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Journal articles on the topic 'Stein, Gertrude'

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Published: 4 June 2021
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1

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

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2

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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3

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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4

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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5

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

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6

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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7

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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8

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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9

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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10

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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11

Stimpson, Catharine R. "The Somagrams of Gertrude Stein." Poetics Today 6, no. 1/2 (1985): 67. http://dx.doi.org/10.2307/1772121.

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12

DeKoven, Marianne. "Introduction: Transformations of Gertrude Stein." MFS Modern Fiction Studies 42, no. 3 (1996): 469–83. http://dx.doi.org/10.1353/mfs.1995.0129.

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13

Mix, Deborah M. "Gertrude Stein: A Selected Bibliography." MFS Modern Fiction Studies 42, no. 3 (1996): 661–80. http://dx.doi.org/10.1353/mfs.1995.0133.

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14

Langa, H. ""Seeing Gertrude Stein: Five Stories."." Journal of American History 99, no. 1 (May 22, 2012): 260–66. http://dx.doi.org/10.1093/jahist/jas087.

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15

Kear, Adrian. "Cooking Time with Gertrude Stein." Performance Research 4, no. 1 (January 1999): 44–55. http://dx.doi.org/10.1080/13528165.1999.10871642.

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16

Josephine Nock-Hee Park. "The Orients of Gertrude Stein." College Literature 36, no. 3 (2009): 28–44. http://dx.doi.org/10.1353/lit.0.0059.

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17

Weissmann, Gerald. "Gertrude Stein on the Beach." Hospital Practice 24, no. 1 (January 15, 1989): 40–57. http://dx.doi.org/10.1080/21548331.1989.11703640.

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18

Wilson, Sarah. "Gertrude Stein and the Radio." Modernism/modernity 11, no. 2 (2004): 261–78. http://dx.doi.org/10.1353/mod.2004.0048.

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19

Stein, Gertrude, and Birgit Van Puymbroeck. "“Let Us Save China”: Gertrude Stein and Politics." PMLA/Publications of the Modern Language Association of America 132, no. 1 (January 2017): 198–205. http://dx.doi.org/10.1632/pmla.2017.132.1.198.

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Much has been written about Stein's politics ever since it was revealed, in 1996, that Stein had translated many of Philippe Pétain's speeches (Burns and Dydo, “Gertrude Stein”; Van Dusen). If some critics accuse Stein of collaboration with Vichy France, others defend her by pointing out contradictory evidence regarding her behavior during the war years. Barbara Will, in Unlikely Collaboration; Gertrude Stein, Bernard Fay, and the Vichy Dilemma (2011), casts Stein in the role of pro-Vichy thinker whose support of Pétain was “heartfelt and dogged” (118). In addition to translating Pétain's speeches, Stein was a close friend of Bernard Fay, who, as head of the Bibliothèque Nationale de France, was an official high up in the administration of Vichy France. Charles Bernstein, Edward Burns, and Joan Retallack take up Stein's defense in jacket2's online dossier Gertrude Stein's War Years; Setting the Record Straight (2012). They argue that no conclusive evidence ties Stein explicitly to Vichy France (Burns) and highlight the irony in some of her statements—for instance, that Hitler deserved the Nobel Peace Prize (Bernstein, “Gertrude Stein”; Retallack). Furthermore, Stein published her writing in both the Vichy-sponsored magazine Patrie (“Fatherland”) and the anti-Nazi and anti-Vichy journals Confluences, Fontaine (“Fountain”), and L'arbalète (“The Cross-Bow”) during the war years (Burns and Dydo, “Three Lives”; Burns). She sympathizes with the French maquis in her postwar memoir Wars I Have Seen and writes about the inner workings of the Resistance in her play In Savoy; or, Yes Is for a Very Young Man (Wagner-Martin).
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20

Savinel, Christine. "Contingency as Medium in Gertrude Stein." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 11 (October 18, 2019): 34. http://dx.doi.org/10.12681/syn.20892.

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Gertrude Stein questions the event as an external and contingent accident, to be at least subsumed within the continuum of thinking —the untimely flux of interiormeditation and creation. Throughout her prolific production, one of Stein’s majorattempts was to do away with the event in literature, to dispense with it, to play against it. Stein pointedly selected as her topic the contingency of life within historical time, in her several autobiographical texts from The Autobiography of Alice B. Toklas (1932) to Wars I Have Seen (1944). Wars I Have Seen proves to be a singular work which helps us realise the process through which Stein resists historical contingency. As this essay argues, Wars I Have Seen gives us a remarkable vision of Stein trying to resist the pressure of History, and a vision of literature trying to hold at bay the contingency of events.
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21

Otoch, Janaína Nagata. "Retratos inacabados." Revista Criação & Crítica, no. 25 (December 27, 2019): 89–104. http://dx.doi.org/10.11606/issn.1984-1124.v1i25p89-104.

