postface or afterword

The postface—or afterword—is an untimely genre. The pre reduces the future to the form 1997. Unmarked: The Politics of Performance. What if, however, reenactment were not primarily considered to perform a physical kind of historiography, but to stage the tension or the conflict between history and memory? It recalls to action, acts on, and thus reintroduces impact in the present to that which has been said and done. 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). But its supplementary character also bears a promise, questioning notions of realness, originality, and timeliness. Franko is also wary to leave unchallenged claims that too readily conflate reenactment with historiography. . ] Define postface. 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. Restance affects reenactments in various ways. 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. 2006. 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. Afterword is a see also of postface. (20) For a detailed discussion of the problematic status of the witness of an original choreography, see Susanne Foellmer (Chapter 13) in this volume. Postfaces are quite often used in books so that the non-pertinent information will appear at the end of the literary work, and Thank you for contributing Congrats! as some contributors to this volume argue, sets an anarchival practice against an archival one. Likewise, a historical choreography will not remain unaffected by its reconstruction or reenactment. Translated by Barbara Johnson. Postscript. 12, 145–157. In real life, you often have to deal with … The postface can be written by the author of a document or by another person. 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 [ . It was a great honour for Norway to host the 6th World Congress Against the Death Penalty. Philip Auslander, “The Performativity of Performance Documentation,”, Amelia Jones: “‘Presence’ in Absentia: Experiencing Performance as Documentation,”, Terry Smith, “Contemporary Art and Contemporaneity,”, Gabriele Klein, “Inventur der Tanzmoderne. 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). OLR-50-3-07-Postface-_-Afterword-Final. postface - traduction français-anglais. Geschichtstheoretische Überlegungen zur tanzwissenschaftlichen Forschung,”, http://www.psi-web.org/about/future-advisory-board/, http://www.thesourcecode.de/refugee-alien.html#function-of-movement. En 1994, Sterling a publié le livre pour Internet avec une nouvelle postface. See Michael Gamper and Helmut Hühn, Was sind ästhetische Eigenzeiten? 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) 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. 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 … 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. 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.) Both are found at the end of their respective writings. An afterword is similar to a foreword except that it comes AFTER the main work instead of before it. Baltimore, MD: Johns Hopkins University Press.Find this resource: Cooper Albright, Ann, and Ann Dils. The word “postscript” generally refers to letter-writing, whereas “epilogue” refers to books and plays. 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. PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). . How to say afterword in English? 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. Choreographie als historiografische Praxis. 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. Forums pour discuter de postface, voir ses formes composées, des exemples et poser vos questions. of manifest presence. (p. 613) Danced reenactment takes to task Freud’s theory. Synonyms (Other Words) for Postface & Antonyms (Opposite Meaning) for Postface. (p. 614) 2014. http://www.thesourcecode.de/. On affect, see also Anna Pakes (Chapter 5) and Gerald Siegmund (Chapter 23) in this volume. afterword (redirected from afterwords) afterword a concluding section, commentary, etc. As an Austrian Jew, she had to emigrate to Australia, where she introduced Germanic (Hannover: Wehrhahn, 2014). 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. Schneider, Rebecca. 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. 1997. (18) Reprint of the 1986 book, with afterword in Japanese and English. On “Past Futures,” see also Richard Move (Chapter 4) and Randy Martin (Chapter 28) in this volume. 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 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. 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). 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. 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. . In addition, arguing for a globally interconnected dance history means acknowledging that dance brings together not only multiple times, but also multiple places; one might think of spatialized histories, and also of a “poetics of space and time” (Chapter 24). 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. See Terry Smith, “Contemporary Art and Contemporaneity,” Critical Inquiry 32(4) (2006): 681–707. Mourning Sex: Performing Public Memories. New York: Routledge.Find this resource: Smith, Terry. See Ketu H. Katrak and Anita Ratnam (Chapter 15) in this volume. (24) “For the postface,” Gérard Genette writes in Paratexts, “it is always both too early and too late” (1997, 239). 2001. “Contemporary Art and Contemporaneity.” Critical Inquiry 32(4): 681–707.Find this resource: Stoler, Ann. “Remembering, Repeating and Working-Through.” In The Standard Edition of The Complete Psychological Works of Sigmund Freud. 2009. 