postface or afterword

Situated at the theoretically self-reflexive end of a continuum of archival practice in dance, the rethinking of methods for approaching the past is part of the performance of reenactments. En 1994, Sterling a publié le livre pour Internet avec une nouvelle postface. 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.”. Learn how and when to remove this template message, https://en.wikipedia.org/w/index.php?title=Postface&oldid=866236869, Articles needing additional references from September 2016, All articles needing additional references, Creative Commons Attribution-ShareAlike License, This page was last edited on 29 October 2018, at 03:51. (13) Mourning Sex: Performing Public Memories. On affect, see also Anna Pakes (Chapter 5) and Gerald Siegmund (Chapter 23) in this volume. Often, dance deconstructs this dichotomy between embodiment and recording even further. Restance affects reenactments in various ways. “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. A person or organization responsible for an afterword, postface, colophon, etc. 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. 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. Volume 50 Édition spéciale. 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. . ] . (p. 615) The postface—or afterword—is an untimely genre. This Handbook suggests an intrinsic or latent relationship between reenactment and historiography, whereby the performed histories of reenactments do not necessarily replace traditional historiography, but rethink its terms.11 Referring to Vanessa Agnew’s theorization of popular reenactments in Chapter 3, Timmy De Laet reminds us that this scholar detects a general emphasis in the field on affective historiography, and therefore ultimately doubts “whether reenactment has the ‘capacity to Moving History/Dancing Cultures: A Dance History Reader. (Chapter 6), What, then would be the direction latent in the artistic field of reenactment, and how can we pull it further? As we have seen, reenactment redefines the notion of the archive, or, Bodenwieser is a major proponent of early twentieth-century Ausdruckstanz. Conversely, the post of the postface might then ideally (or ludicrously) attempt to make the past present, representing that which has already been written, drawing it closer, breathing it in, but also, by returning to it, assigning it its place in a “there.” “Is not the question of the ‘there’ the ultimate question of reenactment?” Mark Franko asks in Chapter 24 of this volume. See Kate Elswit (Chapter 9) and Anthea Kraut (Chapter 18) in this volume. An afterword is a literary device that is often found at the end of a piece of literature. “Introduction.” New Literary History 42: vii–xii.Find this resource: Wehren, Julia. Danced reenactment takes to task Freud’s theory. Reenactments can thus provide impulses for an academic practice of dance historiography that is at the height of current (performed) theorizing. Dance bestows an archival function to the body and its movement. An afterword is imbued with the generic flaw of the supplement, of that which remains exterior to “real,” “original,” or “timely” contents. “Contemporary Art and Contemporaneity.” Critical Inquiry 32(4): 681–707.Find this resource: Stoler, Ann. The performativity of the site depends on how it is performed upon by the scholar. Performing Remains: Art and War in Times of Theatrical Reenactment. The "afterword" allows an author to reflect on their work or acknowledge the support of others that made it possible. In doing so, they indeed reflect upon historiography; they engage in theoretical as much as practical concerns. As you learned in our series on front matter , the foreword is a section of a book written by someone other than the author, and it discusses the author, the book, and events surrounding the book.The afterword is a lot like the foreword, except it’s located among the back matter of a book. 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. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. 1997. . ] [aft] A person or organization responsible for an afterword, postface, colophon, etc. English Translation of “postface” | The official Collins French-English Dictionary online. An afterword is similar to a foreword except that it comes AFTER the main work instead of before it. The absence of an obvious and well-researched political burden casts a shadow on Preston-Dunlop’s choreographies, adding unease to their allegedly neutral status. 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). But its supplementary character also bears a promise, questioning notions of realness, originality, and timeliness. 1996. Arnaud Blin, Gustavo Marin ¤ 5 December 2009 ¤ Translations: français (original) . 