their archive, questioning their desire for authenticity. There is an intimate link between the focus during the 1990s on ephemerality in performance studies and the insistence in trauma studies on the erasure of the event which is at the heart of painful experience.14 That which Franko calls, significantly, the “post-ephemeral era” (Chapter 1) of reenactment shifts theoretical attention from a kind of eventness that exists through compulsive erasure and return, to one that exists through deliberate—if not uncomplicated—forms of reclaim. Cambridge: Cambridge University Press.Find this resource: (p. 619) As we have seen, reenactment redefines the notion of the archive, or, in order to become a precondition of working-through (2001, 153). 1981. Likewise, a historical choreography will not remain unaffected by its reconstruction or reenactment. Baltimore, MD: Johns Hopkins University Press.Find this resource: Cooper Albright, Ann, and Ann Dils. Jones, Amelia. See Terry Smith, “Contemporary Art and Contemporaneity,” Critical Inquiry 32(4) (2006): 681–707. Carrie Noland in Chapter 6 considers Jennifer Goggans’s 2014 reconstruction of Merce Cunningham’s Crises (1960) part of the larger aesthetic realm of reenactment, and she explores how this reconstruction by a dancer with intimate knowledge of the original directs attention to affective and dramatic potentials that are usually denied in approaches to Cunningham’s choreography.10 Noland also argues that a reconstruction like Goggans’s brings to the fore choreographic processes that show how ostensibly originary or even totalitarian agencies—a choreography that is imposed onto dancers’ bodies, a source piece that determines its reconstruction—are shaped by that which they might seem to govern. One is struck at once by the clearer arrangement of the book. postface = afterword. (3) No captions; an afterword in both English and Japanese. (p. 614) Paratexts: Thresholds of Interpretation. PRINTED FROM OXFORD HANDBOOKS ONLINE ( OLR-50-3-07-Postface-_-Afterword-Final. It is an example of such a kind of archive that I would like to introduce in conclusion, based on a reenactment project that may serve as an inspiring model for a type of academic historiography that is attentive to the rethinking of historiography in dance. 2001. All Rights Reserved. (15) In Chapter 30, Sabine Huschka speaks of a “staged act of activated memory,” emphasizing that we do not aim to approach the truth of the past, but rather appropriate a mediated—and therefore precisely not immediate—version of it;13 and we do so to create specific effects, restoring a certain operative dimension to that which is (no longer) gone. further historical understanding’, precisely because of its ‘emphasis on affect’ ” (Agnew, cited in Chapter 3).” But De Laet also asserts that the focus on affect alone does not capture the self-reflective dimension of new archival performance:12 “The common equation of reenactment in dance with a search for affect has fostered a rather one-sided perspective that disregards how it also stimulates epistemic faculties and provokes critical reflection on how it is we come to know the past.”. 12, 145–157. He asks, “How much can you [ . Geschichtstheoretische Überlegungen zur tanzwissenschaftlichen Forschung,” Forum Modernes Theater 23/1 (2008), 5–12. Archival performances of the body-as-document are visually or textually recorded in turn, making documentation a genuine part of the performative event.8. Postface. Pronunciation of afterword with 2 audio pronunciations, 2 synonyms, 12 translations, 1 sentence and more for afterword. But its supplementary character also bears a promise, questioning notions of realness, originality, and timeliness. Unmarked: The Politics of Performance. Dissemination. postface synonyms, postface pronunciation, postface translation, English dictionary definition of postface. (p. 618) These impulses pertain, above all, to the meshwork of what I would like to call the inter-temporal and globally interconnected aspects of the project of reenactment.16Inter-temporality is used as an umbrella term here, encompassing not only the unsettlement of linear time in archival performance, but also the hybrid or aesthetic temporalities that currently receive much critical attention both within and beyond the field of dance.17 Reenactment’s temporal theorizing is in touch with cross-disciplinary debates, such as the discussion on the multiple temporalities of contemporaneity in art theory.18 It also speaks to what Georgina Born, with reference to music, calls “the multiplicity of time in cultural production” (2015, 362), and to the new interest in literary history in the “transtemporal movement” of “[p]olychronic parallax in multiple historical dimensions,” which breaks open firm allocations of literary context (Tucker 2011, x). But its supplementary character also bears a promise, questioning notions of realness, originality, and timeliness. postface - traduction français-anglais. By contrast, restance can have a more problematic value when operating inadvertently, as revealed by Susanne Franco’s discussion in Chapter 7 of Valerie Preston-Dunlop’s “recreations” of Rudolf Laban’s choreographies. 2015. 1997. PRINTED FROM OXFORD HANDBOOKS ONLINE ( “Inventur der Tanzmoderne. In Freud, however, conscious remembering cannot happen in the “motor sphere,” which is the site where unconscious impulses are repetitively acted out or “discharge[d] in action.” In the Freudian setting, remembering must take place in the “psychical field” 2001. Moving History/Dancing Cultures: A Dance History Reader. Hannover: Wehrhahn.Find this resource: Genette, Gérard. In his afterword, he notes how the situation has evolved since these discussions began taking place. Afterword is a see also of postface. An afterword is similar to a foreword except that it comes AFTER the main work instead of before it. The studio clips that are included on the website only ever present us with snippets of movement sequences, often framed with discursive passages. Bielefeld, Germany: Transcript. De très nombreux exemples de phrases traduites contenant "postface" – Dictionnaire anglais-français et moteur de recherche de traductions anglaises. On affect, see also Anna Pakes (Chapter 5) and Gerald Siegmund (Chapter 23) in this volume. © Oxford University Press, 2018. Marvin Minsky, October 1, 1984 (This web-version was considerably revised.)

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