455:
For me, it's always first of all the medium that matters—and in a quite material sense, including the differential function of phonetics and frame-advance in literary and film "texts" respectively. Or cross-wired technical effects in conceptual art. With interpretive viewing posited as its own kind
384:
of still frames as they speed past the projector. Stewart is interested in the ways in which film tries, and often fails, to repress this stillness in its representations of time and movement. In this respect, he views the various techniques of cinematic
303:" to suggest that literary poetics are produced by the "voice" that the reader gives to a text—what Stewart calls the "phonetic undertow of literary writing". Subvocalization has been corroborated by empirical science. Minuscule movements in the
270:
are operative at even the smallest of scales prompted
Stewart in 2007 to develop the term "narratography"—i.e., a mapping of the ways in which technique constructs a particular narrative mode, whether in terms of stylistics (print) or
393:—by the very machinery that makes them possible. If that's the case, then new/different film technologies ought to engender new/different kinds of plots and cinematic styles. Such is Stewart's contention in a follow-up book,
456:
of "reading", my emphasis is everywhere on process rather than product: on knowing how it is that we read before determining what it is, in all its cultural and political ramifications, that we are out to understand.
657:
662:
435:
was awarded the
Perkins Prize from the International Society for the Study of Narrative. More recently his scholarship has turned toward digital cinema and modes of
279:(film). Stewart describes narratography as "searching out the 'microplots' of narrative development in the inflections of technique, audiovisual or linguistic".
232:
97:
461:
642:
652:
212:
60:
647:
349:
a name". Stewart argues that our traditionally vision-centric reading habits cause us to be "deaf" to these permutations.
397:(2007), where he argues that digital filmmaking is subsequently haunted by its basis, not in still photography, but the
518:
319:
on working memory, and that reading comprehension depends as much on the way words "sound" in the reader's
637:
420:
460:
Stewart remains active in his research and teaching at the
University of Iowa. He was inducted into the
632:
276:
216:
124:
339:
320:
236:
220:
196:
101:
582:
228:
192:
574:
415:
386:
369:
267:
208:
428:
402:
332:
300:
296:
224:
172:
55:
406:
361:
335:
316:
308:
255:
191:(born January 5, 1945) is an American literary and film theorist. He has served as the
154:
149:
626:
575:
365:
243:
144:
380:. While cinema creates the illusion of live action, this is only made possible by a
436:
291:, Stewart argues that literature, despite its visual appearance, is essentially an
272:
488:
315:
do not outwardly activate, it has been proposed that subvocalization reduces the
377:
357:
312:
263:
139:
129:
410:
324:
259:
134:
345:
asks "What's in a name?", for example, aurally she might also declare, "What
381:
292:
307:
and other muscles involved in speech have been observed in subjects during
247:
401:, leading to the internally-morphing representations of time in recent
427:
Stewart has published numerous other books, ranging from language in
342:
304:
451:). He describes the common linkage between these various projects:
398:
373:
251:
242:
Across his career, Stewart has pursued a methodology of intense
258:. He describes his own work as existing at the intersection of
519:"Reading for the Apparatus: An Interview with Garrett Stewart"
431:
to representations of death in
British fiction. His 2009
266:. Examining the ways in which the larger structures of
195:
Professor of
Letters in the English Department at the
449:
Transmedium: Conceptualism 2.0 and the New Object Art
598:
Between Film and Screen: Modernism's Photo
Synthesis
433:
Novel
Violence: A Narratography of Victorian Fiction
354:
Between Film and Screen: Modernism's Photo
Synthesis
163:
115:
107:
93:
67:
51:
43:
25:
18:
483:
481:
479:
477:
338:, opens up new inroads to literary analysis. When
441:Closed Circuits: Screening Narrative Surveillance
331:, so often ignored by the "phonophobia" of post-
658:University of California, Santa Barbara faculty
453:
513:
511:
509:
8:
577:Reading Voices: Literature and the Phonotext
558:Rayner, Keith; Pollatsek, Alexander (1994).
545:Reading Voices: Literature and the Phonotext
523:The University of Iowa Department of English
493:The University of Iowa Department of English
445:Bookwork: Medium to Object to Concept to Art
289:Reading Voices: Literature and the Phonotext
581:. University of California Press. p.
15:
663:University of Southern California alumni
327:) arrangement. Stewart argues that this
613:Framed Time: Toward a Postfilmic Cinema
473:
395:Framed Time: Toward a Postfilmic Cinema
233:University of California, Santa Barbara
98:University of California, Santa Barbara
462:American Academy of Arts and Sciences
7:
443:) as well as conceptual art (e.g.,
14:
547:. University of California Press.
376:is haunted by its basis in still
323:as it does on the words' visual (
213:University of Southern California
61:University of Southern California
162:
615:. University of Chicago Press.
600:. University of Chicago Press.
372:—to argue that as an art form
1:
356:, Stewart draws on ideas in
643:American literary theorists
679:
653:University of Iowa faculty
360:—specifically the work of
215:in 1967 and then earned a
175:, Phonotext, Narratography
611:Stewart, Garrett (2007).
596:Stewart, Garrett (1999).
573:Stewart, Garrett (1990).
560:The Psychology of Reading
543:Stewart, Garrett (1990).
