Photography might be called the lost cause of cinema, gone in projection and too soon forgotten. But what is the mysterious region between photography and narrative cinema, between the photogram a single film frame and the illusion of motion we recognize as the movies? In this ambitious, sophisticated study, Garrett Stewart discusses the photogram not only as the undertext of screen images but also in its unexpected links to the early modernist writings of James, Conrad, Forster, Joyce, and others. Engaging the work of such media theorists as Eisenstein, Benjamin, Kracauer, Bazin, Baudry,...
Photography might be called the lost cause of cinema, gone in projection and too soon forgotten. But what is the mysterious region between photography...
"At last, a scrupulous and sustained--'earsighted'--study of that shadowy yet vital intersection of sound and sense without which literary reading remains a disembodied exercise. . . . Stewart immerses us brilliantly in the poststructural method of a 'phonemic' analysis."--Geoffrey H. Hartman, author of Saving the d104 "Stunningly articulate. . . . Alongside brilliant exegeses of passsages from the major English poets, Stewart offers new and dazzling interpretations of the 'poetics of prose' in such novelists as Dickens, Lawrence, Joyce, and Woolf. The book is a tour de force, no doubt...
"At last, a scrupulous and sustained--'earsighted'--study of that shadowy yet vital intersection of sound and sense without which literary reading rem...
There they rest, inert, impertinent, in gallery space those book forms either imitated or mutilated, replicas of reading matter or its vestiges. Strange, after its long and robust career, for the book to take early retirement in a museum, not as rare manuscript but as functionless sculpture. Readymade or constructed, such book shapes are canceled as text when deposited as gallery objects, shut off from their normal reading when not, in some yet more drastic way, dismembered or reassembled. So begins" Bookwork," which follows our passion for books to its logical extreme in artists who...
There they rest, inert, impertinent, in gallery space those book forms either imitated or mutilated, replicas of reading matter or its vestiges. S...
The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its powerand potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Deja Vu, Source Code, and The Bourne Legacy, in which cinema has articulatedand performedthe drama of inspection s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues,...
The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware...
Garrett Stewart begins The Deed of Reading with a memory of his first hesitant confrontation, as a teenager, with poetic density. In that early verbal challenge he finds one driving force of literature: to make language young again in its surprise, coming alive in each new event of reading. But what exactly happens in the textual encounter to make literary phrasing resonate so deeply with readers?
To take the measure of literary writing, The Deed of Reading convenes diverse philosophic commentary on the linguistics of literature, with stress on the complementary...
Garrett Stewart begins The Deed of Reading with a memory of his first hesitant confrontation, as a teenager, with poetic density. In that ...
Garrett Stewart begins The Deed of Reading with a memory of his first hesitant confrontation, as a teenager, with poetic density. In that early verbal challenge he finds one driving force of literature: to make language young again in its surprise, coming alive in each new event of reading. But what exactly happens in the textual encounter to make literary phrasing resonate so deeply with readers?
To take the measure of literary writing, The Deed of Reading convenes diverse philosophic commentary on the linguistics of literature, with stress on the complementary...
Garrett Stewart begins The Deed of Reading with a memory of his first hesitant confrontation, as a teenager, with poetic density. In that ...
If you attend a contemporary art exhibition lately, you're unlikely to see much traditional painting or sculpture. Indeed, artists today are preoccupied with what happens when you leave behind assumptions about particular media--such as painting, or woodcuts--and instead focus on collisions between them, and the new forms and ideas that those collisions generate. Garrett Stewart in Transmedium dubs this new approach Conceptualism 2.0, an allusion in part to the computer images that are so often addressed by these works. A successor to 1960s Conceptualism, which posited that a...
If you attend a contemporary art exhibition lately, you're unlikely to see much traditional painting or sculpture. Indeed, artists today are preoccupi...
In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dickens's novels but that go regularly unnoticed in Dickensian criticism: the linguistic infrastructure of his textured prose. Stewart, in effect, looks over the reader's shoulder in shared...
In The One, Other, and Only Dickens, Garrett Stewart casts new light on those delirious wrinkles of wording that are one of the chief pleasures of Dic...
