Papers by Russell Kilbourn
Clues: A Journal of Detection, Apr 1, 2013
University of Toronto Quarterly, 2004
Nabokov Studies, 1998
... 12. 'Ardis' is Greek for 'arrowhead' (225). 13. Cf. Martin Amis's Ti... more ... 12. 'Ardis' is Greek for 'arrowhead' (225). 13. Cf. Martin Amis's Time's Arrow (1991). ... But this sort of time is "applied time," he says, which interests neither him nor Van, who are mutually in pursuit of time in the abstract, time's 'texture,' its 'essence' rather than its lapse (185). ...
University of Toronto Quarterly, Sep 1, 1998
This discussion of Wagner's Tristan und Isolde shares with the previous three papers the reco... more This discussion of Wagner's Tristan und Isolde shares with the previous three papers the recognition of Wagner's propensity to invert and even subvert his materials: formally, logically, musically, and ideologically. And yet, in a seeming contradiction, the ultimate movement of Tristan is one of completion and resolution, in terms of the redemption Wagner sought to embody in the crucial conjunction of love and death. My aim is to address this apparent formal and thematic disjunction (on the basis of Wagner's professed intentions, rather than any specific production), through a close look at the opera's final tableau, Isolde's Verklärung, or `transfiguration' (Bailey, 41–43). In this final scene, the aesthetic and musical problem of the representation of death and its redemptive potential is inseparable from Wagner's peculiar relation to the philosophical assumptions underpinning this prototypically `modern' work. This reading of the closing scene will turn on the irony of its being informed by one of the key moments in the Synoptic Gospels: the spectacle of Christ's `transfiguration' (Trites, 13).
Feminist Posthumanism in Contemporary Science Fiction Film and Media
Canadian Journal of Film Studies, 1997
Cet article examine l’intertextualité entre La double vie de véronique de Krzysztof Kieslowski et... more Cet article examine l’intertextualité entre La double vie de véronique de Krzysztof Kieslowski et ses deux sources littéraires principales, c’est-à-dire, un bref passage de la deuxième cantate du Paradis de Dante et l’essai “Über das Marionettentheater” de Heinrich von Kleist. Kieslowski admet que le cinéma ne peut conjurer ce que la “grande litterature,” comme il l’appelle, évoque en n’ayant recours qu’aux simples mots. La prose occidentale peut être bavarde, mais elle transmet souvent son sense véritable par ce qui n’est pas dit, ou ce qui est dit ou montré négativement. Dans le cas du cinéma, on a généralement tendance à chercher le “sens” dans la “texture” superficielle, à ne juger que ce qui est visible. Kieslowski joint cet aspect du cinéma à une réticence hautement “littéraire,” une dimension négative, non-représentée mais déterminable. Le spectateur doit donc lire littéralement le film de Kieslowski. Cet article propose d’interpréter la double caractérisation de Véronique en...
W. G. Sebald’s Postsecular Redemption
From Deleuze and Guattari to Posthumanism, 2022
The International Encyclopedia of Media Effects, 2017
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Papers by Russell Kilbourn
The book begins with an overview of the field, with an emphasis on the question of subjectivity. In separate sections, contributors examine literature and its relation to cultural memory; autobiography and life writing, especially those lives shaped by trauma and forgotten by history; cinema and its intimate and mutually constitutive relationship with memory and history; and individual and collective memory in the context of contemporary visual texts, at the crossroads of popular and avant-garde cultures.