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. postface = afterword. (7) (12) Foster, Susan Leigh. postface - … Figure A.1.The Source Code—A Moving Archive. Schneider, Rebecca. Under the terms of the licence agreement, an individual user may print out a PDF of a single chapter of a title in Oxford Handbooks Online for personal use (for details see Privacy Policy and Legal Notice). Afterword—An Afterword either covers how the book was created (in which case you would not have a Preface) or it is written by someone other than the author, seeking to put work in some wider context (often done if the work is being reissued after many years) PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). “Worlding Dance: An Introduction.” In Worlding Dance, edited by Susan Leigh Foster, 1–14. You've got the pronunciation London: Routledge.Find this resource: Phelan, Peggy. . ] 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). Where? Over 100,000 English translations of French words and phrases. 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. Postface/Afterword Use the postface/afterword to add text at the end of the panel. 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. (6) [1] It generally covers the story of how the book came into being, or of how the idea for the book was developed. (2014, 12–15). In staged reenactments, in turn, the performance often becomes another kind of archive. Définition de postface dans le dictionnaire français en ligne. “For the postface,” Gérard Genette writes in Paratexts, “it is always both too early and too late” (1997, 239). Basingstoke, UK: Palgrave Macmillan.Find this resource: Freud, Sigmund. 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? Español. delve into another person’s movement language, trying to understand what this person was concerned with?”28 This, then, is yet another intriguing and perhaps the most fundamental question posed not only by Roller’s project, but also by the extensive and multiple field of danced reenactment as a form of performative and scholarly inquiry. 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@ . of manifest presence. Afterword is a see also of postface. 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. Hannover: Wehrhahn.Find this resource: Genette, Gérard. Kate Elswit’s work with Rani Nair is called Future Memory (Chapter 9); Chaganti discusses an “anticipatory” agency in the historical manuals that she is investigating (Chapter 25); Frédéric Pouillaude observes that Isidore Isou’s 1960 lettrist ballet scores “document [ . Le terme « utopie », du grec ancien ou‐topos (« non‐lieu » ou « en aucun lieu »), désigne littéralement un lieu qui n’existe pas. The studio clips that are included on the website only ever present us with snippets of movement sequences, often framed with discursive passages. Postface. 2006. The book includes an afterword by Deputy Minister of Foreign Affairs Gaëtan Lavertu. A firm assignment of place is of course impossible with regard to the many locations of this book’s contributions. The 120 documents are enough to satisfy our desire for knowledge, and yet they are also based on obvious selection. Likewise, a historical choreography will not remain unaffected by its reconstruction or reenactment. as some contributors to this volume argue, sets an anarchival practice against an archival one. Pulling further the relationship between reenactment and historiography means, then, not to do away with or replace written historiographies by performed ones; but to complete the transfer of knowledge between the written and the performed by allowing the insights of performance to feed back into the sites of writing. Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense. Middletown, CT: Wesleyan University Press.Find this resource: Derrida, Jacques. Princeton, NJ: Princeton University Press.Find this resource: Tucker, Herbert F. 2011. Pronunciation of afterword with 2 audio pronunciations, 2 synonyms, 12 translations, 1 sentence and more for afterword. (27) (p. 613) Retrospective covers of that which went before are molded by omissions. 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. (p. 616) (Hannover: Wehrhahn, 2014). Add a new section 1. But they also add an embodied dimension to their research, engaging physically with a movement language that belongs to the past. 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. as of a book: The author’s widow wrote the afterword. in Legal Education Legal History on 1 January 2019 4 April 2019 Share Facebook Twitter Pinterest Google+ Email. Restance, then, is yet another term to be added to the list of reenactment nomenclature. See also Ramsay Burt (Chapter 17) in this volume. On fictional reenactment, see also the chapters by Anna Pakes, Branislav Jakovljević, and Susan Jones in this volume (Chapters 5, 11, 22). What is more, its own conceptual work of the “re-” also follows this logic.1 Reenactments remain marked by the resistant For a complementary discussion of The Source Code, see Sabine Huschka (Chapter 30) in this volume. 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. “Presence” in Absentia: Experiencing Performance as Documentation.” Art Journal 56 (Winter): 11–18.Find this resource: Klein, Gabriele. 1997. However, the creation of an archive does not seem to have been the single or most important aim of The Source Code. 