Libri: "Repetitious work"

1

Repetitions of word forms in texts: An approach to establishing text structure. Newcastle upon Tyne: Cambridge Scholars, 2011.

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2

Harris, Trevor A. Le V. Maupassant in the hall of mirrors: Ironies and repetition in the work of Guy de Maupassant. Basingstoke: Macmillan, 1990.

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3

Masters of repetition: Poetry, culture and work in Thomson, Wordsworth, Shelley, and Emerson. Basingstoke: Macmillan, 1998.

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4

Masters of repetition: Poetry, culture, and work in Thomson, Wordsworth, Shelley, and Emerson. New York: St. Martin's Press, 1998.

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5

Repetition, difference, and knowledge in the work of Samuel Beckett, Jacques Derrida, and Gilles Deleuze. New York: Peter Lang, 2009.

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6

The Galician works of Ramón del Valle-Inclán: Patterns of repetition and continuity. Oxford: Peter Lang, 2010.

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7

Trevor A. Le V. Harris. Maupassant in the hall of mirrors: Ironies of repetition in the work of Guy de Maupassant. New York: St. Martin's Press, 1990.

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8

Trevor A. Le V. Harris. Maupassant in the hall of mirrors: Ironies of repetition in the work of Guy de Maupassant. Basingstoke: Macmillan, 1990.

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9

Lanier, Georgiann. The "R" word (Retention is OK): A program about retention for students in grades 1-5. Warminster, PA: MAR*CO Products, 1995.

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10

Uri mal ŭi pisŭthan kkol toep'uri nanmal yŏn'gu. Sŏul: Yŏngnak, 2010.

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11

Bijutsukan, Tōkyō Kokuritsu Kindai. Gendai no katazome, kurikaesu patān: Contemporary stencil dyeing and printing, the repetition of patterns. [Tokyo]: Tōkyō Kokuritsu Kindai Bijutsukan Kōgeikan, 1994.

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12

Mandel', Boris. Developmental psychology. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1065840.

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The manual is a unique course that includes a work program with modular technology. Each Chapter is accompanied by a list of key words for memorization and repetition, questions and tasks. The textbook also contains a list of required and additional literature, about the themes of the seminars and practical training, the approximate list of questions for self-study for exams and credits, the modular division of the. Meets the requirements of Federal state educational standards of higher education of the last generation. For students and teachers of pedagogical universities, psychologists, pediatricians, and for anyone interested in child psychology and psychology of development as an integral part of General psychology.

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13

Uri mal ŭi nanmal saengsŏng toepʻuripŏp yŏnʼgu. Kangwŏn-do Chʻunchʻŏn-si: Kangwŏn Taehakkyo Chʻulpʻanbu, 2009.

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14

Uri mal ŭi nanmal saengsŏng toepʻuripŏp yŏnʼgu. Kangwŏn-do Chʻunchʻŏn-si: Kangwŏn Taehakkyo Chʻulpʻanbu, 2009.

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15

Morfemnyĭ povtor v khudozhestvennom tekste v svete obshcheėsteticheskoĭ teorii igry. Khabarovsk: Izd-vo Dalʹnevostochnogo gos. gumanitarnogo universiteta, 2006.

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16

Uri mal ŭi nanmal saengsŏng toepʻuripŏp yŏnʼgu. Kangwŏn-do Chʻunchʻŏn-si: Kangwŏn Taehakkyo Chʻulpʻanbu, 2009.

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17

Mandel', Boris. Psychology of addictions (addictologie). ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1071408.

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The manual is a unique course, including the work program. It is created on the basis of the developed programs in psychology in accordance with Federal state educational standards of higher education of the last generation. Contains 18 chapters, a detailed indicative work program of the discipline and based on modern information on psychology, psychiatry and addiktology. Each Chapter concludes with a list of key words for memorization and repetition, as well as questions and tasks. In addition, the manual contains a significant number of references and explanations that contain information about the referenced authors and the interpretation of terms and a list of additional literature, a sample of workshop topics, a list of questions for self-study for exams and credits. For students and teachers of higher educational institutions that train teachers, psychologists, medical professionals, and those interested in addictologia as an integral part of the General psychology and psychiatry.

