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Pasquier, Marie-Claire. "Gertrude Stein, théâtre et théâtralité." Paris 4, 1991. http://www.theses.fr/1991PA040014.
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Ce travail analyse l'œuvre "théâtrale" de Gertrude Stein (théâtre "virtuel"), depuis les premières "pièces" (1913) jusqu'à l'opéra The mother of us all (1946). Il s'appuie sur une distinction non dogmatique entre deux pôles : le dramatique - construction d'une action, conflit - et le théâtral - conception picturale et symbolique de l'espace, temps suspendu, prééminence des images. Après un premier chapitre "panoramique" intitule "genèse et fortune", une analyse des textes eux-mêmes fait apparaitre : 1. La récurrence de certains mots privilégiés appelés ici "mots-figurants" (mean, yes ou may, par exemple). 2. Un jeu steinien sur les noms, appelé ici "Gertrude Stein onomaturge". 3. La corrélation entre théâtre et prière, ou théâtre et méditation ("des saints en actes"). 4. La prédominance d'un thème et modèle de fonctionnement : la guerre. Le théâtre "virtuel" de Gertrude Stein semble bien avoir influence directement ou indirectement des artistes de l'avant-garde des années 60 et 70 tels que Bob Wilson et Richard Foreman, mais on trouve aussi chez elle des traits qu'on trouvera en France ou en Angleterre chez des auteurs dramatiques tels que Beckett ou Ionesco, Pinter, Marguerite Duras, ou Nathalie SarrauteThis study of Gertrude Stein's theatre (from the first "plays" in 1913 to The opera the mother of us all in 1946) is based on the distinction between drama proper and theatricality, a quality which can be found in writings not designed for the stage. Drama is based on constructed action and conflict, while theatricality is the pictorial quality of language, framing devices, the visibility of speech, the dream-like quality of images. Gertrude Stein's "plays", which indeed play with language, are approached from various points of view: small units such as recurrent words (mean, yes or may, for example), nouns and titles, the symbolic vision of space (as in pre-renaissance paintings), an almost mystic suspension of time (for saints, "acting" means doing nothing), the theatrical as one dimension of war and war as one dimension of the theatrical. The innovations of Gertrude Stein, it is argued, have influenced the European (and European) avant-garde of the sixties and seventies: Beckett, Ionesco, Pinter, Duras, Sarraute, Bob Wilson, Richard Foreman, Sam Shepard
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Porter, David. "Rhetorical, pedagogical, and Jewish : the language practices of Gertrude Stein /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9978258.
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Thesis (Ph. D.)--University of Oregon, 2000.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 296-308). Also available for download via the World Wide Web; free to University of Oregon users.
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Blizzard, Allison. "Portraits of the 20th century self : an interartistic study of Gertrude Stein's literary portraits and early modernist portraits by Paul Cézanne, Henri Matisse and Pablo Picasso /." Frankfurt am Main : P. Lang, 2004. http://catalogue.bnf.fr/ark:/12148/cb392447627.
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Schnell, Andréa Elizabeth. "Gertrude Bell : an Orientalist in context." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112515.
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This thesis is about the life and work of Gertrude Bell, a British woman born in the late nineteenth century, whose extensive knowledge of Middle East cultures and people won her a job as the Oriental Secretary in Iraq after World War One. Modern historians, including Toby Dodge and Edward Said, consider Bell to be an irredeemable orientalist, one whose work is only ethnocentric and essentialist. Using the work of Billie Melman and Mohja Kahf, my aim is to contextualize Bell's work, and to see if, given the various circumstances in which she worked, a more sympathetic reading is not possible, and if perhaps Said and Dodge are not sometimes guilty of essentialism. I will also examine Said's theories in Orientalism, and though this thesis is in no way an attempt to discredit Said's work, I wish to pose a question; if one can take a small piece of the Orientalist puzzle (Bell's work) and shows that it differs from Said's description, does this undermine the idea of orientalism as a cohesive body of ideas?
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Ryan, Betsy Alayne. "Gertrude Stein's theatre of the absolute /." Ann Arbor (Mich.) : UMI, 1994. http://catalogue.bnf.fr/ark:/12148/cb37421280q.
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Abreu, Andreia Manuela Passos de. "Gertrude Stein e o cubismo literário." Master's thesis, Universidade Aberta, 2008. http://hdl.handle.net/10400.2/1225.
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Gibbs, Anna. "Gertrude Stein and feminist literary theory." Thesis, Gibbs, Anna (1989) Gertrude Stein and feminist literary theory. PhD thesis, Murdoch University, 1989. https://researchrepository.murdoch.edu.au/id/eprint/52950/.
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This thesis attempts to render intelligible some significant issues in feminist literary theory - and perhaps 'feminist theory' more generally - through a reading of some of Gertrude Stein's writing, concentrating especially on The Autobiography of Alice B. Toklas and some of Stein's shorter prose.
The issues explored all arise out of the confrontation of Anglo-American empiricism with what has been qualified - too neatly - as French theoretical work in the domains of philosophy, and literary theory. I refer particularly to a body of work that may be broadly termed 'postmodern', though in fact it is heterorather than homo- geneous.
While this work is troubling to feminists for its reinscription of metaphors of Woman, local rather than global uses of it may open up new possibilities for feminist readings of texts other than those that form a part of the realist canon and have come to dominate (especially) American thought about feminist strategies of writing and reading. Modernist and postmodernist texts fit less easily into a critical framework which concerns itself primarily with defining and delimiting a female literary tradition, and hence depends upon notions of the self as individual, autonomous entity; of experience as conscious and transparent; and writing as representation.
My reading of Gertrude Stein aims to show both how her texts resist this kind of interpretation, and how, within a framework of sexual difference, they may be mobilized to elaborate (and problematize) questions of authorship, of the possibility of feminine subjectivity, and of 'writing the body'.
Further, I argue that a focus on these issues reveals the androcentric bias of most discussions of modernism, especially as it is opposed to postmodernism, and that an adequate reading of Stein's writing must force a redefinition of the relations between the two. Thus, the very theoretical work which facilitates a new understanding of Stein's textual strategies can in turn be revised by such a reading.