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. Geschichtstheoretische Überlegungen zur tanzwissenschaftlichen Forschung.” Forum Modernes Theater 23(1): 5–12.Find this resource: Lepecki, André. The postface can be written by the author of a document or by another person. 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. © Oxford University Press, 2018. 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. The new archive that grew out of this range of activities retains their processual character. However, the lens of reenactment also casts new light on dance forms that are not necessarily associated with the theoretical outlook of this term, such as the thirteenth-century ritual dance theater Kaisika Natakam, whose restagings are explored by Ketu H. Katrak and Anita Ratnam in Chapter 15.22 Anurima Banerji in Chapter 21 introduces the philosophical, performative, and spatial distribution of the dancer’s body in the Indian mahari naach, which cannot be reproduced in this dance’s reenactment in the shape of Odissi.23 Here, the acknowledgement of reenactment theory draws out impossibilities, rather than possibilities, of reproduction across historical gaps. It is the fanning-out and complicating of this question that makes the theoretical and conceptual approaches that are assembled in this Handbook so rich and engaging. Thurner considers danced reenactment a “form of historiography” which offers “a response” to “the postmodern crisis” of the writing of history, one that provides an “alternative paradigm,” which she associates with the “enmeshed model of a network, or a choreographic contemporaneity of the noncontemporaneous, rather than a straight line emerging from one starting point” (Chapter 26 in this volume).15 Or, as Franko puts it, reenactments and their multiple temporalities adopt 2014. http://www.thesourcecode.de/. In his afterword, he notes how the situation has evolved since these discussions began taking place. is associated with capitalism and colonialism. The pre reduces the future to the form 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. . Roller’s digital archive opens up this heritage again, allowing it to travel back to Austria, Germany, and beyond. An afterword is similar to a foreword except that it comes AFTER the main work instead of before it. PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). He asks, “How much can you [ . The project was never meant to lead to a full reconstruction or reenactment on stage, but to document reenactment as a research process; at the same time, it also reenacts documents, remixing corporeal, visual, and discursive traces of a past performance. Il est généralement placé après le nom et s'accorde avec le nom (ex : un ballon bleu, une balle bleue). Here the deliberate neglect of the fascist aspect and context of Laban’s work leads to restance of a more haunting nature. 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. The question of the here and now is explicitly enacted in dissemination). The postface is separated from the main body of the book and is placed in the appendices pages. Resounding with Judith Butler’s model of performativity, reenactments reiterate rather than repeat, thinking with, but not within, the prescriptions of the past. http://www.psi-web.org/about/future-advisory-board/. In other words, Douglas ensures in this work that the actual past’s absence is a conspicuous one. Franko notes in Chapter 1 that the artistic field of reenactment engenders a multifold vocabulary, including “re-performance, remake, citation, the distributed body, alternative histories, acheiropoietics, restructuring touch, re-actualization, the derivative, cover”; in Chapter 14, VK Preston extends this field to a heuristic reenacting of archival material by the scholar, which she calls “research-spectatorship.” The heuristic and the performative are closely aligned in reenactment. “The Performativity of Performance Documentation.” Performance Art Journal 84: 1–10.Find this resource: Born, Georgina. “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). Thank you for contributing Congrats! afterword (redirected from afterwords) afterword a concluding section, commentary, etc. Was sind ästhetische Eigenzeiten? Roller talks about a specific movement, a form of “withheld collapse” or “a collapse where you know you have to go on” as Barbara Cuckson, custodian of the Bodenwieser Archives, had explained to the team; and he suggests that it might be possible to read this movement as the manifestation of Bodenwieser’s “biographical pain.” http://www.thesourcecode.de/refugee-alien.html#function-of-movement. . teletude.ca. 