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 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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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Ragkousi, Ioanna. "Writing technologies of the body in the work of Djuna Barnes and Gertrude Stein." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100058.
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Prenant pour point de départ le corps pour l’examiner au prisme de la technologie, cette études’intéresse aux représentations du corps dans quatre textes majeurs de Djuna Barnes et de GertrudeStein. Dans The Book of Repulsive Women de Barnes, les corps fragmentés décrits dans les poèmesdialoguent avec les représentations mécanomorphiques du corps féminins chez les Dadaïstes. Lerecueil s’apparente à une série de tableaux vivants exhibant des corps mécanisés vus depuis les ramesdu métro aérien new-yorkais. La discussion envisage ensuite Dr. Faustus Lights the Lights de Stein etles connections entre la métaphore de l’électricité et l’écriture cinématique de Stein. Le lien entre cespratiques est l’automatisme que Stein a étudié chez William James et qui transforme son texte en corpsautomate. Dans cette perspective, Wars I Have Seen de Stein constitue une expérience linguistique àcomparer avec l’écriture conceptuelle de Bob Carlton Brown. Chirurgienne littéraire, Stein opère letexte à l’aide de prothèses verbales. La dernière oeuvre étudiée dans cette thèse est The Antiphon deBarnes, qui est lue à l’aide de la relation conceptuelle entre le corps violenté de Barnes et le corps dutexte autobiographique, et peut être décodée à l’analyse de ses procédés métadramatiques. Dans ledernier chapitre, les deux auteurs sont repensées à l’aulne de leur incarnation personnelle dans leurstextes et des diverses manifestations de la notion du corps et de celle de la technologieHaving as a starting point the theme of the body and exploring it through the prism oftechnology, this study depicts its representations in four major texts by Djuna Barnes and GertrudeStein. Starting with Barnes’s The Book of Repulsive Women, the fragmented bodies depicted in thepoems come in dialogue with Dadaists’ mechanomorphic representations of female bodies. Thecollection is seen as a series of tableaux vivants displaying mechanized bodies through the alteringpresence of the El. The discussion, then, moves on to Stein’s Dr. Faustus Lights the Lights andconnections are drawn between the metaphor of electricity and Stein’s cinematic writing. The linkingaspect of this association is the practice of “automatism” that Stein explored through William James,which leads to the point that her work is an “automaton” body of text. Following this, Stein’s Wars IHave Seen, is examined as a linguistic experiment compared to Bob Carlton Brown’s conceptualwriting. Stein as a linguistic surgeon operates on the text’s body with the help of word prosthesis. Thelast work in this study is Barnes’s The Antiphon, which is explored via the conceptual correlation ofBarnes’s violated body with her autobiographical textual body, examined through decoding Barnes’smetatheatrical devices. In the final chapter, these two writers are reexamined through their personalembodiment in the texts and through the various manifestations of the themes of body and technology
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Aguiar, Daniella de. "Da literatura para a dança: a prosa-poética de Gertrude Stein em tradução intersemiótica." Universidade do Estado do Rio de Janeiro, 2013. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=5329.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorO escopo desta tese é a relação entre a prosa-poética da escritora norte-americana Gertrude Stein, através de seus retratos e peças, e traduções intersemióticas para dança contemporânea. O corpus analítico articula os retratos Orta or One Dancing, If I Told Him: A Completed Portrait of Picasso, A Valentine to Sherwood Anderson, e as peças Four Saints in Three Acts, Listen to Me e Three Sisters Who Are Not Sisters de Gertrude Stein e os espetáculos de dança [5.sobre.o.mesmo], Shutters Shut, Always Now Slowly, ,e[dez episódios sobre a prosa topovisual de gertrude stein]. A natureza dos campos colocados em comparação literatura & dança demandou a conjugação de duas vertentes de estudo ligadas às especificidades performática e tradutória dos objetos selecionados: de um lado, seguimos encaminhamentos surgidos de uma derivação específica da Comparatística tradicional, os Estudos Interartes ou Artes Comparativas; de outro, os Estudos de Intermidialidade, relacionados aos Estudos das Mídias. A abordagem dos exemplos analisados sob a perspectiva comparativa baseia-se em Estudos de Tradução, com especial referência à noção de transcriação de Haroldo de Campos, e na semiótica de Charles S.Peirce. No primeiro capítulo, definimos nossa abordagem teórica; a seguir, apresentamos a obra de Gertrude Stein e as principais propriedades que transformaram sua obra em uma das principais referências literárias e estéticas do século XX; e, para finalizar, analisamos as traduções, com especial atenção para a transcriação da percepção do tempo e da construção sintática steineanas. Concluímos sugerindo que as traduções para dança são modos de interpretação e leitura dos textos literários, bem como formas radicais de crítica de arte ou literária