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Geronimo, Vanessa. "A peça-paisagem de Gertrude Stein." reponame:Repositório Institucional da UFSC, 2015. https://repositorio.ufsc.br/xmlui/handle/123456789/136321.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Estudos da Tradução, Florianópolis, 2015.Made available in DSpace on 2015-11-10T03:07:04Z (GMT). No. of bitstreams: 1 336030.pdf: 1022966 bytes, checksum: e8b23710b7dc600a38125224d3d9b0e4 (MD5) Previous issue date: 2015
Esta pesquisa foi realizada pensando na tradução da peça-paisagem, peça-ópera, Four Saints in Three Acts, escrita em 1927, pela autora norte-americana Gertrude Stein (1874-1946). A peça foi elaborada musicalmente por Virgil Garnett Thomson (1896 ? 1989), crítico e compositor americano que, após estabelecer uma amizade com Stein, pediu se ela poderia escrever um libreto, uma ópera, para que ele fizesse o arranjo musical. Four Saints, publicada na obra Last Operas and Plays (1949), inicia na página 440 e termina na página 480. Nesta pesquisa serão apresentadas duas traduções para o português brasileiro das primeiras seis páginas da peça ? páginas 440 a 445 ? escrita em língua inglesa. Uma das traduções teve o foco mais literal, buscando manter o significado das palavras; e a outra, considerando as peculiaridades do texto steiniano, teve o foco mais autoral, fazendo uma dosagem entre forma e conteúdo, privilegiando ambos. A peça foi apresentada pela primeira vez em 1934 no Wadsworth Atheneum museum, em Hartford, Connecticut, nos Estados Unidos. Duas semanas depois foi para a Broadway; também foi comentada em diversas colunas de jornais e em rádios, levando à fama uma nova forma de teatro.
Abstract : This research was conducted considering the translation of the play-landscape, play-opera, Four Saints in Three Acts, written in 1927 by American author Gertrude Stein (1874-1946). The play was set to music by Virgil Garnett Thomson (1896 - 1989), American composer and critic who, after establishing a friendship with Stein, asked if she could write a libretto, an opera, for him to do the musical arrangement. Four Saints, published in the work Last Operas and Plays (1949), starts on page 440 and ends on page 480. In this research it will be presented two translations to Brazilian Portuguese of the first six pages of the play - pages 440 to 445. One of the translations had a more literal focus to keep the meaning of words; and the other, considering the steinian text peculiarities, had a more authorial focus, making a mix between form and content, focusing both. The play was first performed in 1934 at the Wadsworth Atheneum museum in Hartford, Connecticut, in the United States. Two weeks later it went to Broadway; it was also commented on several columns of newspapers and radio stations, leading to fame a new form of theater.
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Thomas, Chloé. "Gertrude Stein : une poétique du réalisme." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA090/document.
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Gertrude Stein (Allegheny, Pennsylvanie, 1874 – Paris, 1946), figure centrale du modernisme américain, est souvent saluée pour avoir porté très loin une expérience linguistique et grammaticale, au sein d’une œuvre très vaste explorant tous les genres – romans, nouvelles, poèmes longs et courts, essais et conférences, pièces de théâtre, livrets d’opéra, biographies et autobiographies. L’objet de ce travail est d’analyser le rapport que la langue de Gertrude Stein entretient avec le réalisme : comme tradition littéraire d’abord, en réinvestissant l’héritage naturaliste et en l’américanisant par le remplacement de Claude Bernard par William James comme figure tutélaire de la méthode expérimentale ; comme déplacement du réel dans la langue elle-même qui échoue toujours à se réifier tout à fait ; comme injonction à la véracité enfin, dans des fictions plus tardives qui mettent en scène leur propre mauvaise foi et font de l’Amérique le territoire idéal et idéel de l’iréel. Parallèlement, nous tentons de mettre au jour la dynamique des genres qui se joue dans cette conversation renouvelée avec le réalisme, où chaque déplacement au sein d’une poétique mouvante devient une nouvelle façon de mettre la langue à l’épreuve du monde et de sa capacité à le viser. À partir de deux œuvres du début de sa carrière (les trois nouvelles de Three Lives et le long roman The Making of Americans), de sa poésie dite descriptive (les « portraits »), des Stanzas in Meditation et de deux œuvres en prose plus tardives (Four in America et Ida a Novel) nous essayons de comprendre la façon dont Stein envisageait les partitions génériques, notamment entre prose et poésie, et le rôle qu’elle leur donnait dans son parcours artistique et esthétiqueGertrude Stein (Allegheny, Pennsylvania, 1874 – Paris, 1946) is a central figure of American modernism. She is celebrated for the radical experiments with language and grammar she conducted throughout a literary career in which she tried her hand at all genres: novels, novellas, long and short poems, essays, conferences, plays, opera librettos, biographies and autobiographies. The present dissertation analyzes the connections of Stein’s language to realism. The notion will be understood, first, as a literary tradition, which Stein reinterprets by americanizing it (through the replacement of Claude Bernard by William James as her mentor in the experimental method); second, as a displacement of the “real” within language itself, despite its consistent failure to become just a thing among others; third, as a call to veracity, in later works of fiction which stage their own disingenuousness and make America the ideal territory of the unreal. It will be argued that this constantly evolving conversation between Stein’s work and realism also implies a renewal of generic issues: each shift within an unstable generic system is a new way to test the ability of language to account for the world. Focusing on two early works (the three novellas of Three Lives and the long novel The Making of Americans), pieces of “descriptive” poetry (the “portraits”), the Stanzas in Meditation and two later prose works (Four in America) and (Ida a Novel), this dissertation will try to show how Stein understood generic boundaries, including that between poetry and prose, and what part they played in her aesthetic development
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Preslmair, Gertrude [Verfasser]. "Der Transformationsprozess des tschechischen Bankensektors / Gertrude Preslmair." Hamburg : Diplom.de, 2001. http://d-nb.info/1187447676/34.
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Lu, Chi-fen. "La représentation des espaces chez Gertrude Stein." Paris 10, 2005. http://www.theses.fr/2005PA100039.