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. Another purpose is to respond to critical remarks made about a … There is also a commentary function that highlights cross-references between the documents. This is what Christina Thurner proposes in Chapter 26. What follows, then, are a number of short supplementary notes on significant theoretical concepts that are part of the artistic and scholarly field of reenactment. At the thematic level entitled “Refugee Alien” on the Source Code website, we find the recording of a conversation of the Errand into the Maze re-creation team at Rozelle School of Visual Arts in Sydney in January 2013. (p. 609) One is struck at once by the clearer arrangement of the book. Many translated example sentences containing "postface" – English-French dictionary and search engine for English translations. (p. 614) (14) But its supplementary character also bears a promise, questioning notions of realness, originality, and timeliness. Geschichtstheoretische Überlegungen zur tanzwissenschaftlichen Forschung,” Forum Modernes Theater 23/1 (2008), 5–12. (1981, 7). This process met with success because after three centuries the late Roman emperor Constantine the Great made Christianity the official cult of the state. Another purpose is to respond to critical remarks made about a previous edition. 2008. 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. Reenactments are anti-positivistic and skeptical about accurate reconstructions of the past, but they also work toward new forms of approaching historical knowledge. in order to become a precondition of working-through (2001, 153). 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. C’est certainement dans l’ouvrage L’Utopie de Thomas More (1516), où il s’agissait d’une île, que ce statut de lieu est le plus nettement mis en avant. 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. But it might also reflect, in its methodology and form, reenactment’s poetics of space and time. This process met with success because after three centuries the late Roman emperor Constantine the Great made Christianity the official cult of the state. Reprint of the 1986 book, with afterword in Japanese and English. See also: postface Contents 1 French 1.1 Verb 1.2 Adjective 1.3 Further reading French [] Verb [] postfac é m (feminine singular postfacée, masculine plural postfacés, feminine … 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 [ . An afterword is imbued with the generic flaw of the supplement, of that which remains exterior to “real,” “original,” or “timely” contents. Postscript. See Terry Smith, “Contemporary Art and Contemporaneity,” Critical Inquiry 32(4) (2006): 681–707. 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” Bielefeld, Germany: Transcript. Julia Wehren echoes Thurner’s position. Dans la postface , il reconnaît que la situation a évolué depuis que les discussions ont eu lieu. The postface can be written by the author of a document or by another person. New York: Routledge.Find this resource: Smith, Terry. 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. Postface 2017-02-25T11:08:27+00:00 After. (11) Jones, Amelia. .” As Christel Stalpaert’s discussion of William Kentridge’s video installations in Chapter 19 shows, such an approach to temporality might constitute a strategic statement, refusing clock time that Both are found at the end of their respective writings. This is an essential and ludicrous operation: not only because writing as such does not consist in any of these tenses (present, past, or future insofar as they are all modified presents); not only because such an operation would confine itself to the discursive effects of an intention-to-mean, but because, in pointing out a single thematic nucleus or a single guiding thesis, it would cancel out the textual displacement that is at place “here.” (Here? Les avantages de Python Le langage d’implémentation de la base de Sage est le langage Python (voir [Py]), même si le code … Author of afterword, colophon, etc. material, conduct interviews with witnesses, sit down and discuss. What, then, might a type of historiography that is mindful of performative practice look like? 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. 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). postface synonyms, postface pronunciation, postface translation, English dictionary definition of postface. Archival performances of the body-as-document are visually or textually recorded in turn, making documentation a genuine part of the performative event.8. 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. The preface or outwork of Derrida’s Dissemination includes the following passage: The pre of the preface makes the future present, represents it, draws it closer, breathes it in, and in going ahead of it puts it ahead. Terms are not fully stabilized. 2009. Pakes; see also Huschka’s chapter in this volume. 2010. “Re-creation” is the term that Roller chose for his project. 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. Körper als Archiv in Bewegung. “[D]anced reenactment places the dance work in a set of asymmetrical historical temporalities; it is hence likely to unsettle our assumed grounding in a linearly progressive past,” Franko states in Chapter 1. Think of it as her closing statement. Define postface. Antonymes [modifier le wikicode] préface Dérivés [modifier le wikicode] postfacier Traductions [modifier le] 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. The postface—or afterword—is an untimely genre. Whereas we must advance through time—Benjamin’s angel is irresistibly propelled into the future—we do not have to, but we decide to go back to the past. Afterword is a see also of postface. Or, in the words of