The performative recalling to action of the past as event can also have a refreshing effect on the habits and conventions of traditional historiography. London: Routledge.Find this resource: Roller, Jochen. 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. Roller’s digital archive opens up this heritage again, allowing it to travel back to Austria, Germany, and beyond. 2006. The postface is separated from the main body of the book and is placed in the appendices pages. 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. They have an “investigative dimension [ . At the end of one’s pathway through the material, one can generate a map that traces the research trajectory. A postscript at the end of a letter adds additional remarks 2016. Paratexts: Thresholds of Interpretation. Translated by James Strachey, vol. 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). 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. An afterword is similar to a foreword except that it comes AFTER the main work instead of before it. The postface is separated from the main body of the book and is placed in the appendices pages. [aui] 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. Gratuit. Where? The 120 documents are enough to satisfy our desire for knowledge, and yet they are also based on obvious selection. 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. (8) Postface/Afterword Use the postface/afterword to add text at the end of the panel. 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. 2014. 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. Think of it as her closing statement. .” 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 OLR-50-3-07-Postface-_-Afterword-Final. However, the creation of an archive does not seem to have been the single or most important aim of The Source Code. 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. “The Performativity of Performance Documentation.” Performance Art Journal 84: 1–10.Find this resource: Born, Georgina. On fictional reenactment, see also the chapters by Anna Pakes, Branislav Jakovljević, and Susan Jones in this volume (Chapters 5, 11, 22). 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). . 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. . Was sind ästhetische Eigenzeiten? The documents are placed in slight disarray in front of background images of old archival boxes or suitcases, creating the appearance of mock-materiality superseded by digital click-culture, but also reminding the visitor that the digital interface relies upon a project stage at which the team engaged with people, handled physical materials, and familiarized themselves as dancers with an unfamiliar school of movement. 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. PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). An afterword is a literary device that is often found at the end of a piece of literature. The afterword is often confused with the postscript. 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. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. Translated by Barbara Johnson. 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. Middletown, CT: Wesleyan University Press.Find this resource: Derrida, Jacques. Reenactment not only takes something away from the field of writing, the present afterword would like to add, but is also able to give back to this field. Kentridge’s The Refusal of Time “questions time regimes that support a chronological, modernist conception of time and (dance) history,” writes Stalpaert, making us aware of this performance’s repercussions on our understanding of historiography (Chapter 19 in this volume). 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). Définition de postface dans le dictionnaire français en ligne. (9) 2009. A person or organization responsible for an afterword, postface, colophon, etc. Over 100,000 English translations of French words and phrases. Click (+) beside Postface/Afterword. There is also a commentary function that highlights cross-references between the documents. Sens du mot. English Translation of “postface” | The official Collins French-English Dictionary online. “[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. 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. Another purpose is to respond to critical remarks made about a … De très nombreux exemples de phrases traduites contenant "postface" – Dictionnaire anglais-français et moteur de recherche de traductions anglaises. 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. Many translated example sentences containing "postface" – English-French dictionary and search engine for English translations. Compare Ramsay Burt’s discussion in Chapter 17 in this volume of the “utopian ideas that reconstructions, reenactments, reperformances, and related projects can offer by blasting performances out of the pigeonholes into which normative historical processes have consigned them.”. . ] The postface can be written by the author of a document or by another person. 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. See Anurima Banerji (Chapter 21) in this volume. London: Vintage Books.Find this resource: Gamper, Michael, and Helmut Hühn. (p. 614) 1997. In this light, the phenomenon of reenactment cannot be firmly pinned down by the semantics of its vocabulary. Those who knew about my creative history would probably furrow their brows and think this is a cold joke. (2014, 12–15). Antonymes [modifier le wikicode] préface Dérivés [modifier le wikicode] postfacier Traductions [modifier le] What, then, might a type of historiography that is mindful of performative practice look like? If the psychoanalytic notion of working-through becomes a physical one in reenactment, so too does the notion of archive or of archival practice. 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. . ] See Ramsay Burt (Chapter 17) in this volume. On affect, see also Anna Pakes (Chapter 5) and Gerald Siegmund (Chapter 23) in this volume. Resounding with Judith Butler’s model of performativity, reenactments reiterate rather than repeat, thinking with, but not within, the prescriptions of the past. London: Routledge.Find this resource: Phelan, Peggy. Another purpose is to respond to critical remarks made about a previous edition. 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 … 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. [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. Synonyms (Other Words) for Postface & Antonyms (Opposite Meaning) for Postface. 2014. (p. 610) 12, 145–157. Postface. The book includes an afterword by Deputy Minister of Foreign Affairs Gaëtan Lavertu. postface - … Afterword is a see also of postface. 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@ . Danced reenactment takes to task Freud’s theory. In real life, you often have to deal with … (2) This process met with success because after three centuries the late Roman emperor Constantine the Great made Christianity the official cult of the state. There is no “archival impulse,” André Lepecki argues, but a “will to archive” (2010, 28). 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.”. postface \pɔst.fas\ féminin Conclusion ou avertissement placé à la fin d’un livre. In other words, Douglas ensures in this work that the actual past’s absence is a conspicuous one. in order to become a precondition of working-through (2001, 153). material, conduct interviews with witnesses, sit down and discuss. Reprint of the 1986 book, with afterword in Japanese and English. How to say afterword in English? expressionism to new audiences. La préface et la postface de son livre. 2015. afterword (redirected from afterwords) afterword a concluding section, commentary, etc. Styles of movement, dance pieces, and dancers migrate; forms of dance (p. 618) postface - traduction français-anglais. (p. 615) 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. Their “attitude” is cautious so as not to lure us into a delusion of total proximity. Author of afterword, colophon, etc. It still resounds, however, with the restance of that which it does not retrieve. Retrospective covers of that which went before are molded by omissions. Körper als Archiv in Bewegung. Postface Postface Même si ces paroles ne sont pas toutes les expressions de Dieu, elles suffisent pour que les hommes réalisent les objectifs de la connaissance de Dieu et un changement de tempérament. 1993. An afterword is a literary device that is often found at the end of a piece of literature. 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” Unclaimed Experience: Trauma, Narrative, and History. Les avantages de Python Le langage d’implémentation de la base de Sage est le langage Python (voir [Py]), même si le code … . ] teletude.ca. 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. The afterword can be thought of as being in the same family as the preface and introduction. 1996. 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. Afterword is a see also of postface. The pre reduces the future to the form Hannover: Wehrhahn.Find this resource: Genette, Gérard. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. This sense of agency is representative of a larger shift in theoretical concerns. 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. See Kate Elswit (Chapter 9) and Anthea Kraut (Chapter 18) in this volume. German dancer, dance researcher, and choreographer Jochen Roller’s project The Source Code—A Moving Archive stores material from Roller’s 2014 re-creation of Gertrud Bodenwieser’s 1954 dance drama Errand into the Maze.24 Roller undertook the re-creation together with Australian-based dancers Latai Taumoepeau, Matthew Day, Lizzie Thomson, and Nadia Cusimano, German dance researcher Elisabeth Nehring, and video artist Andrea Keiz. (22) 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. (19) Martin Nachbar points out in Chapter 2 that the “therapeutic aspect” of his Repeater—Dance Piece with Father (2007) consisted in recognizing that he and his father both display the same “line of tension” along shoulder and arm, and that the work on Repeater enabled him to accept this line as a gift from his father, as a mutual bond, as opposed to an unwanted restriction of his physical flexibility. as some contributors to this volume argue, sets an anarchival practice against an archival one. The postface can be written by the author of a document or by another person. 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. 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