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De nombreux et variés types d’espace ou paysages fascinent Stein au point que ses écrits consacrés à leur représentation constituent chez elle un thème récurrent, caractéristique et important. Cependant, si nous trouvons que sa représentation des espaces mérite une attention particulière, ce n’est pas simplement parce qu’elle lui sert répétitivement de sujet d’écriture. En effet, à travers ses différentes manières de représenter l’espace, nous constatons davantage un changement continu dans ses idées et ses pratiques d’écriture. Ceci est du au changement de sa vision spatiale et celui de sa conception de la littérature qui ont souvent des influences réciproques. Pour être plus précis, Stein utilise fréquemment différents styles linguistiques ou même différents genres littéraires afin de mieux exprimer les caractéristiques des différents espaces. Nous souhaiterions examiner dans le présent travail la représentation de trois types singuliers d’espaces chez Gertrude Stein dont chacun est associé par nous à une méthode particulière d’écriture. Dans les trois chapitres suivants, nous étudierons successivement la représentation de l’espace domestique et «l’esthétique de surface» dans Tender Buttons (1912), la représentation des paysages modernes américains et la théorie du «human mind» (entre 1934 et 1938) et enfin le chronotope de la guerre et la «méthode prophétique» dans Wars I Have Seen (1946)A variety of spaces and landscapes fascinated so much Gertrude Stein that their representations constituted a recurrent, special and important theme in her writing. However, we think that Stein’s representation of spaces deserves a specialized research not merely because it is one of the subjects which she takes upon oftenest. In fact, through her different manners of representing the space, we can observe constant changes in her conception and style of writing. This is due to the frequent mutual influence between her vision of space and her vision of literature. As a result, Stein creates often new linguistic styles and even new literary genres in order to express les characteristics of new spaces or landscapes. In this dissertation, we would like to analyze Stein’s representation of three distinct types of spaces, each of which will be associated with a specific writing method. In the following three chapters, we will study successively the representation of domestic space and the “esthetic of surface” in Tender Buttons (1912), the representation of modern American landscapes in a series of texts written from 1934 to 1938 and the notion of “human mind,” and finally the chronotope of war and the “prophetic method” in Wars I Have Seen (1946)
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Simon, Emöke. "Gertrude Stein : l'identité à l'épreuve du rythme." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030116.
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La conception steinienne du rythme comme manifestation de l’identité ouvre la voie à une perception diagrammatique du texte. Si le rythme est diagramme, c’est-à-dire l’image en mouvement d’une pensée, il postule une conception littérale du rapport de l’acte d’écriture et d’une idée susceptible de le motiver. Cette étude propose de considérer le rythme textuel de Gertrude Stein comme l’expression d’une pensée qui interroge le concept d’identité en tant que champ de confrontation entre l’intérieur et l’extérieur, entre le désir et la loi, entre soi et autrui, ou encore, entre l’écrivain et le lecteur. Les textes de Gertrude Stein interrogent l’être au monde –collectif et singulier – même à travers leur personnages, toutefois ceux-ci se laissent investir parle rythme au point de devenir des personnages rythmiques, en même temps que le rythme devient l’espace performatif où les figures de l’Un, du double et du multiple se défient ou se superposent.L’interaction de ces figures, la nature des rapports qu’elles engagent donnent lieu à une expérience rythmique à multiple visages qui, traversée par la logique de la sensation, postule la présence du texte comme corps et place le rapport de l’écrivain et du lecteur sous le signe du devenir. Si le rythme interroge l’identité, c’est par le rythme qu’une identité textuelle peut être saisie. Émergé de son élan vers le lecteur et son désir du rythme, le texte steinien pourrait alors se définir à travers un geste d’écriture et d’une voix qui le sculptent selon les lois du pli, du chiasme,ou du cercle, sous les yeux du lecteur et sous le regard qu’il porte sur lui-même. L’intensité et l’immediateté qui le caractérisent lui assurent le statut d’une action performative et le donne à voir comme un corps burlesque. L’écriture de Gertrude Stein est présence qui interroge, remet en question à la manière d’un postulat critique, déterritorialise et territorialise le champ artistique contemporain où il continue à se chercher dans son rapport à autruiThe steinian conception of rhythm as expression of identity paves the way for a diagrammatic perception of the text. If rhythm is a diagram, that is to say, the image in movement of a literary thinking, it asserts a literal conception of the relation between the act of writing an dan idea as its possible motivation. This study proposes to approach the textual rhythm of Gertrude Stein as the expression of a thinking that calls into question the concept of identity considered as the confrontation of inside and outside, of desire and law, of self and other, or of the writer and the reader. Gertrude Stein’s text question the being in the world – the collective being as well as the individual – also through its characters, yet they are so intensely conditioned by the rhythm that they become rhythmic characters, meanwhile the rhythm becomes this performative space where the figures of One, the double and the multiple overlap or challenge each other. The interaction of these figures and the nature of the dynamics they engage produce a rhythmic experience of multiple faces which, conditioned by a logic of sensation, asserts the presence ofthe text as body and places the writer/reader relationship under the sign of becoming. If the rhythm questions identity, it is through the rhythm that a textual identity may be grasped.Emerging from its movement towards the reader and the desire of rhythm, the steinian text could then be defined in terms of a gesture of writing and a voice which shape it according to the lawsof the fold, the chiasm, the circle, in the reader’s presence and under the gaze of the text itself.Through its immediacy and its intensity, such a text may claim to ensure a performative actionwhich reveals the text in its burlesque dimension. Gertrude Stein’s writing is presence whichquestions as a critical statement does, it deterritorialises and continues to reterritorialize the fieldof contemporary art where it continues its quest of identity in relation to the other
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Ferguson, Lisa. "Lady Macbeth and Gertrude: A Study in Gender." TopSCHOLAR®, 2002. http://digitalcommons.wku.edu/theses/656.
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The detailed examination of two of Shakespeare's female leads, Lady Macbeth and Gertrude, is designed to determine whether or not these particular characters were free from the confines of their society, or if they were content within its oppressive grasp. A combination of Feminist Criticism and New Historicism reveals that Lady Macbeth and Gertrude did not overstep the bounds of their gender, but in fact were suppressed within them. The limited rights and freedoms of a woman during the Renaissance is heavily discussed, and aids in giving the reader a vivid impression of Lady Macbeth's and Gertrude's subjugation. As Renaissance women were considered and treated inferior to their husbands in all respects, so are these two characters. Once the supposed driving force behind her husband's actions, Lady Macbeth makes a swift but devastating departure after Macbeth expels her from both his personal and political matters. No longer needing his wife to appease his conscience, Macbeth finds his own aptitude for evil. Torn between her roles as a wife and mother, Gertrude forfeits her happiness to please her overemotional son. Long before her actual death, Gertrude sacrifices a part of her identity to meet Hamlet's expectations. Both women relinquish their hopes and dreams to fulfill those of the men around them. Their blinded selflessness and misplaced devotion result in their ultimate undoing. Though the typical reader of Macbeth and Hamlet sometimes considers these particular female characters to be strong, bold, and selfish, the values of Shakespeare's era and his actual text suggest otherwise. The playwright's time was marked by a bitter gender struggle that pervaded all areas of Renaissance life, including his own work. Upon first glance, Lady Macbeth and Gertrude might come across as women who were strikingly independent. Throughout the progression of the plays, however, both women take a backseat to more important matters, such as politics and war. Even their deaths do not truly belong to them, as they seem to serve as mere asides to the inevitable "manly" action. Striving to meet the expectations of the men they loved, Lady Macbeth and Gertrude lose themselves in the process.