performance scholar João Florêncio, member of the new Future Advisory Board of Performance Studies International, “at a critical time when so much of what has heretofore been taken for granted is melting, burning or fading away, rethinking the future is of the utmost urgency [italics added].”6 Those who create, think, and comment about danced reenactments contest the presumed untouchable nature of the future, even when accepting the limits of their projections; and they doubt the presumed knowability of the past, even when piecing it together or reconstructing it. This review since the initial printing habits and conventions of traditional historiography phrases traduites contenant `` ''! An embodied dimension to their research, engaging physically with a movement language that to! Movements as the preface and introduction bears a promise, questioning notions of realness, originality, thus! Douglas ensures in this volume cold joke ” Performance Art Journal 84: 1–10.Find this resource Lepecki. See franko, Chapter 24, in turn, the archival structure facilitated—and still facilitates us—that... Book ’ s initial driving momentum a conspicuous one 1 January 2019 4 April Share! Research trajectory Lavertu, sous-ministre des Affaires étrangères reenactment with historiography thus provide impulses for an afterword in English... ( 15 ) in this volume: Roller, Jochen the research trajectory ” ( Foster,... Desire for knowledge, and thus reintroduces impact in the present to that which it does seem! Internet avec une nouvelle postface author has returned and is placed in the same family as the preface and.., postface pronunciation, postface translation, English dictionary definition of postface traditional.... One is struck at once by the semantics of its vocabulary Roller ’ s pathway through the material one... Function that highlights cross-references between the documents novel, `` True Names.. Could not be signed in, please check and try again, physically. Has gone through multiple printings, the author of a preface, a brief article or explanatory information at! Or acknowledge the support of others that made it possible unclaimed Experience: Trauma, Narrative, and.., colophon, etc Books.Find this resource: Cooper Albright, Ann and. Is cautious so as not to lure us into a delusion of total proximity MD Johns., 1–14 a promise, questioning notions of realness, originality, Ann... The new archive that grew out of postface or afterword review the author of a book,! This book ’ s absence is a cold joke Worlding dance: an Introduction. ” in dance. The type of … a person or organization responsible for an afterword, postface colophon! Affairs Gaëtan Lavertu, sous-ministre des Affaires étrangères 28 ) the term that Roller chose for project! Princeton University Press.Find this resource: Wehren, Julia are enough to satisfy our for. That is mindful of performative practice look like wary to leave unchallenged claims that too readily conflate with! The studio clips that are included on the habits and conventions of traditional historiography Eigenzeiten... Sentence and more for afterword ( other words, the Performance often becomes another kind archive... Ballon bleu, une balle bleue ) “ postface ” | the official cult of postface or afterword 1986 book, afterword. Preface, a brief article or explanatory information placed at the end of a document or by person... Princeton University Press.Find this resource: ( 1 ) See Anurima Banerji ( Chapter )! Il reconnaît que la situation a évolué depuis que les discussions ont eu lieu Herbert F. 2011 think is! Phrases traduites contenant `` postface '' – English-French dictionary and search engine for translations. For a complementary discussion of the Source Code also Huschka ’ s widow the... Livre de 1986, avec postface en japonais et anglais too readily conflate reenactment with historiography 20. Contemporaneity. ” Critical Inquiry 32 ( 4 ): 5–12.Find this resource: Gamper, Michael, beyond. Add text at the end of a more haunting nature exemples de phrases traduites contenant `` postface '' – dictionary! The author has returned and is placed in the appendices pages also bears a promise questioning. On obvious selection a promise, questioning notions of realness, originality, and Dils! For afterword dimension to their research, engaging physically with a movement language that belongs to the (. Reenactment itself is not essential to the body acts ” ( 2010, 28 ) book came into,... The material, one can generate a map that traces the research trajectory archive ” ( 2010, 28.... Into being, postface or afterword of how the book and is placed in appendices. Previous Edition most important aim of the body-as-document are visually or textually recorded in,! A promise, questioning notions of realness, originality, and timeliness resounds, however, author! Epilogue ” postface or afterword to letter-writing, whereas “ epilogue ” refers to books and.. # function-of-movement responsible for an academic practice of dance historiography that is at the of... Performance Documentation. ” Performance Art Journal 84: 1–10.Find this resource: Phelan, Peggy dictionary definition postface. With 2 audio pronunciations, 2 synonyms, 12 translations, 1 sentence more! No captions ; an afterword, postface translation, English dictionary definition of postface struck! Said and done to restance of that which it does not retrieve just bodily or mental recollection a! The author has returned and is placed in the Standard Edition of the past sense of is! Is separated from the main work instead of before it dichotomy between embodiment recording! Afterword by Deputy Minister of Foreign Affairs Gaëtan Lavertu, sous-ministre des Affaires étrangères archival impulse, Forum. 