Relevant bibliographies by topics / Stein, Gertrude

Academic literature on the topic 'Stein, Gertrude'

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Journal articles on the topic "Stein, Gertrude"

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Burns, Edward. "Gertrude Stein." PMLA 103, no. 5 (October 1988): 821. http://dx.doi.org/10.2307/462527.

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Stimpson, Catharine R., Marianne DeKoven, Randa Dubnick, and Jayne L. Walker. "Reading Gertrude Stein." Tulsa Studies in Women's Literature 4, no. 2 (1985): 265. http://dx.doi.org/10.2307/463700.

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Kirsch, Sharon J. "Gertrude Stein Delivers." Rhetoric Review 31, no. 3 (July 2012): 254–70. http://dx.doi.org/10.1080/07350198.2012.683998.

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Tatsumi, Takayuki, Hisao Kanaseki, Hideyo Sengoku, Koji Oi, Tateo Imamura, and Yoshiaki Koshikawa. "[Gertrude Stein in Paris]." American Literature 64, no. 4 (December 1992): 865. http://dx.doi.org/10.2307/2927686.

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Cope, Karin. "Painting after Gertrude Stein." Diacritics 24, no. 2/3 (1994): 190. http://dx.doi.org/10.2307/465172.

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Will, Barbara. "Gertrude Stein and Zionism." MFS Modern Fiction Studies 51, no. 2 (2005): 437–55. http://dx.doi.org/10.1353/mfs.2005.0047.

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Ashton, Jennifer. "Gertrude Stein for Anyone." ELH 64, no. 1 (1997): 289–331. http://dx.doi.org/10.1353/elh.1997.0001.

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Miller, Lynn C. "Gertrude stein never enough." Text and Performance Quarterly 20, no. 1 (January 2000): 43–57. http://dx.doi.org/10.1080/10462930009366282.

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Wineapple, Brenda. "Gertrude Stein Reads JAMA." JAMA: The Journal of the American Medical Association 276, no. 14 (October 9, 1996): 1132. http://dx.doi.org/10.1001/jama.1996.03540140020008.

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Bell, John. "Gertrude Stein's Identity:." TDR/The Drama Review 50, no. 1 (March 2006): 87–99. http://dx.doi.org/10.1162/dram.2006.50.1.87.

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Donald Vestal's 1930s puppet theatre production of a Gertrude Stein play, Identity, or I Am I Because My Little Dog Knows Me, marked a confluence of Midwest modernism, the resources of the Federal Theatre Project, the development of American puppet theatre as a modernist art form, and the coincidental presence of Stein, Vestal, Thornton Wilder, Bil Baird, and other artists of 1930s Chicago.
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Dissertations / Theses on the topic "Stein, Gertrude"

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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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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 Sarraute
This 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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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 esthétique
Gertrude 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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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 autrui
The 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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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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Books on the topic "Stein, Gertrude"

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Farge, Ann La. Gertrude Stein. New York: Chelsea, 1988.

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Daniel, Lucy Jane. Gertrude Stein. London: Reaktion Books, 2009.

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Bowers, Jane Palatini. Gertrude Stein. Basingstoke: Macmillan P., 1993.

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Gertrude Stein. New York: St. Martin's Press, 1993.

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Shaughnessy, Nicola. Gertrude Stein. Tavistock: Northcote/British Council, 2007.

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Gertrude Stein. London: Reaktion Books, 2009.

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Sabin, Stefana. Gertrude Stein. Reinbek bei Hamburg: Rowohlt, 1996.

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Bowers, Jane Palatini. Gertrude Stein. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23004-4.

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Gertrude Stein. New York: Continuum, 1990.

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Harold, Bloom, ed. Gertrude Stein. New York: Chelsea House, 1986.

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Book chapters on the topic "Stein, Gertrude"

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Thies, Henning. "Stein, Gertrude." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_18724-1.

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Holbrook, Susan. "Gertrude Stein." In A Companion to Modernist Poetry, 348–57. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch28.

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Drews, Jörg, and Henning Thies. "Gertrude Stein." In Kindler Kompakt Amerikanische Literatur 20. Jahrhundert, 37–39. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05528-6_4.

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Sielke, Sabine. "Stein, Gertrude." In Metzler Autorinnen Lexikon, 512–14. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_356.

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Hurm, Gerd. "Stein, Gertrude." In Englischsprachige Autoren, 257–59. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_94.

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Bowers, Jane Palatini. "Gertrude Stein’s Writing/Gertrude Stein’s Writing." In Gertrude Stein, 34–62. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23004-4_3.

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Bowers, Jane Palatini. "Introduction." In Gertrude Stein, 1–3. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23004-4_1.

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Bowers, Jane Palatini. "The Half That Made Her: 1874–1909." In Gertrude Stein, 4–33. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23004-4_2.

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Bowers, Jane Palatini. "Beyond Narrative: The Making of Americans." In Gertrude Stein, 63–82. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23004-4_4.

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Bowers, Jane Palatini. "‘Perfectly Unprecedented Arrangements’: Tender Buttons." In Gertrude Stein, 83–105. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23004-4_5.

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