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Tulloch-Hoskins, Amanda Julie Pearl. "Gertrude Stein and the power of the erotic /." Title page, table of contents and conclusions only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09art919.pdf.
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McKenzie, Mary Virginia. "Gertrude Stein's 'Melanctha' : a feminist and deconstructive approach." Thesis, University of Warwick, 2003. http://wrap.warwick.ac.uk/67856/.
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This dissertation provides specific feminist and deconstructive approaches to Gertrude Stein's 'Melanctha', the second and longest story of Three Lives. These approaches outline the contradictions of a text caught between nineteenth-century conventions about sex and race and twentieth-century preoccupations with aesthetics. The individual readings of the text in four chapters are not mutually exclusive; indeed, they are united by a discussion of gender, identity and female sexuality. Each chapter is concerned with demonstrating how Stein's attempts to write her radical views about identity and sexuality are undermined by he difficulty of finding an appropriate space for these views in this early text. Moreover, the final chapter demonstrates that Stein's use of race, which is politically naive and racist, has profound implications for critics who want to claim this story as Stein's first modern text. Chapter One provides a reading of Stein's challenge to dominant discourses of gendered identity and mimesis through the trope of the marginal and the "metaphoric lesbian". Chapter Two extends Chapter One into the realms of deconstruction and Jacques Derrida, showing how Stein's concepts of gender and identity prefigure those ofDerrida. Chapter Three moves on to a cultural materialist discussion of'Melanctha' through the trope ofthejlaneuse, and discusses Melanctha's positional challenge to discourses of public and private spaces for men and women at the tum-of-the-century. Finally, Chapter Four continues the cultural materialist reading through an analysis of'Melanctha' against two African-American texts in order to bring to the reader's attention the problems of a text which Stein claims was her 'negro' story. These readings are diverse, but brought together, as I have said, through a discussion of gender and identity. More importantly, the final reading of this story, in Chapter Four, draws together the assumptions made in Chapters One, Two and Three in order to demonstrate that this text cannot be read innocently. Stein's bigoted views about race must be addressed if we are to come to a more definitive conclusion about where we place this text ethically, and if we can really accord it the place it has so far occupied in the Canon.
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Shin, Ery. "Modernism and the queer : Djuna Barnes/Gertrude Stein." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:71b77d1c-7981-497a-a5c5-8113f5d08c7f.
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Djuna Barnes and Gertrude Stein may appear unrelated to one another at first glance. We have an impoverished upstate New Yorker versus relatively comfortable Californian, bisexual romantic nomad versus lesbian monogamist, nihilist versus life-affirming enthusiast, and agnostic-atheist versus secular Jew. When they are referenced together (which happens rarely), it is usually in the context of their Parisian exploits. But a closer look reveals more vital affinities. Both writers remain problematically situated in the modernist canon. Both were inspired by visual art. Both struggled to get published during their lifetimes. Both disassociated themselves from mainstream feminist movements, preferring subtler, more idiosyncratic ways of questioning the status quo. Both held a sustained interest in the queer and, as this dissertation seeks to demonstrate, imagined that theme in original ways—Barnes, through loss; Stein, through phenomenology. Writing out of the spirit of Christian martyrdom, Barnes revels in queer suffering and its transfiguring potential: queers extravagantly lose (themselves), fail, and suffer, yet such ordeals aren’t without value. The first half of my dissertation, thus, appraises Barnes’ “queer negativity” in general before pondering how its masochistic energies push against those authorities that would negate the queer. Chapter One analyzes Barnes’ mythical-seeming transgendered figures who encounter profound failure, despite the imaginative freedom emanating from their ahistorical surroundings. Barnes’ sense of queer failure intensifies in Chapter Two, where same-sex desire invokes the abject by symbolically collapsing psychic boundaries between lovers and refusing reproductive futurity. Both chapters contextualize the moral inversion that becomes the focus of Chapter Three: how does such nihilism tragically ennoble the queer and endow it with insurgent impulses? Without taking a self-consciously queer activist stance, Barnes draws on what Gilles Deleuze would later enunciate as an inverted affect regime: the power of punishment to enforce repressive sexual regulations through pain and hence to bridle perversion becomes inverted when punishment opens the portal to pleasure, when pleasure relocates to sites of perversion. If Barnes writes as a romantic martyr, Stein looks at the queer through a phenomenologist’s eyes. The reciprocity between social conditioning and consciousness, in particular, remains an urgent concern throughout her career. To be “queer,” one often breaks away from a lifetime of habituated orientations toward sex and gender. But queerness cannot wholly bracket the norms that have been left behind. It exists in relation to what it queers. Foregrounding this discussion, Chapter Four examines how Stein’s modernism, phenomenology, and queer criticism intersect. Chapter Five investigates how “Miss Furr and Miss Skeene,” “Many Many Women,” and The Making of Americans reorient us from the “straight” and narrow. Yet this reorientation remains partial. Not all heteronormative biases can be shed, as is evident in The Making of Americans’ classist undertones running through its “singular” queer vision. The sixth chapter further tests the limits of reorientation as such. Ida’s Ida desperately wants to live a queer life, but discovers that she cannot if she approaches queerness as a radically separatist ideal. A solipsistic universe where she can entirely withdraw from society through sleep, silence, or soliloquy remains a fantasy. Ida’s internal conflict, in turn, mirrors Stein’s struggle to enact aesthetic modes that prove just as impossible to practice, being devoted to eliminating memory, emotions, personal identity, and social awareness.
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Melzer, Tine. "Ludwig Wittgenstein & Gertrude Stein : meeting in language." Thesis, University of Plymouth, 2014. http://hdl.handle.net/10026.1/3183.