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O artigo discute o retrato que Pablo Picasso fez de Gertrude Stein (1905) para cotejá-lo com os retratos literários que Gertrude Stein fez de Picasso (1909-10, 1924). Examinando como as obras respondem ao imperativo de “matar o século XIX”, interrogamos como tanto em Picasso quanto em Stein opera-se uma mudança de paradigma em relação às exigências do retrato enquanto gênero, que acaba por instaurar um modelo de intersubjetividade em dissidência com antigas prescrições de objetividade pautadas por uma tradição da retratística que emergira com o Renascimento. A análise coloca em relevo os paralelismos entre a “destruição” do espaço perspectivo na pintura cubista e a “destruição” da sintaxe nos poemas de Stein, bem como a busca por simultaneidade e por uma apreensão não unitária e fixa de noções como sujeito e identidade, que Picasso e a escritora praticaram em seus respectivos meios de expressão. Por último, comentamos brevemente a versão em português de Augusto de Campos a partir da tradução de “If I Told You: A Complete Portrait of Picasso” [Se eu lhe contasse: um retrato inacabado de Picasso], o segundo dos retratos de Picasso escrito por Gertrude Stein.
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22

Rosenquist, Rod. "Copywriting Gertrude Stein: Advertising, Anonymity, Autobiography." Modernist Cultures 11, no. 3 (November 2016): 331–50. http://dx.doi.org/10.3366/mod.2016.0144.

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This article traces the parallel, though in some ways inverted, early careers of Gertrude Stein and Helen Woodward: one a celebrated but little-read modernist author and the other a widely-read but largely anonymous copywriter. The first section draws comparisons between early twentieth-century changes in advertising copy and Stein's literary innovations, focusing on the techniques used by Stein and copywriters like Woodward to direct attention to ordinary objects or promote branded products by appealing to the individual reader's experience and subjectivity. The second section goes on to consider the contrasting definitions and public expectations of the author within the contexts of high modernism and modern advertising, respectively. The article concludes with brief analysis of the techniques of attribution, promotion and anonymity within the autobiographies of these two writers, suggesting that the contrast in approaches to life writing were largely due to how creative and corporate authors held highly contrasting public positions in early twentieth-century America.
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23

Merrill, Cynthia. "Mirrored Image: Gertrude Stein and Autobiography." Pacific Coast Philology 20, no. 1/2 (November 1985): 11. http://dx.doi.org/10.2307/1316510.

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24

Dickie, Margaret, and Lisa Ruddick. "Reading Gertrude Stein: Body, Text, Gnosis." Modern Language Review 88, no. 2 (April 1993): 429. http://dx.doi.org/10.2307/3733788.

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25

Galow, Timothy W. "SISTER BROTHER: GERTRUDE AND LEO STEIN." Resources for American Literary Study 33, no. 1 (January 1, 2008): 332–35. http://dx.doi.org/10.2307/26367086.

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26

Wagner-Martin, Linda, and Lisa Ruddick. "Reading Gertrude Stein: Body, Text, Gnosis." American Literature 63, no. 1 (March 1991): 156. http://dx.doi.org/10.2307/2926593.

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27

Parke, Catherine N. ""Simple Through Complication": Gertrude Stein Thinking." American Literature 60, no. 4 (December 1988): 554. http://dx.doi.org/10.2307/2926657.

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28

Galow, Timothy W. "SISTER BROTHER: GERTRUDE AND LEO STEIN." Resources for American Literary Study 33, no. 1 (January 1, 2008): 332–35. http://dx.doi.org/10.2307/resoamerlitestud.33.2008.0332.

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29

Reeve, Charles. "Pablo Picasso and Gertrude Stein. Correspondence." European Journal of Life Writing 9 (June 12, 2020): R12—R16. http://dx.doi.org/10.21827/ejlw.9.36179.

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Fragmentation, dissection, explosion: how to characterize the most influentially innovative art—be it theatre, music, literature or painting—of the twentieth century’s first half depends on which artistic formation one has in view and how violent or deliberate one takes that formation to have been. Regardless, a splitting open, dismantling or weakening of the bonds between its constituent parts marked that moment’s culture, with Gertrude Stein and Pablo Picasso as two of that disintegrative impulse’s most influential proponents. Such history might well lead a reader to anticipate scintillating exchanges, crackling with imagination, throughout this collection.
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30

Thomson, Virgil. "Letters to Gertrude Stein, 1926-38." Grand Street 7, no. 2 (1988): 50. http://dx.doi.org/10.2307/25007076.

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31

Conrad. "Gertrude Stein in the American Marketplace." William Carlos Williams Review 35, no. 1 (2018): 10. http://dx.doi.org/10.5325/willcarlwillrevi.35.1.0010.

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32

Cecire, Natalia. "Ways of Not Reading Gertrude Stein." ELH 82, no. 1 (2015): 281–312. http://dx.doi.org/10.1353/elh.2015.0005.