The scope of this dissertation is the relation between the poetic-prose of American writer Gertrude Stein, through her portraits and plays, and its intersemiotic translations to contemporary dance. The analytic corpus articulates Gertrude Steins portraits Orta or One Dancing, If I Told Him: A Completed Portrait of Picasso, A Valentine to Sherwood Anderson, and plays Four Saints in Three Acts, Listen to Me and Three Sisters Who Are Not Sisters and the dance performances [5.sobre.o.mesmo], Shutters Shut, Always Now Slowly, ,e[dez episódios sobre a prosa topovisual de gertrude stein]. The nature of the compared fields literature and dance demanded the combination of two strands of study related to the performative and translational specificity of the selected objects: on one hand, we follow a derivation from the traditional comparatistic, the Interart Studies or Comparative Arts; on the other hand, Intermediality Studies, related to Media Studies. The approach applied to the examples under a comparatistic perspective is based on Translation Studies, with special reference to Haroldo de Camposs notion of transcreation, and it is also based on Charles S. Peirces semiotics. On the first chapter, we define our theoretical approach; following, we present Gertrude Steins oeuvre and its major properties that transformed it in the one of the main literary and aesthetic references of the twentieth century; and, to finish, we analyze the translations, with special regard to the transcreation of Steins time perception and syntactic constructions. We conclude suggesting that the translations to dance are interpretation and reading modes of the literary texts, as well as radical forms of literary and artistic critic
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DeFazio, Albert John III. "A reassessment of the influence of Sherwood Anderson and Gertrude Stein upon Ernest Hemingway." Thesis, Virginia Tech, 1985. http://hdl.handle.net/10919/45830.
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This study challenges the common assumption that Hemingway's early style is indebted to the work of Sherwood Anderson and Gertrude Stein and finds the evidence less than compelling. Unlike previous examinations, this study considers Hemingway's early journalism and correspondence as well as his first published fiction; additionally, it suggests models of influence other than Anderson and Stein, such as Ring Lardner and Stephen Crane.
Because the critical tradition most often identifies "repetition" and "colloquialisms" as bases for attributing influence to Anderson and Stein, I discuss those characteristics individually, concluding that Hemingway's debt to Stein's use of repetition and Anderson's use of colloquial style has been overstated. I also assess the individual style of each author and identify the fundamental differences among them. And, finally, I suggest promising avenues which may lead to new associations between Hemingway and the forces which helped to shape his style.
Master of Arts
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Samberger, Sonja. "Artistic outlaws : the modernist poetics of Edith Sitwell, Amy Lowell, Gertrude Stein and H.D. /." Münster : LIT, 2005. http://catalogue.bnf.fr/ark:/12148/cb412737691.
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Groves, Robyn. "Fictions of the self : studies in female modernism : Jean Rhys, Gertrude Stein and Djuna Barnes." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/27310.
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This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades.
In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions.
In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones.
Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure.
These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general.Arts, Faculty of
English, Department of
Graduate
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McKay, Kali, and University of Lethbridge Faculty of Arts and Science. "Gertrude Stein and her audience : small presses, little magazines, and the reconfiguration of modern authorship." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2479.
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This thesis examines the publishing career of Gertrude Stein, an American
expatriate writer whose experimental style left her largely unpublished throughout much
of her career. Stein’s various attempts at dissemination illustrate the importance she
placed on being paid for her work and highlight the paradoxical relationship between
Stein and her audience. This study shows that there was an intimate relationship
between literary modernism and mainstream culture as demonstrated by Stein’s need for
the public recognition and financial gains by which success had long been measured.
Stein’s attempt to embrace the definition of the author as a professional who earned a
living through writing is indicative of the developments in art throughout the first
decades of the twentieth century, and it problematizes modern authorship by reemphasizing
the importance of commercial success to artists previously believed to
have been indifferent to the reaction of their audience.iv, 89 leaves ; 29 cm
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Marcus, Hilary Jennifer. ""I Like Things Simple, but it Must Be Simple Through Complication": Re-Reading Gertrude Stein." W&M ScholarWorks, 2004. https://scholarworks.wm.edu/etd/1539626430.