207:Stewart graduated with a
182:
89:
389:to be influenced—if not
368:and its emphasis on the
295:medium. He draws on the
81:Between Film and Screen
648:Yale University alumni
458:
254:, and (most recently)
227:in 1971. He taught at
125:Victorian literature
562:. Psychology Press.
370:cinematic apparatus
364:as well as British
283:Work and main ideas
235:before joining the
297:neurophysiological
246:in the mediums of
237:University of Iowa
197:University of Iowa
102:University of Iowa
489:"Garrett Stewart"
352:In his 1999 book
287:In his 1990 book
229:Boston University
193:James O. Freedman
186:
185:
150:Visuality Studies
670:
617:
616:
608:
602:
601:
593:
587:
586:
580:
570:
564:
563:
555:
549:
548:
540:
534:
533:
531:
529:
515:
504:
503:
501:
499:
485:
264:narrative theory
70:
39:
35:
33:
16:
678:
677:
673:
672:
671:
669:
668:
667:
623:
622:
621:
620:
610:
609:
605:
595:
594:
590:
572:
571:
567:
557:
556:
552:
542:
541:
537:
527:
525:
517:
516:
507:
497:
495:
487:
486:
475:
470:
429:Charles Dickens
421:Minority Report
405:films like the
301:subvocalization
299:phenomenon of "
285:
225:Yale University
205:
189:Garrett Stewart
178:
173:Subvocalization
166:
159:
118:
100:
85:
68:
59:
56:Yale University
52:Alma mater
37:
36:January 5, 1945
31:
29:
21:
20:Garrett Stewart
12:
11:
5:
676:
674:
666:
665:
660:
655:
650:
645:
640:
635:
625:
624:
619:
618:
603:
588:
565:
550:
535:
505:
472:
471:
469:
466:
362:Gilles Deleuze
336:deconstruction
317:cognitive load
309:silent reading
284:
281:
256:conceptual art
204:
201:
184:
183:
180:
179:
177:
176:
169:
167:
164:
161:
160:
158:
157:
155:Conceptual art
152:
147:
142:
137:
132:
127:
121:
119:
117:Main interests
116:
113:
112:
109:
105:
104:
95:
91:
90:
87:
86:
84:
83:
77:Reading Voices
73:
71:
65:
64:
53:
49:
48:
45:
41:
40:
27:
23:
22:
19:
13:
10:
9:
6:
4:
3:
2:
675:
664:
661:
659:
656:
654:
651:
649:
646:
644:
641:
639:
638:Living people
636:
634:
631:
630:
628:
614:
607:
604:
599:
592:
589:
584:
579:
578:
569:
566:
561:
554:
551:
546:
539:
536:
528:September 18,
524:
520:
514:
512:
510:
506:
494:
490:
484:
482:
480:
478:
474:
467:
465:
463:
457:
452:
450:
446:
442:
438:
434:
430:
425:
423:
422:
417:
413:
412:
408:
404:
400:
396:
392:
388:
383:
379:
375:
371:
367:
366:screen theory
363:
359:
355:
350:
348:
344:
341:
340:Shakespeare's
337:
334:
330:
326:
325:typographical
322:
318:
314:
310:
306:
302:
298:
294:
290:
282:
280:
278:
274:
269:
265:
261:
257:
253:
249:
245:
244:close-reading
240:
238:
234:
230:
226:
222:
218:
214:
210:
202:
200:
198:
194:
190:
181:
174:
171:
170:
168:
165:Notable ideas
156:
153:
151:
148:
146:
145:Media studies
143:
141:
138:
136:
133:
131:
128:
126:
123:
122:
120:
114:
110:
106:
103:
99:
96:
92:
88:
82:
78:
75:
74:
72:
66:
62:
57:
54:
50:
46:
42:
38:(age 79)
28:
24:
17:
612:
606:
597:
591:
576:
568:
559:
553:
544:
538:
526:. Retrieved
522:
498:November 20,
496:. Retrieved
492:
459:
454:
448:
444:
440:
437:surveillance
432:
426:
419:
409:
394:
390:
353:
351:
346:
328:
311:. While the
288:
286:
241:
206:
199:since 1993.
188:
187:
94:Institutions
80:
76:
69:Notable work
633:1945 births
407:Wachowskis'
399:pixel array
378:photography
358:film theory
313:vocal cords
140:Narratology
130:Film theory
44:Nationality
627:Categories
468:References
414:(1999) or
411:The Matrix
391:determined
260:stylistics
135:Stylistics
32:1945-01-05
464:in 2010.
416:Spielberg
333:Derridean
329:phonotext
239:faculty.
211:from the
58:(MA, PhD)
424:(2002).
387:plotting
293:acoustic
231:and the
108:Language
47:American
439:(e.g.,
277:montage
273:editing
221:English
111:English
403:sci-fi
374:cinema
343:Juliet
305:larynx
203:Career
382:strip
248:print
223:from
217:Ph.D.
530:2019
500:2018
447:and
321:mind
268:plot
262:and
252:film
209:B.A.
63:(BA)
26:Born
418:'s
347:sin
219:in
629::
583:63
521:.
508:^
491:.
476:^
250:,
79:,
34:)
585:.
532:.
502:.
275:/
30:(
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.