The Kiss as kairos in The Hours by Michael Cunningham
If Mrs Dalloway represents Woolf’s attempt to conjure up an intensive vision of time against the ruthless temporality of chronos which the leaden circles of Big Ben’s hours emblematise, Cunningham’s The Hours attempts to create a poetics of the moment capable of transcending the passage of death-bou...
Wedi'i Gadw mewn:
| Cyhoeddwyd yn: | URI:https://journals.openedition.org/polysemes, |
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| Prif Awdur: | |
| Fformat: | Article ou chapitre numérique |
| Iaith: | Anglais |
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Polysèmes
2022
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| Pynciau: | |
| Mynediad Ar-lein: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Crynodeb: | If Mrs Dalloway represents Woolf’s attempt to conjure up an intensive vision of time against the ruthless temporality of chronos which the leaden circles of Big Ben’s hours emblematise, Cunningham’s The Hours attempts to create a poetics of the moment capable of transcending the passage of death-bound chronological time. This poetics is encapsulated in the image of the homoerotic kiss as kairos, ie as a capacity to seize the truth of the moment. Beyond the opening up of a new queer temporality within the text, the kiss fosters an intertextual poetic encounter, it is the matrix for a literary conversation between Cunningham and Woolf that transcends the passage of years, based on the resonance of a felicitous moment of being. |
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