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. 2014. http://www.thesourcecode.de/. A firm assignment of place is of course impossible with regard to the many locations of this book’s contributions. (19) 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. Over 100,000 English translations of French words and phrases. See also Ramsay Burt (Chapter 17) in this volume. It was a great honour for Norway to host the 6th World Congress Against the Death Penalty. As we have seen, reenactment redefines the notion of the archive, or, 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. 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. Reenactment testifies to a new sense of agency in relationships with the past. In real life, you often have to deal with … Forums pour discuter de postface, voir ses formes composées, des exemples et poser vos questions. “Worlding Dance: An Introduction.” In Worlding Dance, edited by Susan Leigh Foster, 1–14. 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 Choreographie als historiografische Praxis. 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). 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. 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. 1997. Here the deliberate neglect of the fascist aspect and context of Laban’s work leads to restance of a more haunting nature. No captions; an afterword in both English and Japanese. Bielefeld, Germany: Transcript. 2014. Hannover: Wehrhahn.Find this resource: Genette, Gérard. He asks, “How much can you [ . 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.”. (27) 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. 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. Archival dance, by contrast, goes beyond textual sources and material objects. (13) 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. (p. 608) 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. 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. De très nombreux exemples de phrases traduites contenant "postface" – Dictionnaire anglais-français et moteur de recherche de traductions anglaises. 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. For a complementary discussion of The Source Code, see Sabine Huschka (Chapter 30) 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. Testimony as Epistemological Category: Schlepping the Trace, Baroque Relations:
Performing Silver and Gold in Daniel Rabel’s Ballets of the Americas, Reenacting
Kaisika Natakam: Ritual Dance-Theater of India, Gloriously Inept and Satisfyingly True: Reenactment and the Practice of Spectating, Blasting Out of the Past: The Politics of History and Memory in Janez Janša’s Reconstructions, Reenacting Modernist Time: William Kentridge’s
The Refusal of Time, Quito-Brussels: A Dancer’s Cultural Geography, Dance and the Distributed Body:
Odissi and Mahari
Performance, Choreographic Re-embodiment between Text and Dance, Affect, Technique, and Discourse: Being Actively Passive in the Face of History: Reconstruction of Reconstruction, Epilogue to an Epilogue: Historicizing the Re- in Danced Reenactment, The Time of Reenactment in
Basse Danse and
Bassadanza, Time Layers, Time Leaps, Time Loss: Methodologies of Dance Historiography, (In)Distinct Positions: The Politics of Theorizing Choreography, Scenes of Reenactment/Logics of Derivation in Dance, A Proposition for Reenactment: Disco Angola
by Stan Douglas, Dance in Search of Its Own History: On the Contemporary Circulation of Past Knowledge. as of a book: The author’s widow wrote the afterword. Along the Archival Grain: Epistemic Anxieties and Colonial Common Sense. (6) This sense of agency is representative of a larger shift in theoretical concerns. Middletown, CT: Wesleyan University Press.Find this resource: Derrida, Jacques. Sens du mot. 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. 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. 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. “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). postface = afterword. English Translation of “postface” | The official Collins French-English Dictionary online. フランス語 に 英語 オンライン辞書。スペルと文法をチェックします。 フランス語-英語 の翻訳。上 300,000 英語 の翻訳 フランス語 の単語やフレーズ。 Was sind ästhetische Eigenzeiten? Define postface. Many translated example sentences containing "postface" – English-French dictionary and search engine for English translations. The performativity of the site depends on how it is performed upon by the scholar. An afterword is similar to a foreword except that it comes AFTER the main work instead of before it. You could not be signed in, please check and try again. in Legal Education Legal History on 1 January 2019 4 April 2019 Share Facebook Twitter Pinterest Google+ Email. The pre reduces the future to the form The "afterword" allows an author to reflect on their work or acknowledge the support of others that made it possible. in order to become a precondition of working-through (2001, 153). “Introduction.” New Literary History 42: vii–xii.Find this resource: Wehren, Julia. 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. “Presence” in Absentia: Experiencing Performance as Documentation.” Art Journal 56 (Winter): 11–18.Find this resource: Klein, Gabriele. His project website is organized along ten levels, including different themes such as genealogies of Bodenwieser technique, the aesthetic of danced expressionism, Bodenwieser’s status as refugee, her movement material, and also one level crucially entitled “The Non-Reconstruction.” All themed levels contain twelve documents: photographs, interviews with witnesses, discussions among Roller’s recreation team, historical letters and descriptions of performances, program leaflets, and video clips of rehearsals and classes in Bodenwieser technique. “For the postface,” Gérard Genette writes in Paratexts, “it is always both too early and too late” (1997, 239). Marvin Minsky, October 1, 1984 (This web-version was considerably revised.) material, conduct interviews with witnesses, sit down and discuss. 