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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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Menzies-Pike, C. J. "The composition of the modernist book Ulysses, A draft of XXX cantos and The making of Americans /." Connect to full text, 2005. http://hdl.handle.net/2123/1544.
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Thesis (Ph. D.)--University of Sydney, 2006.Title from title screen (viewed 19 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of English, Faculty of Arts. Degree awarded 2006; thesis submitted 2005. Includes bibliographical references. Also issued in print.
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Mildenberg, Ariane L. "Marks, buttons and notes : phenomenology and creative production in Virginia Woolf, Gertrude Stein and Wallace Stevens." Thesis, University of York, 2004. http://etheses.whiterose.ac.uk/10960/.
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Shaughnessy, Nicola. "The dramatic writings of Gertrude Stein, Virginia Woolf and Sylvia Plath, 1913-1962 : theatres of identity." Thesis, University of York, 1995. http://etheses.whiterose.ac.uk/10835/.
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O'Brien, Nanette R. "Culinary civilization : the representation of food culture in Ford Madox Ford, Gertrude Stein and Virginia Woolf." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:14ef9741-fc4a-48d2-aacd-69ff74735b91.
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This thesis addresses the literary representation of food in the period from 1900 through 1945 in the work of Ford Madox Ford, Gertrude Stein and Virginia Woolf. Taking up nineteenth-century fascinations with sensual and aesthetic taste, these authors explore the implications of food preparation and consumption in Britain, America and France. They use representations of everyday culinary practices as a way to examine articulations of anxiety about the state of civilization, a fear that is amplified and altered by both World Wars. The thesis approaches the question of the significance of food to literary modernism in two ways. The first is a theoretical analysis of modernist ways of thinking about the dialectic between the concepts of civilization and barbarism. The second is grounded in material history, establishing the contexts and conditions of food culture in the first half of the twentieth century. Drawing on sociological thinking from Norbert Elias's conception of the civilizing process and Pierre Bourdieu's theory of distinction, and using a combined methodology of close reading, biographical and historical analysis, I show that food acts as a lens for these authors' ideas about civil society and modernity. My original contribution to knowledge is threefold. The first is my interpretation of 'culinary Impressionism' as an extension and repositioning of current scholarly thinking about Ford's literary Impressionism. The second is my reading of Stein's and Toklas's jointly-authored cookbook draft as evidence of their collaboration. This forms the crux of my argument about Stein adapting domestic culinary techniques into her other writing. The third is in my chapter on Virginia Woolf. My original archival research shows that in A Room of One's Own Woolf's representation of the financial and culinary difference between men's and women's dining in colleges at the University of Cambridge is justified and the material inequality was in fact worse than previously understood. I argue that the disparity in institutional food intensifies Woolf's later reimagining of the term 'civilization' in Three Guineas. While drawing on the work of modernist studies scholars on modernism and the everyday, civilization, and food, my project is unique in demonstrating that food reflects modernist conceptions of civilization and barbarism. My thesis contributes to the understanding of transatlantic aesthetics and gendered productions of modernism by illuminating the centrality of agriculture, cookery, domestic work and institutional dining to modernist authors.
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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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Linzie, Anna. "The true story of Alice B. Toklas : almost the same but not quite/not straight in the Toklas autobiographies /." Uppsala : Department of English, Univ, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-4295.
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Elpers, Susanne. "Autobiographische Spiele Texte von Frauen der Avantgarde." Bielefeld Aisthesis-Verl, 2007. http://d-nb.info/988523442/04.
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Goodale-Sussen, Gemma. "The town, the prison, and the collection: the case for a criminological modernism." Diss., University of Iowa, 2019. https://ir.uiowa.edu/etd/6746.
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Drawing on criminological history, visual studies, modernist scholarship, sociological treatises, and theories of archives and collection, this study proposes that literary texts of the early twentieth century approached the problem of knowing and representing others through collections. Inspired by the supposed divide between the city and the small town, modernist writers depict—but also resist—a vision of the group and the individual as inscrutable. The criminological apparatus of the turn of the century attends to both urban and provincial modes of existence, promising the small circles, close study of individuals, and knowability of the small town while also acceding to the urban vision of people in vast unknowable quantities and a perpetual psychic distance from others. Criminology was positioned, and positioned itself, as decidedly modern in its data-driven approach to managing the presumed unknowability of the individual and the group.
