George Kouvaros
Biographic Data
| ID | 188673 |
|---|---|
| NAME | George Kouvaros |
| GIVEN NAMES | George |
| FAMILY NAME | Kouvaros |
| SIGNATURE | KOUVAROS G |
| AFFILIATIONS | UNSW Sydney |
| VERIFIED | No |
| TOTAL WORKS | 7 |
| TOTAL CITATIONS | 1 |
| WORKS AS AUTHOR | 7 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2015 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
On transience
What awaits us’
A poor and precious secret
‘Doesn’t a breath of the air that pervaded earlier days caress us as well?’ Walter Benjamin asks in ‘On the Concept of History’. ‘In the voices we hear, isn’t there an echo of now silent ones? ... If so, then there is a secret agreement between past generations and the present one’. What does it mean to be in secret agreement with people that came before? To recognise that coming after involves the taking on of certain obligations – for example, …
The Enigma of Arrival
‘I saw what I saw very clearly. But I didn’t know what I was looking at. I had nothing to fit it into. I was still in a kind of limbo.’ V. S. Naipaul’s description of his struggle to locate himself in his new home in rural England suggests that the moment of arrival is marked by an experience of belatedness. This reflection uses Naipaul’s description as the starting point for tracing another moment of arrival—that of the author’s own family in Au…
It's not quite right yet
In The Antinomies of Realism Fredric Jameson positions realism as a discursive tension between two forms of temporality: on the one hand, the temporality of storytelling and the tale and, on the other, the temporality of affect. The outcome is a 'scenic present which in reality, but secretly, abhors the other temporalities which constitute the force of the tale or récit in the first place'. This article considers the usefulness of Jameson's diagn…
The Old Greeks
In his final unfinished book on the writing of history, Siegfried Kracauer wonders about his increasing susceptibility to 'the speechless plea of the dead'. '[T]he older one grows, the more he is bound to realize that his future is the future of the past-history.' For the children of migrants, the question of how to speak well of the dead is distinguished by complex feelings of attachment and rejection, identification and denial that are expresse…
As If It Were for the Last Time
To look at something as if it were for the last time, as if the thing looked at were disappearing: this article considers what this attitude reveals about Wim Wenders's work in film and photography. For Wenders, photography has several overlapping functions: it is a medium with its own aesthetic requirements and demands, a way to reflect on the nature of cinema, and, most challenging of all, a form of temporal experience characterized by a sense …
The Old Greeks
In his final unfinished book on the writing of history, Siegfried Kracauer wonders about his increasing susceptibility to 'the speechless plea of the dead'. '[T]he older one grows, the more he is bound to realize that his future is the future of the past-history.' For the children of migrants, the question of how to speak well of the dead is distinguished by complex feelings of attachment and rejection, identification and denial that are expresse…
As If It Were for the Last Time
To look at something as if it were for the last time, as if the thing looked at were disappearing: this article considers what this attitude reveals about Wim Wenders's work in film and photography. For Wenders, photography has several overlapping functions: it is a medium with its own aesthetic requirements and demands, a way to reflect on the nature of cinema, and, most challenging of all, a form of temporal experience characterized by a sense …
The Old Greeks
In his final unfinished book on the writing of history, Siegfried Kracauer wonders about his increasing susceptibility to 'the speechless plea of the dead'. '[T]he older one grows, the more he is bound to realize that his future is the future of the past-history.' For the children of migrants, the question of how to speak well of the dead is distinguished by complex feelings of attachment and rejection, identification and denial that are expresse…
The Enigma of Arrival
‘I saw what I saw very clearly. But I didn’t know what I was looking at. I had nothing to fit it into. I was still in a kind of limbo.’ V. S. Naipaul’s description of his struggle to locate himself in his new home in rural England suggests that the moment of arrival is marked by an experience of belatedness. This reflection uses Naipaul’s description as the starting point for tracing another moment of arrival—that of the author’s own family in Au…
It's not quite right yet
In The Antinomies of Realism Fredric Jameson positions realism as a discursive tension between two forms of temporality: on the one hand, the temporality of storytelling and the tale and, on the other, the temporality of affect. The outcome is a 'scenic present which in reality, but secretly, abhors the other temporalities which constitute the force of the tale or récit in the first place'. This article considers the usefulness of Jameson's diagn…
A poor and precious secret
‘Doesn’t a breath of the air that pervaded earlier days caress us as well?’ Walter Benjamin asks in ‘On the Concept of History’. ‘In the voices we hear, isn’t there an echo of now silent ones? ... If so, then there is a secret agreement between past generations and the present one’. What does it mean to be in secret agreement with people that came before? To recognise that coming after involves the taking on of certain obligations – for example, …
What awaits us’
On transience
History (5 works) · Aesthetics (4 works) · Art (4 works) · Philosophy (4 works) · Computer Science (3 works) · Epistemology (3 works) · History (3 works) · Memory, Trauma, and Commemoration (3 works) · Movie theater (3 works) · Photography and Visual Culture (3 works)