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18

Storr, Annette. Die Wiederholung, Gertrude Stein und das Theater: Lektüren der Zeit als bedeutender Form. München: W. Fink, 2003.

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19

McDonald, Marianne. Croaks into Song. A cura di Robert Gordon. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.013.0020.

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“Croaks into Song” puts Sondheim’sFrogsinto the context of his other work. His music adds informed commentary. Sondheim is the most modern and insightful of present-day composers of musicals, skillfully reflecting not only the blackness of the times, but adding doubts about the future. Sondheim often turns to the classics, so Aristophanes’sThe Frogs, with its descent into Hades, was a natural choice. His work concludes with a hymn to death and praise for the way of life in Hades. There is political criticism, like the Aristophanic original: disparaging the insanity of war and know-nothing politicians, along with their followers who, like frogs, sing repetitious choruses. Rather than Aeschylus competing against Euripides, as in Aristophane’ play, here Shakespeare debates Shaw, yet some of the same artistic issues are raised.

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20

Guss, Teicholz Judith, Kriegman Daniel H. 1951- e Fairfield Susan, a cura di. Trauma, repetition, and affect regulation: The work of Paul Russell. New York: The Other Press, 1998.

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21

Repetition: And, Philosophical crumbs. Oxford: Oxford University Press, 2009.

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22

Repetition: And philosophical crumbs. Oxford: Oxford University Press, 2009.

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23

Repetition: And philosophical crumbs. Oxford: Oxford University Press, 2009.

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24

1941-, Berstel Jean, a cura di. Combinatorics on words: Christoffel words and repetitions in words. Providence, R.I: American Mathematical Society, 2008.

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25

Smith, Christen A. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039935.003.0001.

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This introductory chapter provides an overview of the book's main arguments. Focusing on the city of Salvador, this book uses performance as a methodological frame for deconstructing gendered antiblack violence. Following the work of performance theorist D. Soyini Madison (2010), it employs performance analytics as a method of social analysis in order to travel back and forth between onstage and offstage. It makes five claims: (1) that the maintenance of racial democracy as a national ideology in Brazil (exemplified by the myth of Bahia's Afro-paradise) depends on the spectacular and mundane repetition of state violence against the black body; (2) that these repetitions of violence are entangled in time and space, implicating the past, the present, and the future; (3) that state violence against the black body is not only a performance but also palimpsestic—embodied, disciplining, and marked by erasure, reinscription, and repetition; (4) that the trauma of the black experience with state violence is a kind of gendered terror that not only harms the bodies of the immediate victims but also inflicts pain on the families and communities of the victims, defining the political stakes of these moments and, in part, blackness itself; and, finally, (5) that the close relationship between Afro-paradise and performance has also led the black community to turn to performance in order to demystify and undo its violence.

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26

Trauma, Repitition, and Affect Regulation : The work of Paul Russell. Other Press, 1998.

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27

McGlazer, Ramsey. Old Schools. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823286591.001.0001.

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This book marks out a modernist counter-tradition. The book proceeds from an anachronism common to Italian- and English-language literature and cinema: a fascination with outmoded, paradigmatically pre-modern educational forms that persists long after they are displaced in modernizing, reform-minded pedagogical theories. Old Schools shows that these old-school teaching techniques organize key works by Walter Pater, Giovanni Pascoli, James Joyce, Pier Paolo Pasolini, and Glauber Rocha. All of these figures oppose ideologies of progress by returning to and creatively reimagining the Latin class long since left behind by progressive educators. Across the political spectrum, advocates of progressive education, from Jean-Jacques Rousseau to John Dewey and Giovanni Gentile, had targeted Latin in particular. The dead language—taught through time-tested techniques including memorization, recitation, copying out, and other forms of repetition and recall—needed to be updated or eliminated, reformers argued, so that students could breathe free and become modern, achieving a break with convention and constraint. By contrast, the works that Old Schools considers valorize instruction’s outmoded techniques, even at their most cumbersome and conventional. Like the Latin class to which they return, these works produce constraints that feel limiting but that, by virtue of that very limitation, invite valuable resistance. As they turn grammar drills into verse and repetitious lectures into voiceovers, they find unlikely resources for creativity and critique in the very practices that progressive reformers sought to clear away.