The texts in this study continually grapple with accessing individual identity amidst the masses of modern humanity, and articulate this struggle through representation of small groups, circles, and coteries. It is through the enclosed set of people that Sherwood Anderson, Gertrude Stein, and Carl Van Vechten demonstrate a fixation on both the individual and the group, and the relationship between the two. Their literary output and personal associations—which center on observation, portraiture, and collection—are fundamentally criminological in their efforts to negotiate the distance and intimacy of modern life.
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Martin, Linda Marie. "Material Minds and Modern Fiction: The Psychology of Sexual Difference in West, Stein, and Woolf." Thesis, Boston College, 2017. http://hdl.handle.net/2345/bc-ir:107625.
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Thesis advisor: Marjorie Howes"Material Minds and Modern Fiction" examines how modern women writers adapt discourses from experimental psychology in their fiction to confront the politicized issue of psychological sexual difference. Debates regarding the concept of the “gendered brain” were fundamental to the early twentieth-century women’s movement in Great Britain and the United States: defenders of the anti-suffrage and antifeminist position used the supposedly inherent differences between men and women’s brains to justify the denial of rights, whereas equality feminists insisted on the innate sameness of the human mind to bolster their claim to equal sociopolitical access. My dissertation attests that Rebecca West, Gertrude Stein, and Virginia Woolf draw on experimental-psychological theory in their literary works in a way that unsettles the premises of this debate, developing literary discourses that acknowledge psychological disparities between men and women without conceding to gender essentialism. Emerging at the end of the nineteenth century, experimental psychology was a disciplinary approach to psychological study that theorized cognition as a physiological process to be studied using the empiricist methodology of the natural sciences. The material mind—the idea that the human mind is no more or less than the human brain—was a foundational concept in the field. Employing an interdisciplinary method, my dissertation shows that experimental-psychological theory enabled modern women authors to approach the issue of gendered brains from a materialist perspective that maintained the equality-feminist claim to parity. West, Stein, and Woolf draw on diverse strands of experimental-psychological thought to craft distinctive aesthetic strategies that position sexual difference as the product of inequitable environmental exposures or social conditioning rather than an immutable feature of psychic life. My project testifies to the prominence of experimental-psychological theory in the modern era as well as the diversity of psychological schools that fall within its rubric. A recovery project of sorts, my chapters position the theories offered by modern experimental-psychological researchers as inextricably bound to expressions of feminism in modern fiction, serving as adaptable discourses for women writers seeking to use their literary medium to deconstruct the ideology of gender essentialism
Thesis (PhD) — Boston College, 2017
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Murad, David. "American Images of Spain, 1905-1936: Stein, Dos Passos, Hemingway." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1368551237.
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Hluch, Alexander. "Immediacy in Comedy: How Gertrude Stein, Long Form Improv, and 5 Second Films Can Revolutionize the Comedic Form." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5946.
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Comedy has typically been derided as second-tier to drama in all aspects of narrative. Throughout history, comedy has seen short shrift in both critical reception and academic investigation. Merit is simply placed on drama far before that of comedy. This is not for comedy's own lack of skill or craft, but simply for comedy's misappropriation as a narrative form. Throughout the years, by way of either competition or economic superiority, comedy has been pigeonholed into the typified dramatic structure that drama so thoroughly encapsulates. Being forced into a form that exemplifies complex, climactic structure and explicit character development, comedy in its purest form has suffered through the ages.
Gertrude Stein's theory of Landscape Drama, and, more specifically, immediacy, is best attuned to comedy in its truest form. Comedy does not require sweeping character development, obtuse narrative design, or fantastic spectacle to produce superior works of art. Comedy, when compared to drama, exists best in a much more punctuated format. Stein's theories, while never intended for comedy, align absolutely perfectly with the comedic genre's design. And epitomized through long form improv on the stage, and the newly-fashioned digital short made profitable by the proliferation of the internet and digital culture, comedy's purest form has become more readily available as narrative has progressed throughout history.
With this thesis, I intend to display the disparity between comedy and drama due to comedy's misallotment into a format that does not properly encapsulate it to its most fulfilling embodiment. Through this display, I seek to uncover the debt done to the comedic form from centuries of neglect in academic query and merit in order to best prove comedy's need for critical scrutiny. Further, in doing so I hope to better construe a community of comedic research and criticism in order to create better art and more diverse comedic offerings.M.F.A.
