Stuart Burrows Associate Professor of English

Stuart Burrows received his Ph.D. from Princeton University in 2001, and joined the Department of English at Brown University that year. He is the author of "A Familiar Strangeness: American Fiction and the Language of Photography," (Georgia, 2008) and essays in Nineteenth Century Literature, The Arizona Quarterly, NOVEL, The Henry James Review, and a variety of edited collections.

Brown Affiliations

Research Areas

scholarly work

"The Place of a Servant in the Scale." Nineteenth Century Literature 63.1 (June 2008): 73-103.

"Losing the Whole in the Parts: Identity in The Professor's House." Arizona Quarterly 64.4 (Winter 2008): 21-48.

A Familiar Strangeness: American Fiction and the Language of Photography, 1839-1945 (Athens, GA: The University of Georgia Press, 2008).

"Stereotyping Henry James." The Henry James Review 23.2 (Summer 2002): 255-64.

"'You heard her, you ain't blind': Seeing What's Said in Their Eyes Were Watching God." NOVEL 34:3 (Summer 2001): 434-452.

"'Desire Projected Itself Visually': Watching Death in Venice." Classics in Film and Fiction. Ed. Deborah Cartmell. London: Pluto Press, 2000: 137-56.

"The Golden Fruit: Innocence and Imperialism in The Golden Bowl." The Henry James Review, 21:2 (Spring 2000): 95-114.

"The Power of What is Not There: James Agee's Let Us Now Praise Famous Men." Forthcoming in Picture This! Photography and Literature. Minneapolis: The University of Minnesota Press. Ed. Karen Beckman and Liliane Weissberg.

research overview

My scholarly interests include the nineteenth and twentieth century American novel, the relationship between literature and the visual arts, the history of photography, film, modernism, and rhetoric.

research statement

My first book, "A Familiar Strangeness: American Fiction and the Language of Photography," examined how the invention of the camera transformed the way American writers conceived of the limits and purpose of representation. Arguing for the centrality of photography to a set of writers commonly thought of as hostile to the camera┬Śincluding Nathaniel Hawthorne, Henry James, William Faulkner, Zora Neale Hurston, and Gertrude Stein┬Śmy book traced the photographic metaphors and allusions to the medium which appear throughout these writers' work. My essays have explored topics such as narrative identification in the novels of Raymond Chandler, servants in the work of Henry James, national identity in Willa Cather's "The Professor's House," the anti-photographic aesthetic of James Agee's "Let Us Now Praise Famous Men," and desire in Luchino Visconti's "Death in Venice."

I am currently working on a book on consciousness in Henry James, which argues that identity in his work takes place in the third person.

funded research

Bronson Research Fellowship, Brown University