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28

Waltham-Smith, Naomi. Mozart’s Uselessness. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190662004.003.0003.

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Humanity has oftentimes been defined as a laboring being. This chapter looks at how musical play undoes this determination. Using Deleuze, Guillaume, and Malabou, it revisits the relation between repetition and variation in musical form, focusing on the refrain cadences in Mozart’s piano concertos. The analyses reveal that repetition, far from being static, restores musical material to its potentiality. They show how repetition is related to virtuosic play and hence how repetition challenges the privilege of productivity and labor. To this end, this chapter reexamines what is at stake in recnet Formenlehre over debates between Schoenbergian functional and sonata-theory approaches. The result is to develop this important body of work via a theory of potentiality.

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29

Trevor A. Le V. Harris. Maupassant in the Hall of Mirrors: Ironies of Repetition in the Work of Guy De Maupassant. Palgrave Macmillan, 1991.

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30

Trevor A. Le V. Harris. Maupassant in the Hall of Mirrors: Ironies of Repetition in the Work of Guy de Maupassant. Palgrave Macmillan, 1990.

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31

Simmons, Keith. Paradox and Context. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198791546.003.0002.

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Chapter 2 articulates and defends the claim that our semantic expressions ‘denotes’, ‘extension’, and ‘true’ are context-sensitive. The chapter focuses on three simple paradoxes of denotation, extension, and truth. Two phenomena emerge as we reason through these paradoxes. First, the phenomenon of repetition: in the course of our reasoning, we produce a repetition of the paradoxical expression. This repetition, though composed of the very same words as the paradoxical expression, is semantically unproblematic and has a definite value. Second, the phenomenon of rehabilitation: we can reflect on the paradoxical expression, taking into account its pathology, and produce an unproblematic semantic value for it. Repetition and rehabilitation are explained contextually, drawing on the work of Stalnaker and Lewis (and others) on context-change.

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32

Pont, Antonia. Philosophising Practice. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0002.

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Artists often explicitly consider themselves practitioners, acknowledging practising as the mode of doing from which work non-causally emerges. Practising recognises that novelty is best courted via a precise register of repetition, explored by Deleuze in Difference and Repetition. Linked to habit and unrelated to discipline (as impatience/compliance), practising mobilises consistent (sets of) behavioural forms along with intentional repetition via a relaxing that reinflects laziness. It generates a stability subtracted from identity, clarifying the directions of Deleuze’s thought concerning difference as that which precedes representation. Resonating with Deleuze’s dismantling of the dogmatic image of thought, practising intentionally harnesses the mechanisms of ‘miraculous’ repetition for a future constituted solely by time’s empty form. Via Deleuze’s exploration of repetition, difference and identity, their relation to habit and the paradoxical intentionalities of art-making, this chapter explores various aspects of practising’s operations, thereby unsettling common-sense understandings of agency, action, change, intention, capacity, difference and subjectivity

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33

Dooner, Richard Anthony. Repetition in postmodern fiction: The works of Kathy Acker, Donald Barthelme and Don DeLillo. 1993.

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34

Parsons, Laurel, e Brenda Ravenscroft. Hildegard of Bingen, O Ierusalem aurea civitas (ca. 1150–1170). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190237028.003.0002.

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This chapter contextualizes Hildegard of Bingen’s monumental sequence for her monastic community’s patron St. Rupert, O Ierusalem aurea civitas, both within Hildegard’s own output of sequences, and within the sequence repertory at large. Considering her deep sensitivity to the relationship between text and music, including close attention to grammatical structure, word stress, and word and syllable parsing, the essay proposes that Hildegard uses a varied repetition technique, adapting the standard sequence form. Instead of strict repetition, she varies many elements of the melodic surface through expansion or contraction, preserving an audible sense of repetition while responding directly to new text structures. The essay provides a textual and musical analysis of the entire sequence, demonstrating the composer’s large-scale control of musical structure.