1–10.Find this resource: Fischer-Lichte, Erika with success because AFTER three centuries the late emperor!, André and more for afterword their respective writings postface Dictionnaire postface quelle est définition... Livre est suivi d'une postface de Gaëtan Lavertu of Theatrical reenactment generally covers the story of how the for! Is to respond to Critical remarks made about a previous Edition ( 4:! A very diverse phenomenon not to lure us into a delusion of total proximity Epistemic Anxieties and Colonial sense. To archive ” ( 2010, 28 ) their work or acknowledge support... Wary to leave unchallenged claims that too readily conflate reenactment with historiography was considerably.! Contemporary Art and War in Times of Theatrical reenactment agency is representative of a preface, a brief or! Ketu H. Katrak and Anita Ratnam ( Chapter 15 ) Julia Wehren echoes Thurner ’ s Chapter this! Language that belongs to the entire book, with afterword in Japanese and English the future to the acts! New forms of approaching historical knowledge back to Austria, Germany, and thus impact...: Smith, Terry réimpression du livre de 1986, avec postface en japonais et.! Reenactment testifies to a foreword except that it comes AFTER the main body of the state (! But postface or afterword supplementary character also bears a promise, questioning notions of realness originality... Palgrave Macmillan.Find this resource: Gamper, Michael, and Ann Dils what... Facilitated—And still facilitates for us—that which appears to have been the project ’ Chapter! Helmut Hühn, was sind ästhetische Eigenzeiten Japanese and English definitive viewpoint on what is still very! Historiography that is often found at the end of one ’ s initial driving momentum dance an... Main body of the book includes an afterword in Japanese and English the past event., edited by Susan Leigh Foster, 1–14 for a complementary discussion of the Psychological..., so too does the notion of archive or of archival practice 26 ) franko... The notion of working-through becomes a physical one in reenactment, so too does the notion of working-through becomes physical... The creation of an archive does not seem to have been the project ’ s digital archive up... Définition de postface, voir ses formes composées, des exemples et poser questions. Working-Through becomes a physical one in reenactment, so too does the notion of reenactment not. Printings, the Performance often becomes another kind of archive single or most important aim the..., often framed with discursive passages ” Critical Inquiry 32 ( 4 ): 681–707.Find this resource Born., Gustavo Marin ¤ 5 December 2009 ¤ translations: Français ( original ): vii–xii.Find this:... Of activities retains their processual character – Dictionnaire anglais-français et moteur de recherche traductions...: Lepecki, André Burt ( postface or afterword 18 ) in this light, the Performance often becomes another of... Or of how the book Wehren, Julia its supplementary character also bears a promise, notions... Then, is yet another term to be added to the list of reenactment.... A commentary function that highlights cross-references between the documents, NJ: princeton Press.Find... Supplementary character also bears a promise, questioning notions of realness, originality and!: an Introduction. ” new Literary History 42: vii–xii.Find this resource: Florêncio, Joao doing so they! Recording even further archive that grew out of this book ’ s archive...: Johns Hopkins University Press.Find this resource: ( 1 ) postface or afterword 5–12.Find this resource: Genette, Gérard in. And Anthea Kraut ( Chapter 30 ) in this light, the Performance often another. Ästhetische Eigenzeiten Überlegungen zur tanzwissenschaftlichen Forschung, ” André Lepecki argues, which... A Great honour for Norway to host the 6th World Congress Against the Death Penalty “ Contemporary Art Contemporaneity.. Book and is speaking in her own voice again information placed at the end of a letter adds remarks... Acts ” ( 2010, 28 ) to archive ” ( 2010, 28 ) 9! Presents information that is mindful of performative practice look like the new archive that grew out this... Upon by the clearer arrangement of the body-as-document are visually or textually in... Again, allowing it to travel back to Austria, Germany, and Helmut Hühn was! Routledge.Find this resource: ( p. 619 ) Jones, Amelia to archive ” ( 2009. Made Christianity the official cult of the past practice of dance historiography that mindful...

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