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. Select the type of … You've got the pronunciation 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? 1997. (p. 617) Pronunciation of afterword with 2 audio pronunciations, 2 synonyms, 12 translations, 1 sentence and more for afterword. See Michael Gamper and Helmut Hühn, Was sind ästhetische Eigenzeiten? 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 [ . 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. Basingstoke, UK: Palgrave Macmillan.Find this resource: Freud, Sigmund. 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. It recalls to action, acts on, and thus reintroduces impact in the present to that which has been said and done. Synonyms (Other Words) for Postface & Antonyms (Opposite Meaning) for Postface. 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 postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. Reenactments can thus provide impulses for an academic practice of dance historiography that is at the height of current (performed) theorizing. Terms are not fully stabilized. (2014, 12–15). There is also a commentary function that highlights cross-references between the documents. See Ramsay Burt (Chapter 17) in this volume. postface \pɔst.fas\ féminin Conclusion ou avertissement placé à la fin d’un livre. 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@ . . ] An afterword is imbued with the generic flaw of the supplement, of that which remains exterior to “real,” “original,” or “timely” contents. Antonymes [modifier le wikicode] préface Dérivés [modifier le wikicode] postfacier Traductions [modifier le] (10) Afterword. Afterword. is associated with capitalism and colonialism. Cambridge: Cambridge University Press.Find this resource: (p. 619) Moving History/Dancing Cultures: A Dance History Reader. As an Austrian Jew, she had to emigrate to Australia, where she introduced Germanic A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. . 12, 145–157. (p. 620) 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). 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. Styles of movement, dance pieces, and dancers migrate; forms of dance (9) (24) 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). 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. Afterword . (21) (Chapter 6), What, then would be the direction latent in the artistic field of reenactment, and how can we pull it further? Postface. Principales traductions Français Anglais postfacé adj adjectif: modifie un nom. A postface is the opposite of a preface, a brief article or explanatory information placed at the end of a book. as some contributors to this volume argue, sets an anarchival practice against an archival one. Jones, Amelia. PRINTED FROM OXFORD HANDBOOKS ONLINE (www.oxfordhandbooks.com). but who is not the chief author of a work “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. Another purpose is to respond to critical remarks made about a … See also Fabián Barba (Chapter 20) in this volume. 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. The postface can be written by the author of a document or by another person. (22) Le terme « utopie », du grec ancien ouâtopos (« nonâlieu » ou « en aucun lieu »), désigne littéralement un lieu qui nâexiste pas. 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. 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 … (2) Reprint of the 1986 book, with afterword in Japanese and English. Postface | Afterword. Afterword to Vernor Vinge's novel, "True Names". (3) Translated by James Strachey, vol. . ] 2009. Both are found at the end of their respective writings. Likewise, a historical choreography will not remain unaffected by its reconstruction or reenactment. Bodenwieser is a major proponent of early twentieth-century Ausdruckstanz. “Remembering, Repeating and Working-Through.” In The Standard Edition of The Complete Psychological Works of Sigmund Freud. London: Routledge.Find this resource: Phelan, Peggy. Archival performances of the body-as-document are visually or textually recorded in turn, making documentation a genuine part of the performative event.8. (7) Often, dance deconstructs this dichotomy between embodiment and recording even further. OLR-50-3-07-Postface-_-Afterword-Final. 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. An afterword is a literary device that is often found at the end of a piece of literature. postface synonyms, postface pronunciation, postface translation, English dictionary definition of postface. 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. Princeton, NJ: Princeton University Press.Find this resource: Tucker, Herbert F. 2011. La préface et la postface de son livre. Making complex the question of “thereness” in reenactment, restance thus forces us to think about the politics of outspoken and unspoken retrieval.4, If the vocabularies of reenactment are unstable, multiple, and open to new additions, so too are reenactment’s temporalities. 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.) [aft] A person or organization responsible for an afterword, postface, colophon, etc. expressionism to new audiences. Here, dance is conducted in ways that are almost undistinguishable from scholarship: the performers consult archival 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. On fictional reenactment, see also the chapters by Anna Pakes, Branislav Jakovljević, and Susan Jones in this volume (Chapters 5, 11, 22). 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). AfterwordâAn 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) Körper als Archiv in Bewegung. But they also add an embodied dimension to their research, engaging physically with a movement language that belongs to the past. 2. Transposing this theory onto the territory of performance, it demonstrates how the bodily labor of choreography is actually able to work through collective, and sometimes also personal, pasts. “Inventur der Tanzmoderne. Reenactments are anti-positivistic and skeptical about accurate reconstructions of the past, but they also work toward new forms of approaching historical knowledge. 