Masters
Theatre
Arts and Humanities
Theatre; Acting
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Cohen, Emmanuel. "Le théâtre nondramatique : le théâtre des avant-gardes parisiennes des années 1940 aux années 1930 : Gertrude Stein, Dada, surréalisme." Amiens, 2014. http://www.theses.fr/2014AMIE0015.
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Le théâtre nondramatique désigne une conception et une pratique du théâtre propre aux avant-gardes historiques parisiennes, et plus particulièrement à Gertrude Stein, aux dadaïstes et aux surréalistes. Bien qu'elles soient davantage connues pour leurs autres pratiques comme la littérature, la poésie ou la peinture, voire pour leur refus de la catégorie d'art même, le théâtre semble cependant hanter leurs productions et leurs discours. Par le refus des conventions du théâtre dramatique - de la structure narrative à la présence de personnages et à celle d'acteurs pour les incarner - Gertrude Stein, Dada et le surréalisme développent tous à leur façon une oeuvre théâtrale critique qui forment ensemble un panorama de l'antithéâtralisme propre à la modernité, mais aussi un répertoire des alternatives et variantes pensées par rapport au théâtre. Les théâtres de Gertrude Stein, de Dada et des surréalistes sont analysés au prisme des révolutions scientifiques et philosophiques de leur époque, parmi lesquelles les théories de William James se révèlent fondamentales. Dans ce contexte, les "conversation" et "landscape plays" de Stein, les soirées dadaïstes et les nombreux manifestes, comme leurs pièces de théâtre sont compris comme autant de tentatives de redéfinir le théâtre. Le théâtre nondramatique est ainsi compris comme un ensemble de théâtralités fondées sur la redéfinition de l'acte théâtral, comme la primauté du verbe, celle de l'acte performatif, et de la refonte de la communication théâtrale entre l'oeuvre et le spectateur-lecteur. De nouvelles définitions du sujet et du théâtre se font alors jour au carrefour des trois concepts esthétiques fondamentaux pour les avant-gardes : la métâthéâtralité comprise comme métalepse ontologique, la simultanéité et enfin le primitivismeNondramatic theater refers to a theatrical conception and an artistic practice developed by the historical Parisian avant-gardes, and more precisely by Gertrude Stein, Dadaists, and surrealists. Even though they are more commonly acknowledged for their other achievements in literature, poetry or painting, or even for their rejection of art as a category, yet, theater seems to haunt their productions and discourse. By their refusal of dramatic conventions - from the narrative structure, to the characters and the actors to incarnate them - Gertrude Stein, Dada and surrealism all develop their own critical theatrical works which form together a panorama of the antitheatricalism proper to the Modern era, but also some alternatives and variations to it thought in relation to theater. The plays by Gertrude Stein, Dada and Surreaslim are analyzed through the lens of the scientific and philosophical revolutions of their time, among which William James' theories are fundamental. Stein's conversation and landscape plays, but also the Dada evenings and the numerous manifestoes, can be considered as a variety of attempts to redefine what is theater. Nondramatic theater is thus understood as a set of theatricalities based on the redefinition of the theatrical art, like the primacy of speech, of the performative act, and the revision of the theatrical communication between the artwork and the spectator-reader. New definitions of the subject and of the theater reveal themselves at the crossroads of three aesthetical concepts that are fundamental for the avant-garde : metatheatricality understood as an ontological metalepsis, simultaneity, and finally Primitivism
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FORRESTER, ELIZABETH HARTLEIGH. "Musical Semantics within Modern Literature: A Study of Seven American Art Songs Set to the Texts of Gertrude Stein." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1211255987.
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Forrester, Elizabeth Hartleigh. "Musical semantics within modern literature a study of seven American art songs set to the texts of Gertrude Stein /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1211255987.
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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Advisors: Melinda Boyd PhD (Committee Chair), William McGraw (Committee Member), Mary Henderson-Stucky (Committee Member) Title from electronic thesis title page (viewed Oct. 4, 2008). Includes abstract. Keywords: Gertrude Stein; Virgil Thomson; Ned Rorem; Gunther Schuller; David Diamond; Richard Hundley; John Cage; Psychology and Art Song; Music and Modern Literature; Cubism; American Art Song. Includes bibliographical references.
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Goldman, Jonathan E. "The modernist author in the age of celebrity /." View online version; access limited to Brown University users, 2005. http://wwwlib.umi.com/dissertations/fullcit/3174610.
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