Wakes are processes; through them we think about the dead and about our relations to them; they are rituals through which to enact grief and memory. Wakes allow those among the living to mourn the passing of the dead through ritual; they are the watching of relatives and friends beside the body of the deceased from death to burial and the accompanying drinking, feasting, and other observances; a watching practiced as a religious observance. But wakes are also “the track left on the water’s surface by a ship; the disturbance caused by a body swimming, or one that is moved, in water; the air currents behind a body in flight; a region of disturbed flow; in the line of sight of (an observed object); and (something) in the line of recoil of (a gun)”; finally, wake also means being awake and, most importantly, consciousness. —Christina Sharpe, “Black Studies: In the Wake”

中文翻译：

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有原则的化装舞裙：史蒂夫·普林斯的卡特里娜飓风组曲和新奴隶叙事

唤醒是过程；通过他们，我们思考死者以及我们与他们的关系；它们是用来表达悲伤和记忆的仪式。唤醒使生者能够通过仪式哀悼死者的逝世；他们是死者尸体旁的亲友，从死到葬，以及伴随的饮酒、宴饮和其他仪式；作为宗教仪式而实行的观看。但尾迹也是“船在水面上留下的痕迹；身体在水中游泳或移动引起的干扰；飞行中身体后面的气流；扰流区；在（被观察物体）的视线内；和（某物）在（枪）的后坐线上”；最后，唤醒也意味着清醒，最重要的是，意识。——克里斯蒂娜·夏普，