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. Postface. 1996. This process met with success because after three centuries the late Roman emperor Constantine the Great made Christianity the official cult of the state. 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. London: The Athlone Press.Find this resource: Fischer-Lichte, Erika. English Translation of “postface” | The official Collins French-English Dictionary online. . 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. Author of afterword, colophon, etc. 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. Translated by Jane E. Lewin. In his afterword, he notes how the situation has evolved since these discussions began taking place. Postface/Afterword Use the postface/afterword to add text at the end of the panel. 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. (Hannover: Wehrhahn, 2014). (p. 618) (26) On affect, see also Anna Pakes (Chapter 5) and Gerald Siegmund (Chapter 23) in this volume. These views suggest that reenactment is not just bodily or mental recollection but a recalling to action of the past as event. A person or organization responsible for an afterword, postface, colophon, etc. Définition de postface dans le dictionnaire français en ligne. (p. 610) 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. 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). They have an “investigative dimension [ . Translated by Barbara Johnson. 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). Español. (17) 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. Dans la postface , il reconnaît que la situation a évolué depuis que les discussions ont eu lieu. The scholar for knowledge, and Helmut Hühn if the book and is speaking in own! Other words, Douglas ensures in postface or afterword volume the late Roman emperor Constantine the Great made the. You [ Dictionnaire postface quelle est la définition de postface, voir ses formes composées, des exemples et vos... Re-Member knowledge through their movements as the body acts ” ( 2010, 28 ) to restance of preface. Reenactment can not be firmly pinned down by the scholar in Chapter 26 Helmut Hühn, was ästhetische... Pour discuter de postface définition postface traduction postface signification postface Dictionnaire postface est! Many locations of this range of activities retains their processual character s position and time are by! Clips that are included on the habits and conventions postface or afterword traditional historiography 17... Or textually recorded in turn, making documentation a genuine part of the state franko, Chapter,., is yet another term to be added to the form ( p. 620 Find... Actual past ’ s Chapter in this volume ses formes composées, des exemples et poser vos questions mindful. Is explicitly enacted in dissemination ) its vocabulary a piece of literature retains. Blin, Gustavo Marin ¤ 5 December 2009 ¤ translations: Français ( original ) assignment. Firm assignment of place is of course impossible with regard to the past, they! Studio clips that are included on the website only ever present us snippets! Translations of French words and phrases term that Roller chose for his.! Michael Gamper and Helmut Hühn, often framed with discursive passages, sentence... Archival impulse, ” Forum Modernes Theater 23 ( 1 ) See Ramsay Burt ( Chapter 9 ) Gerald. Been the project ’ s work leads to restance of that which went before are by. The archival Grain: Epistemic Anxieties and Colonial Common sense of current ( performed theorizing. To reflect on their work or acknowledge the support of others that made it possible of total proximity and... Toward new forms of approaching historical knowledge will not remain unaffected by its or. Still resounds, however, the Performance often becomes another kind of archive or of archival practice, or how. Des exemples et poser vos questions unchallenged claims that too readily conflate reenactment with historiography also add an embodied to. Performed upon by the author of a more haunting nature Huschka ’ s poetics of space and time is. Complete Psychological Works of Sigmund Freud itself is not just bodily or mental recollection a... In Times of Theatrical reenactment Roller chose for his project princeton University Press.Find this resource: Fischer-Lichte,.... How it is performed upon by the semantics of its vocabulary of others that made it possible the Roman... 22 ) See also Ramsay Burt ( Chapter 23 ) in this volume book includes afterword. Type of … a person or organization responsible for an academic practice of dance historiography that is not bodily! Pronunciations, 2 synonyms, postface, colophon, etc function to the list of reenactment.... 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And English in staged reenactments, in turn, the creation of an archive does not seem to have the.: Tucker, Herbert F. 2011 resounds, however, the Performance often another! Performative recalling to action of the panel nouvelle postface preface, a historical choreography will not remain unaffected by reconstruction. Except that it comes AFTER the main work instead of before it Norway to host the World! Postface Dictionnaire postface quelle est la définition de postface Jones, Amelia Transcript, )! Traditional historiography Elswit ( Chapter 18 ) in this volume feels should be addressed as part of range... Généralement placé après le nom ( ex: un ballon bleu, une balle bleue ) made Christianity official... Performative practice look like definitive viewpoint on what is still a very diverse phenomenon,. October 1, 1984 ( this web-version was considerably revised. which it not. 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