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The purpose of this study is to show transitions between verbal and visual meaning in ordinary language, based on philosophical concepts and conceptual artworks. It offers models for artistic research and collaboration in arts and science. Shared experiences in ordinary language are fundamental to this thesis and make it an accessible and trans-disciplinary study. Language as such, is approached from different practices and disciplines and becomes the central object of investigation. The research introduces a general set of mechanisms in language, stemming from the Wittgensteinian notion of the language-game. The study examines the possibility of a meeting between the philosopher Ludwig Wittgenstein and the writer Gertrude Stein in a linguistic, biographical and poetic sense. The main claim is that Wittgenstein and Stein share the understanding of language as a game, which is a fruitful principle for artistic and poetic production. Gertrude Stein developed a dimension in her writing which partly succeeds in showing this notion of creating meaning-as-practice and making sense on the ‘edge’ of conventional meaning. In this way she augments Wittgenstein’s idea of the language-game and puts it into practice, tests its limits on her own language and on the reader’s habits. The artistic works represented in this thesis are equally experimental tests of Wittgenstein’s meaning-as-use hypothesis. They put his ideas into practice. They extend the research with strategies from the arts, poetry and fiction. The methodology of the research is based on Wittgenstein’s notion of meaning as context-dependent use. This concept defines the meaning of a word by the way it is used in a specific context. This perspective is then challenged with visual artistic work. This hypothesis is tested throughout the research by applying tools and concepts from several practices, like computer linguistic tools, collaboration with writers and artists from other fields and autonomous visual and poetic work to augment the study of facts. Conceptual artworks, often produced in collaboration, function as language experiments, or language-games. The Wittgensteinian differentiation between what can be shown and what can be said is examined. The context of the research lies in the practices developed as a conceptual artist in which theoretical research informs artistic practice. This thesis, on the border between verbal and visual language, is founded upon antecedent studies in philosophy of language and the practice of Fine Arts. Against this background the research focuses on the relationship between word, context and meaning: issues of communication, ordinary language, words and their composition, context-based meaning, naming visual phenomena, examination of word-and-world-relationships and vocabularies. Main sources are the major works and biographies of Ludwig Wittgenstein, Gertrude Stein, the critical work of Marjorie Perloff, language philosophers concerned with ordinary language and the contrastive corpus linguistic approach. The results of this research are generated by several interdisciplinary productive methods. Artworks, poetic and scientific work, all of which employ modes of language, and whose their domains overlap. Additionally, the notion of meeting acts as model metaphor for the development of a solid trans-disciplinary methodology for research between science and the arts. One major result of comparing their ideas on language is reflected in the meeting of the language used by Wittgenstein and Stein. Their meeting is materialized in the computer generated Shared Vocabulary, which is a list of words which both Wittgenstein and Stein used in their writing. It applies linguistic tools from contrastive corpus linguistics to compare their vocabularies (corpora), which offers new methods for investigating the works of the philosopher Wittgenstein and writer Stein. Generally, this thesis may act as an introduction to language as ideal fundament for interdisciplinary study. The application of the principle of the language-game (Wittgenstein) is a significant of displaying possible strategies for artists and researchers who work transdisciplinarily. The research results directly inform practice and practitioners from other fields, which means that collaboration is central to the research. It implies that language permeates every sort of research, art and its discourse. It also suggests that the meaning of words and images depend on their use, which extends the Wittgensteinian meaning-as-use hypothesis to visual language. The findings of the research on vocabularies are quite specific, but they overlap with offering simple general mechanisms of the language-game. The consequent alliance of the discussion with the language of the everyday makes the research a general contribution to everyone who is genuinely interested in language and the arts.
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Baker, Augustine Wekking Ben. "The life and death of Dame Gertrude More /." Salzburg : University of Salzburg, 2002. http://catalogue.bnf.fr/ark:/12148/cb39217077f.
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Googer, Georgia. "The Radical Ekphrasis Of Gertrude Stein's Tender Buttons." ScholarWorks @ UVM, 2018. https://scholarworks.uvm.edu/graddis/889.
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This thesis offers a reading of Gertrude Stein’s 1914 prose poetry collection, Tender Buttons, as a radical experiment in ekphrasis. A project that began with an examination of the avant-garde imagism movement in the early twentieth century, this thesis notes how Stein’s work differs from her imagist contemporaries through an exploration of material spaces and objects as immersive sensory experiences. This thesis draws on late twentieth century attempts to understand and define ekphrastic poetry before turning to Tender Buttons. Although the question of categorizing Tender Buttons has been an issue since its original publications, few have noted its essentially ekphrastic nature. Doing so, I argue ekphrasis helps to account for the way Stein’s poetry interacts with spatiality and temporality, illustrates sensory experiences, and plays with the multiplicity of language while also provoking readers to re-interpret their own experiences.
My work with Tender Buttons seeks to extend the theoretical conversation. Applying a categorical term like ekphrasis to Stein’s work forces readers to interact with the descriptions in the text, in conjunction with their own experiences, in a way that elevates the objects rendered to pieces of art. Via an analysis of spatiality/temporality, invocations of the senses, and the plurality of diction in every poem, the reader can experience Tender Buttons through a unique and individualized approach that openly invites her to ask questions about Stein’s world and her own material surrounds. Essentially, I offer a reading of Tender Buttons as a collection that fastens materiality with language, asking anyone who interacts with the text to ask questions about the boundaries between verbal and visual material.
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Simpson, Natalie. "What is a sentence, Gertrude Stein and sentence theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ65053.pdf.
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Alexander, Jessica. ""World wisdom" difference and identity in Gertrude Stein's "Melanctha" /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213987268.
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Daniel, Lucy Jane. "Contexts for reading Gertrude Stein's 'The making of Americans'." Thesis, University College London (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271514.
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Walker, Aten Carol. "Gertrude Fiske (1879-1961). Images of Women: 1904-1935." Thesis, Boston University, 1990. https://hdl.handle.net/2144/13115.
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Moad, Rosalind. "1914-16 - years of innovation in Gertrude Stein's writing." Thesis, University of York, 1993. http://etheses.whiterose.ac.uk/14034/.
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Alexander, Jessica L. "‘World Wisdom’: Difference And Identity In Gertrude Stein’s “Melanctha”." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213987268.
