Tom Nurmi
Biographic Data
| ID | 5140282 |
|---|---|
| NAME | Tom Nurmi |
| GIVEN NAMES | Tom |
| FAMILY NAME | Nurmi |
| SIGNATURE | NURMI T |
| AFFILIATIONS | Norwegian University of Science and Technology |
| ORCID | 0000-0002-5531-810X |
| VERIFIED | Yes |
| TOTAL WORKS | 4 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 4 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2012 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 0 |
Sicario and the Cinematic Infrastructures of Necroplasticity
A borderland thriller with an imperial unconscious, Sicario (Denis Villeneuve, 2015) is a film of our time. Drawing audiences into a world of ambient threat and righteous but morally ambiguous revenge in the context of clandestine US–Mexico drug wars, the film tells another, deeper story beneath its glossy veneer, one that rehearses the ways that citizen-viewers align themselves with state-sanctioned violence hiding under the cover of law. Sicari…
Jamie L. Jones, Rendered Obsolete
Early in her excellent book Rendered Obsolete: Energy Culture and the Afterlife of US Whaling, Jamie Jones reminds us that in the mid-nineteenth century the word “energy” did not refer to coal or petroleum, let alone whale oil or other illuminants. Even its scientific definition was still being worked out by scientists like Joule and Kelvin. Yet fifty years later, the term had come to signify not only a measurable property of activity, a material…
Shadows in the Shenandoah
Melville’s poem “The Portent” presents readers with a haunted vision of the divided American landscape before and during the Civil War. Through the speaker’s apostrophe to the Shenandoah—a metonym for the shadowy presence of fugitive slaves, dissident bodies, and dead soldiers in the Valley—the poem dislocates the reader into the ethical position of literary witness, suggesting the power of poetry to make visible shadows otherwise unseen. The ten…
Writing Ojibwe
No prominent works on this page.
Writing Ojibwe
Shadows in the Shenandoah
Melville’s poem “The Portent” presents readers with a haunted vision of the divided American landscape before and during the Civil War. Through the speaker’s apostrophe to the Shenandoah—a metonym for the shadowy presence of fugitive slaves, dissident bodies, and dead soldiers in the Valley—the poem dislocates the reader into the ethical position of literary witness, suggesting the power of poetry to make visible shadows otherwise unseen. The ten…
Jamie L. Jones, Rendered Obsolete
Early in her excellent book Rendered Obsolete: Energy Culture and the Afterlife of US Whaling, Jamie Jones reminds us that in the mid-nineteenth century the word “energy” did not refer to coal or petroleum, let alone whale oil or other illuminants. Even its scientific definition was still being worked out by scientists like Joule and Kelvin. Yet fifty years later, the term had come to signify not only a measurable property of activity, a material…
Sicario and the Cinematic Infrastructures of Necroplasticity
A borderland thriller with an imperial unconscious, Sicario (Denis Villeneuve, 2015) is a film of our time. Drawing audiences into a world of ambient threat and righteous but morally ambiguous revenge in the context of clandestine US–Mexico drug wars, the film tells another, deeper story beneath its glossy veneer, one that rehearses the ways that citizen-viewers align themselves with state-sanctioned violence hiding under the cover of law. Sicari…
Art (3 works) · Literature (3 works) · Literature: history, themes, analysis (2 works) · Poetry (2 works) · Aesthetics (1 work) · Afterlife (1 work) · Archaeology (1 work) · Cinema and Media Studies (1 work) · Citation (1 work) · Complicity (1 work)