Abstract This article analyzes the progression of memory as a spatial metaphor in Bill T. Jones’s Analogy Trilogy. By considering memory as a source of both history and creativity, I show how the spatial metaphor accrues increasing political vitality. To this end, I rely on Jacques Rancière’s understanding of the emancipated spectator, alongside Rancière’s more recent work on the position and perception of dance. Ultimately, I argue that the final scene of the Analogy Trilogy does not simply complete the spatial metaphor, but exceeds it: the space created by the work exists somewhere between the mind of the artist and that of the spectator.

中文翻译：

---

记忆空间：比尔·T·琼斯的类比三部曲

摘要 本文分析了比尔·T·琼斯的类比三部曲中作为空间隐喻的记忆进展。通过将记忆视为历史和创造力的源泉，我展示了空间隐喻如何积累越来越多的政治活力。为此，我依靠雅克·朗西埃对解放的观众的理解，以及朗西埃最近关于舞蹈的位置和感知的工作。最终，我认为类比三部曲的最后一幕并没有简单地完成空间隐喻，而是超越了它：作品所创造的空间存在于艺术家和观众的思想之间。