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Mendini, Shauna Thelin. "GERTRUDE SHURR: PORTRAIT OF A MODERN DANCE TEACHER (DANCE)." Thesis, The University of Arizona, 1986. http://hdl.handle.net/10150/291198.
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Koi͏̈s, line. "Le travail de la répétition dans l'écriture de Gertrude Stein." Montpellier 3, 1990. http://www.theses.fr/1992MON30015.
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Avec la repetition, stein ne se contente pas de proclamer l'ouverture d'un espace litteraire prive. Elle tente d'y chercher et d'y definirles enjeux de la representation litteraire du vingtieme siecle (dans des textes aussi differents que lectures in america ou the making of americans, par exemple). Cette etude analyse la genese de cette fascination pour la repetition et son cheminement a travers l'ecriture. Dans un premier chapitre, une lcture detaillee de the making of americans montre que la repetition participe a la fabrication d'un temps et d'un espace propres a l'amerique et contemporains du moment ou se fait le recit de la formation des americains. Ce moment unique, stein l'appelle le "present continu", c'est-adire "a space of time": la modernite. La repetition scande ce present; elle est son hymne. L'ecriture repetitive est ainsi une ecriture regeneree par le mouvement perpetuel. L'espace qu'elle circonscrit est celui du sujet. Le deuxieme chapitre montre que la repetition est aussi un rituel sans fin destine a evaluer les limites qui separent le sujet de son objet. Ce ceremonial narcissique est souvent domine par des fantasmes d'incorporation qui melent sujet et objet augre des series de mots et de phrases repetes. Finalement, le troisieme chapitre etudie cette representation du meme qui s'enfonce dans une comptabilite infinie refletant l'impossibilite d'atteindre l'identite de la representation, son unite, son etre. La repetition est alors davantage homeostase: principe regulateur de l'equilibre a l'interieur du systeme ou encore mort du narratif dans la machineThanks to repetition stein does not only open up a private literary space. She also tries to define the world of literary representation in the twentieth century (in lectures in america or the making of americans). This study analyzes the genesis of this fascination with repetition and its work through stein's writing. The first part is a close reading of the making of americans. It shows that repetition contributes to the making of america's specific time and space and, at the same time, to the making of the narrative. This unique moment is what stein calls the "continuous present", "a space of time" : modernity. Repetition is the hymn to this present. The writing is thus regenerated through perpetual motion. Space here belongs to the subject. The second part shows repetition is an endless ritual whose aim is to assess the distance there is between thre subject and his object. This narcissistic ceremony often bears the marks of fantasies of incorporation in which both subject and bject are mixed up through series of repetitions. The last part moves on to the representation of sameness. It studies how this infinite inventory of linguistic structures is nothing but the impossibility of reaching the identity of representation (unity and being). Finally, repetition manifests itself as homeostasis: a regulating principle keeping the system in a state of equilibrium while proclaiming the death of the narrative in the machine
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Cutler, Carolyn E. "From science to the arts: Gertrude Stein's writing, 1894-1914 /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu148794610356554.
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Ford, Sara J. "Gertrude Stein and Wallace Stevens : the performance of modern consciousness /." New York : Routledge, 2002. http://catalogue.bnf.fr/ark:/12148/cb38934123j.
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Parkinson, Isabelle Lucy. "Whose Gertrude Stein? : contemporary poetry, modernist institutions and Stein's troublesome legacy." Thesis, Queen Mary, University of London, 2017. http://qmro.qmul.ac.uk/xmlui/handle/123456789/24719.
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This thesis is an examination of the ways in which, in what Bourdieu theorises as the 'space of literary or artistic position-takings', Gertrude Stein has been continually positioned and repositioned, constructed and reconstructed: by writers in her own period, in modernism scholarship, and, particularly, by writers staking their claim as the literary avant-garde of the late 20th and early 21st Centuries.1 Since her recuperation by the Language Poets in the 1970s, and in the literary histories proposed by Marjorie Perloff and others, Stein has been positioned as the originator of an alternative avant-garde genealogy which has resisted the 'institutionalised' modernism of the New Critics. This legacy continues to the present day in claims by writers like Kenneth Goldsmith that she is a precursor for Conceptual Writing. Because they are predicated on Stein's resistance to the institution of modernism, and hinge on her removal from its history, none of these arguments discuss in any detail Stein's relationship to the historical movement which is the immediate context for her work - to the institution of modernism itself or to the institutions with which it engages. My thesis challenges the removal of Stein from her milieu by showing how her textual production must be read alongside her activity on her contemporary scene and her representation of and by other modernists. In the thesis, I re-read Stein's work as a series of explicit interventions in the institutions which form the context of the cultural production of the early 20th Century. In doing so, I consider the motivations for the reconstructions and repositionings of Stein, tracing the historiography of her presentation as an exceptional figure dislocated from her context.
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Simon, Jane. "Risking it : Deleuze and feminist literary theory : Gertrude Stein and becoming-woman /." Title page, table of contents and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09ars5951.pdf.
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Martinskas, Vytautas. "The Modernistic Experiments in Gertrude Stein’s and John Dos Passos’s Creative Works." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_103048-28157.
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The object of the Bachelor Thesis is the modernistic experiments in Gertrude Stein’s and Jon Dos Passos’ creative works. The aim of the present research is to analyze the modernistic experiments in Gertrude Stein’s and John Dos Passos’s creative works. In order to achieve the aim the following objectives have been set: 1) to present and analyze theoretical material concerning modernism; 2) to analyze modernistic experiments in Gertrude Stein’s and John Dos Passos’s creative works; 3) to compare G. Stein’s and J. Dos Passos’s artistic linguistic experiments and creative means.
The methodology applied in the present Thesis included: 1) the historical-comparative method was applied in order to review and compare the definitions of literary modernism in different countries; 2) Ihab Hassan’s concept of modernism, which helped describing the phenomenon of modernism and specifying its basic peculiarities, and 3) the theory of comparativistics that allowed determining the correlation of literary modernism and non-linguistic discourses.