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33

Brian Reed. "Now Not Now: Gertrude Stein Speaks." ESC: English Studies in Canada 33, no. 4 (2009): 103–13. http://dx.doi.org/10.1353/esc.0.0080.

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34

Conrad, Bryce. "Gertrude Stein in the American Marketplace." William Carlos Williams Review 35, no. 1 (2018): 10–35. http://dx.doi.org/10.1353/wcw.2018.0002.

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35

Pondrom, Cyrena N., Marianne DeKoven, Randa Dubnick, and Jayne L. Walker. "Gertrude Stein: From Outlaw to Classic." Contemporary Literature 27, no. 1 (1986): 98. http://dx.doi.org/10.2307/1208602.

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36

Leick, Karen. "The Stein Aura: Gertrude Stein in the Twenty-First Century." Modernism/modernity 27, no. 3 (2020): 601–8. http://dx.doi.org/10.1353/mod.2020.0043.

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37

Daugaard, Solveig. "The End of Progress on Earth." Sensorium Journal 2 (September 13, 2017): 125–34. http://dx.doi.org/10.3384/sens.2002-3030.2017.2.125-134.

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38

ÇETİN, Ferdi. "Gertrude Stein’s New Drama: Play as The Essence of What Happened." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, no. 30 (October 21, 2022): 1196–207. http://dx.doi.org/10.29000/rumelide.1193093.

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American playwright, novelist, story and biography writer Gertrude Stein, with her avant-garde perception destructing the theatre conventions, became one of the inspiring playwrights for the experimental theater in the twentieth century. Stein's plays were interpreted by directors and performance artists from various disciplines such as painting, music, plastic arts and literature. When we look at her theoretical texts alongside her literary works, the concept of "continuous present" emerges as a strategy developed by Stein against the "tension" she feels due to the “syncopation” between the time of the audience and the time of the play in the conventional theater. The "nervousness" she felt towards the conventional theater also led Gertrude Stein to introduce a new definition of play. Gertrude Stein, whose literary activities can be examined under three periods, describes her plays written in the first period as "the essence of what happened". Contrary to the texts in the conventional theater, Stein gave works that could solve the time conflict in the theater through the "subversive" language she used in these early plays. She wrote without focusing on a story. Within the scope of this article, the use of “continuous present” is to be examined through Stein's play What Happened (1913) and the literary strategy developed by her is to be interpreted as a dramaturgical method that will help us understand the avant-garde plays.
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39

Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.

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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.
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40

Kirsch. "Prospects for the Study of Gertrude Stein." Resources for American Literary Study 42, no. 1 (2021): 1. http://dx.doi.org/10.5325/resoamerlitestud.42.1.0001.

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41

Lutz, Tom. "Writing by Tom Lutz and Gertrude Stein." Iowa Journal of Cultural Studies 12, no. 1 (2010): 163–68. http://dx.doi.org/10.17077/2168-569x.1104.

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42

Hubert, Renee Riese. "Gertrude Stein and the Making of Frenchmen." SubStance 18, no. 2 (1989): 71. http://dx.doi.org/10.2307/3685311.

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43

Perloff, Marjorie. ""Grammar in Use": Wittgenstein / Gertrude Stein / Marinetti." South Central Review 13, no. 2/3 (1996): 35. http://dx.doi.org/10.2307/3190371.

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44

DeKoven, Marianne, and Linda Wagner-Martin. ""Favored Strangers": Gertrude Stein And Her Family." American Literature 68, no. 4 (December 1996): 862. http://dx.doi.org/10.2307/2928151.

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45

Albertine, Susan, and Linda Wagner-Martin. ""Favored Strangers": Gertrude Stein and Her Family." Journal of American History 83, no. 1 (June 1996): 251. http://dx.doi.org/10.2307/2945575.

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46

Pierce, Constance. "Gertrude Stein and her Thoroughly Modern Protege." MFS Modern Fiction Studies 42, no. 3 (1996): 607–25. http://dx.doi.org/10.1353/mfs.1995.0135.

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47

Chalif, David J. "The Portrait of Gertrude Stein at 100." Neurosurgery 59, no. 2 (August 1, 2006): 410–21. http://dx.doi.org/10.1227/01.neu.0000222823.61317.3d.

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48

Cook, Albert. "Some Notes on Gertrude Stein and Deixis." Arizona Quarterly: A Journal of American Literature, Culture, and Theory 53, no. 1 (1997): 91–102. http://dx.doi.org/10.1353/arq.1997.0020.

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49

Hare, Peter H. "Notes: On Gertrude Stein and Mathematical Logic." chromatikon 3 (2007): 275–77. http://dx.doi.org/10.5840/chromatikon2007319.

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50

Dilworth, Tom. "Gertrude Stein in Fitzgerald's the Great Gatsby." Explicator 67, no. 1 (September 2008): 24–26. http://dx.doi.org/10.3200/expl.67.1.24-26.

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