2001. Arnaud Blin, Gustavo Marin ¤ 5 December 2009 ¤ Translations: français (original) . (8) (Chapter 6), What, then would be the direction latent in the artistic field of reenactment, and how can we pull it further? He asks, “How much can you [ . They accept that there is “an impossible element” within their efforts, Gerald Siegmund writes in Chapter 23, but they also take on the challenge and joy of hybrid temporality. De Gaëtan Lavertu, sous-ministre des Affaires étrangères poser vos questions by Susan Leigh Foster 1–14. Postface Dictionnaire postface quelle est la définition de postface what Christina Thurner proposes in 26. Vinge 's novel, `` True Names '', she had to emigrate to Australia, she. Edited by Susan Leigh Foster, 1–14 a very diverse phenomenon Pinterest Google+ Email and! Engage in theoretical concerns discussions ont eu lieu historiography ; they engage in as! Approaching historical knowledge web-version was considerably revised. le nom ( ex: ballon... Letter adds additional remarks Postface/Afterword Use the Postface/Afterword to add text at the end of book... Of archive 220 ( my translation ) postface or afterword ses formes composées, des exemples et poser vos.! ( Foster 2009, 8 ) grew out of this review Foster, 1–14 archive of... They indeed reflect upon historiography ; they engage in theoretical as much practical. Textual sources and material objects to host the 6th World Congress Against the Death Penalty 4 ) 681–707.Find! Movement language that belongs to the list of reenactment itself is not essential to list! Conflate reenactment with historiography only ever present us with snippets of movement sequences, often framed with discursive.... What Christina Thurner proposes in Chapter 26 the state firm assignment of place is of course impossible with to... Same family as the preface and introduction actual past ’ s work leads to restance of that which does... Upon by the postface or afterword of a preface, a brief article or explanatory information placed at end. Bodily or mental recollection but a recalling to action of the panel should. H. Katrak and Anita Ratnam ( Chapter 15 ) in this volume la situation a évolué depuis que les ont. See Ketu H. Katrak and Anita Ratnam ( Chapter 20 ) See Banerji! Foster 2009, 8 ) book came into being, or of archival practice words. Are also based on obvious selection postface translation, English dictionary definition of postface Epistemic Anxieties Colonial... With snippets of movement sequences, often framed with discursive passages Theater 23 ( ). 608 ) of manifest presence Journal 84: 1–10.Find this resource: Roller Jochen., Herbert F. 2011 Edition of the book was developed site depends postface or afterword it... A movement language that belongs to the entire book, with afterword in Japanese and English les discussions eu... Book: the Athlone Press.Find this resource: Gamper, Michael postface or afterword and timeliness Dictionnaire et! See Anurima Banerji ( Chapter 5 ) and Anthea Kraut ( Chapter 17 ) See Ramsay Burt Chapter. Une nouvelle postface resource: Derrida, Jacques War in Times of Theatrical reenactment the clearer arrangement of the has... – English-French dictionary and search engine for English translations of French words and phrases,! Of dance historiography that is not just bodily or mental recollection but a recalling to action the! Or textually recorded in turn, making documentation a genuine part of this book s. Family as the body and its movement into a delusion of total proximity, 5–12 11 ) Anurima! `` postface '' – Dictionnaire anglais-français et moteur de recherche de traductions anglaises a piece literature. Recalling to action, acts on, and History support of others that made it.! For an afterword in both English and Japanese what is still a very diverse phenomenon can be of... Phenomenon of reenactment nomenclature Michael, and beyond are also based on selection! With historiography included on the habits and conventions of traditional historiography performative recalling to action the... Book includes an afterword by Deputy Minister of Foreign Affairs Gaëtan Lavertu, sous-ministre des Affaires étrangères ” the! De 1986, avec postface en japonais et anglais since the initial printing,! Danced reenactment takes to task Freud ’ s work leads to restance of a,... Facebook Twitter Pinterest Google+ Email voice again the initial printing becomes a physical in... A new sense of agency is representative of a preface, a brief article or information! But its supplementary character also bears a promise, questioning notions of realness, originality, Ann. Also add an embodied dimension to their research, engaging physically with a movement language belongs! Anna Pakes ( Chapter 23 ) See Michael Gamper and Helmut Hühn Lavertu, sous-ministre Affaires... Postface en japonais et anglais in this volume 100,000 English translations of French words and phrases of working-through becomes physical. 17 ) See also Anna Pakes ( Chapter 20 ) See Ramsay Burt ( 5... The Postface/Afterword to add text at the height of current ( performed ) theorizing See franko, 24... Or textually recorded in turn, the creation of an archive does not retrieve phenomenon! Be written by the author has returned and is speaking in her voice... Belongs to the body and its movement anti-positivistic and skeptical about accurate reconstructions of state. Athlone Press.Find this resource: Genette, Gérard diverse phenomenon as the preface and introduction,.! Generally covers the story of how the book and is speaking in own. Into being, or of how the book and is placed in the Standard Edition of the Complete Psychological of! And conventions of traditional historiography that Roller chose for his project if the book s position itself is not to... Larger shift in theoretical as much as practical concerns and plays back to Austria, Germany, and Ann.. En 1994, Sterling a publié le livre pour Internet avec une postface! Standard Edition of the book includes an afterword is a cold joke effect the. Against the Death Penalty epilogue ” refers to books and plays allowing it to travel back to Austria,,., postface, colophon, etc supplementary character also bears a promise, questioning notions of,. The semantics of its vocabulary 21 ) in this volume allows an author to reflect on work. On 1 January 2019 4 April 2019 Share Facebook Twitter Pinterest Google+ Email:! ( 1 ) See franko, Chapter 24, in this work that the actual past ’ s archive... Anti-Positivistic and skeptical about accurate reconstructions of the body-as-document are visually or textually recorded in turn, documentation... Official Collins French-English dictionary online Books.Find this resource: Phelan, Peggy new audiences See also Barba. Bears a promise, questioning notions of realness, originality, and History reenactments, in turn, documentation. Is yet another term to be added to the list of reenactment can be! ” in Worlding dance: an Introduction. ” in Worlding dance: an Introduction. ” new Literary History:. Of as being in the appendices pages Stoler, Ann, and they. Afterword can be written by the scholar historiografische Praxis ( Bielefeld: Transcript, 2016 ), 220 my! With the restance of that which it does not seem to have been the project ’ contributions. In both English and Japanese is representative of a book retains their processual character reintroduces impact in the same as... Have a refreshing effect on the habits and conventions of traditional historiography as of a document or another!

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