In the Bachelor Thesis modernistic experiments were treated as the linguistic experiments with language, words and their meaning, grammatical and syntactical forms, way of narration and text composition. For practical analysis G. Stein’s “Tender Buttons” (1914) and J. Dos Passos’s “The 42nd Parallel” (1930) were chosen. In the course of the research the scientific literature concerning the theoretical background of modernism appearance, the variety... [to full text]Bakalauro darbo objektas – modernistiniai eksperimentai Gertrude’s Stein ir Johno Dos Passoso kūryboje. Darbo tikslas – analizuoti modernistinius eksperimentus Gertrude’s Stein ir Johno Dos Passoso kūryboje. Tikslui pasiekti buvo nustatyti šie uždaviniai: 1) Apžvelgti ir analizuoti mokslinę literatūrą apie modernizmą kaip istorinį kultūros raidos etapą; 2) Nagrinėti modernistinius eksperimentus Gertrude’s Stein ir Johno Dos Passoso kūriniuose; 3) Palyginti Gertrude’s Stein ir Johno Dos Passoso naudojamus kalbinius eksperimentus bei kūrybos būdus. Bakalauro darbo metodologiją sudaro: 1) Istorinis lyginamasis metodas, kuris naudojamas įvairių šalių literatūrinio modernizmo apibrėžčių apžvelgimui ir palyginimui; 2) Ihabo Hassano modernizmo koncepcija, kuri taikoma modernizmo fenomeno aprašymui bei jo pagrindinių ypatumų nustatymui; 3) Komparatyvistikos teorija, leidusi apibrėžti literatūrinio modernizmo ir neliteratūrinių diskursų sąsajas. Šiame darbe modernistiniai eksperimentai traktuojami kaip lingvistiniai eksperimentai su kalba, žodžiais ir jų reikšmėmis, su gramatinėmis bei sintaksinėmis formomis, su pasakojimo būdais ir teksto kompozicija. Praktinei analizei atlikti buvo pasirinktas Gertrude’s Stein kūrinys „Švelnios sagos“ (1914) ir Johnno Dos Passoso romanas „Keturiasdešimt antroji paralelė“ (1930). Tyrimo metu buvo analizuota teorinė literatūra apie modernizmo atsiradimą, jo ideologines nuostatas bei chronologines ribas. Identifikuota šių reiškinių įvairovė... [toliau žr. visą tekstą]
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Khumalo, Mapula Gertrude. "Role conflict experienced by married black woman educators / by Mapula Gertrude Khumalo." Thesis, North-West University, 2004. http://hdl.handle.net/10394/176.
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The purpose of this study was to determine the nature of role conflict experienced by married
black woman educators by means of a review of literature and an empirical investigation. The
empirical study was also aimed at determining role conflict factors experienced to a great extent
and those experienced to a slight extent.
Chapter 1 deals with the problem statement, aims of the research and the methods employed to
achieve the purpose of the study.
The second chapter highlights the nature of the woman's role. The description of the role was
given. This chapter also provided a discussion of the legal framework on the role of a woman
as indicated by the legislation of the Republic of South Africa, mostly guided by the Constitution,
which remains the supreme law of the country. The discussion of the nature of women's role
within the home was given. Discussions on a woman as a homemaker and a mother and the
physical, spiritual, moral, social, and emotional welfare were given. The nature of women's
roles outside the home was presented.
In the third chapter the nature of role conflict was investigated. The description of role conflict
was laid out. Attention was given to a discussion of both the intra-role conflict and inter-role
conflict. Factors contributing to a woman educator experiencing intra-role conflict within her
home and profession were discussed. Factors contributing towards inter-role conflict were also
identified and discussed.
The empirical research design, questionnaire as research tool and the construction of the
questionnaire were discussed in chapter four. The duly completed questionnaires returned by
the woman educators as respondents were empirically analysed and interpreted in this chapter.
The last chapter, chapter five, gives a summary of all the chapters, the research findings and
recommendations based on the research findings derived from the previous chapters as well as
an ultimate statement. The research findings indicate that most of the respondents expect their husbands to support
them physically and psychologically. It is found that in addition to lack of support from
husbands, time constraints are another main contributing factor towards role conflict
experienced by woman educators. Despite their hard work, they are unable to accomplish all
that they need to. These two factors: lack of spouse support and time constraints, need to be
given the necessary attention in future research.Thesis (M.Ed.)--North-West University, Potchefstroom Campus, 2004.
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Field, Flora K. "Snipping Separate Spheres: The Cult of Domesticity in Gertrude Stein's "Tender Buttons"." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/903.
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This thesis analyzes Gertrude Stein's Tender Buttons through the framework of the cult of domesticity. In understanding the ways in which Stein mocks and transgresses gender constrictions, while simultaneously adopting the language of domesticity, I understand the ways in which Stein breaks with the antebellum notion of separate spheres.
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Tolley, Rebecca. "Review of Tools of Her Ministry: The Art of Sister Gertrude Morgan." Digital Commons @ East Tennessee State University, 2004. https://dc.etsu.edu/etsu-works/5726.
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Mafe, Majena. "Soundage : a practice-led approach to Gertrude Stein, sound, and generative language." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63361/1/Majena_Mafe_Thesis.pdf.
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In this practice-led research project I work to show how a re-reading and a particular form of listening to the sound-riddled nature of Gertrude Stein's work, Two: Gertrude Stein and her Brother, presents us with a contemporary theory of sound in language. This theory, though in its infancy, is a particular enjambment of sounded language that presents itself as an event, engaged with meaning, with its own inherent voice. It displays a propensity through engagement with the 'other' to erupt into love. In this thesis these qualities are reverberated further through the work of Seth Kim-Cohen's notion of the non-cochlear, Simon Jarvis's notion of musical thinking, Jean-Jacques Lecercle's notion of délire or nonsense, Luce Irigaray's notion of jouissant love and the Bracha Ettinger's notion of the generative matrixial border space. This reading then is simultaneously paired with my own work of scoring and creating a digital opera from Stein's work, thereby testing and performing Stein's theory. In this I show how a re-reading and relistening to Stein's work can be significant to feminist ethical language frames, contemporary philosophy, sonic art theory and digital language frames.
Further significance of this study is that when the reverberation of Stein's engagements with language through sound can be listened to, a pattern emerges, one that encouragingly problematizes subjectivity and interweaves genres/methods and means, creating a new frame for sound in language, one with its own voice that I call soundage.
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Seidelmann, Almuth. "Zeitgeschichtsdarstellung in den Erzählungen "Brewsie und Willie" von Gertrude Stein und "Unruhige Nacht" von Albrecht Goes." Marburg Görich & Weiershäuser, 2001. http://d-nb.info/989755428/04.
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Glaser, Eva-Christina. ""Why don't you read the way I write?" : zur Analogie des UT Pictura Poesis bei Gertrude Stein oder wie bildende Kunst Literatur verstehen hilft /." Trier : Wiss. Verl. Trier, 2009. http://www.wvttrier.de.
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Tabor, Nicole Malkin. "A shimmering doubleness : community and estrangement in novelized dramas and dramatized novels /." Connect to title online (ProQuest), 2009. http://proquest.umi.com/pqdweb?did=1883691271&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Livett, Kate School of English Media & Performing Arts UNSW. "Subjects, objects, and the fetishisms of modernity in the works of Gertrude Stein." Awarded by:University of New South Wales. School of English, Media and Performing Arts, 2006. http://handle.unsw.edu.au/1959.4/31931.
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This thesis reopens the question of subject/object relations in the works of Gertrude Stein, to argue that the fetishisms theorised by Karl Marx, Sigmund Freud, and later Walter Benjamin and Michael Taussig, and problematised by feminist critics such as Elizabeth Grosz, are central to the structure of those relations. My contribution to Stein scholarship is twofold, and is reflected in the division of my thesis into Part One and Part Two. Part One of this thesis establishes a model for reading the interconnections between subjects and objects in Stein???s work; it identifies a tension between two related yet different structures. The first is a fetishistic relation of subjects to objects, associated by Stein with materiality and nineteenth-century Europe, and the identity categories of the ???genius??? and the ???collector???. The second is a ???new??? figuration of late modernity in which the processual and tacility are central. This latter is associated by Stein with America and the twentieth century, and was a structure that she, along with other modernist artists, was developing. Further, Part One shows how these competing structures of subject/object relations hinge on Stein???s problematic formulations of self, nation, and artistic production. Part Two uses the model established in Part One to examine the detailed playing-out of the tensions and dilemmas of subject/object relations within several major Stein texts. First considered is the category of the object as it is constructed in Tender Buttons, and second the category of the subject as it is represented in the nexus of those competing structures in The Making of Americans and ???Melanctha???. The readings of Part Two engage with the major strands of Stein criticism of materiality, sexuality, and language in Tender Buttons, Stein???s famous study of objects. The critical areas engaged with in her biggest and most controversial texts respectively ??? The Making of Americans and ???Melanctha??? ??? include typology, ???genius???, and Stein???s methodologies of writing such as repetition/iteration, intersubjectivity, and ???daily living???. This thesis contends that the dilemma of subject/object relations identified and examined in detail is never resolved, indeed, its ongoing reverberations are productive up until and including her final work.
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Petersen, Alice E. H. "Female characters and the concept of entity in Gertrude Stein's plays, 1933-1946." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0001/NQ38325.pdf.
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Vanacker, Sabine Anne. "The presence of women : modernist autobiography by Dorothy Richardson, Gertrude Stein and H.D." Thesis, University of Hull, 1994. http://hydra.hull.ac.uk/resources/hull:3480.
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Rubery, Annette. "Portrait, landscape and identity : in the work of Gertrude Stein and Georgia O'Keeffe." Thesis, University of Warwick, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300259.
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Grande, Jasmin [Verfasser], and Gertrude [Gutachter] Cepl-Kaufmann. "Nussschalen der Wissenschaft. Aspekte des Phantastik-Diskurses / Jasmin Grande ; Gutachter: Gertrude Cepl-Kaufmann." Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2016. http://d-nb.info/1121174671/34.
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Cummings, Catherine. "Collecting en route : an exploration of the ethnographic collection of Gertrude Emily Benham." Thesis, University of Plymouth, 2013. http://hdl.handle.net/10026.1/3138.
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In the second half of the nineteenth century and the first decades of the twentieth century the collecting of objects from colonized countries and their subsequent display in western museums was widespread throughout Western Europe. How and why these collections were made, the processes of collection, and by whom, has only recently begun to be addressed. This thesis is an exploration of the ethnographic collection of Gertrude Emily Benham (1867-1938) who made eight voyages independently around the world from 1904 until 1938, during which time she amassed a collection of approximately eight hundred objects, which she donated to Plymouth City Museum and Art Gallery in 1935. It considers how and why she formed her collection and how, as a an amateur and marginalised collector, she can be located within discourses on ethnographic collecting. The thesis is organised by geographical regions in order to address the different contact zones of colonialism as well as to contextualise Benham within the cultural milieu in which she collected and the global collection of objects that she collected. An interdisciplinary perspective was employed to create a dialogue between anthropology, geography, museology, postcolonial and feminist theory to address the complex issues of colonial collecting. Benham is located within a range of intersecting histories: colonialism, travel, collecting, and gender. This study is the first in-depth examination of Benham as a collector and adds to the knowledge and understanding of Benham and her collection in Plymouth City Museum and Art Gallery. It contributes to the discourse on ethnographic collectors and collecting and in doing so it acknowledges the agency and contribution of marginal collectors to resituate them as a central and intrinsic component in the formation of the ethnographic museum. In addition, and central to this, is the agency and role of indigenous people in forming ethnographic collections. The thesis offers a foundation for further research into women ethnographic collectors and a more nuanced and inclusive account of ethnographic collecting.
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Gallion, Alexis Ryan Marie. "Her Name is Blood: Situating Gertrude Blood Within the Flaneuse, and Walking Virtually." University of Dayton / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1619708258772437.
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Abayie, Gertrude [Verfasser]. "Haben Kinder und Adoleszenten mit idiopathischem Kleinwuchs eine verminderte Steroidhormonbiosynthese? / Gertrude Achiaa Abayie." Gießen : Universitätsbibliothek, 2018. http://d-nb.info/1155722299/34.
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Abayie, Gertrude Achiaa [Verfasser]. "Haben Kinder und Adoleszenten mit idiopathischem Kleinwuchs eine verminderte Steroidhormonbiosynthese? / Gertrude Achiaa Abayie." Gießen : Universitätsbibliothek, 2018. http://d-nb.info/1155722299/34.
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Dean, Gabrielle N. O. "Seeing things and marking time : visual presence and the self in Emily Dickinson and Gertrude Stein /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/9450.
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Petraschka, Evelyne. "Fränkischer Adel und irische Peregrini im 7. Jahrhundert : die Vita der hl. Geretrude von Nivelles - ein Zeugnis des hagiographischen Kreises um den Iren Foillan /." Frankfurt am Main : P. Lang, 1999. http://catalogue.bnf.fr/ark:/12148/cb38834725q.
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