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35

Roffe, Jon. Practising Philosophy. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429344.003.0007.

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In What is Philosophy?, Deleuze and Guattari famously describe philosophy as the creation of concepts. However, nowhere in his work does Deleuze detail what this practice involves for the philosopher themselves. After surveying the fragmentary descriptions of philosophical activity in his work, this chapter proposes a quadripartite account of Deleuzean philosophical practice, involving dispossession, bricolage, coadaption and repetition.

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36

Eccentric peak torque and maximal repetition work percentages of the dominant external rotators in college Division I baseball players. 1992.

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37

Eccentric peak torque and maximal repetition work percentages of the dominant external rotators in College Division I baseball players. 1991.

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38

Wickerson, Erica. Myth. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793274.003.0005.

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Mythology was of great interest to Mann and allusions to well-known myths appear in many guises across his works. It is also of interest in terms of narrative time. This chapter takes a selection of works in which Mann toys—to varying degrees of subtlety—with mythic tales, and explores the way in which nods to well-known mythological tales affect the subjective flow of time. I explore the different models presented in Felix Krull, Blood of the Walsungs, and Doctor Faustus, and compare these to Günter Grass’s The Tin Drum, a work that engages closely with Mann’s writing. This analysis illustrates the temporally stagnating effect of mythological repetition—at the level of both plot and story—as well as the instability caused by divergence from expectation.

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LeVen, Pauline A. Echo and the Invention of the Lyric Listener. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0010.

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This chapter investigates the notion of lyric listening and concentrates on the particular role of the adverb δηὖτε‎ (‘once again’) in constructing a poetics of delayed repetition in several archaic melic poets (Alcman, Sappho, and Anacreon). Building on the model provided by a reading of the mythical nymph Echo in Longus’ Daphnis and Chloe to understand the seduction and role of delay and repetition in lyric listening, it is argued that ‘once again’ works as a form of gramophone, allowing the listener of the poem to experience the immediacy of poetry through the imagined distance and delay introduced by the adverb.

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40

Connor, W. R. Scale Matters. A cura di Sara Forsdyke, Edith Foster e Ryan Balot. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199340385.013.28.

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By examining variations in scale and techniques of expansion and contraction in Thucydides’ narrative, the essay identifies a mimetic principle in his writing—that the presentation of an episode in the work should normally be proportionate to its significance. Significance, however, is not measured by purely military factors. In fact, expansion is often an indicator of intense suffering, pathos. Among the techniques of expansion and compression discussed are allusions, superlatives, figures of speech (such as litotes), direct and indirect discourse, day-by-day narrative, enargeia (vividness) and thematic repetition (“reprise”). Many of these techniques, although not all, were also discussed among the ancient rhetoricians, who were alert to their emotional power.

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Brown, Andrew, Christopher T. Flinton, Josh Gibson, Brian Grant, Barrie Greiff, Duane Hagen, Stephen Heidel et al. The Broken Contract. A cura di Andrew Brown, Christopher T. Flinton, Josh Gibson, Brian Grant, Barrie Greiff, Duane Hagen, Stephen Heidel et al. Oxford University Press, 2018. http://dx.doi.org/10.1093/med/9780190697068.003.0003.

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Broken relationships develop over time and with repetition and have a corroding effect on loyalty and commitment, which are the glue that holds people together enough to accomplish mutual goals. Managers need to know if someone important to their work is feeling that way, particularly if the person feels that way about them. A key part of understanding such ruptures is to understand the implicit interpersonal promises, better known as the psychological contract. The psychological contract has five essential components: predictability versus confusion, dependence versus independence, distance versus intimacy, change versus stability, and danger versus safety. This chapters explores these elements in cases about business performance and relationships between supervisors and employees.

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42

Ferriss-Hill, Jennifer. Horace's Ars Poetica. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195025.001.0001.

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For two millennia, the Ars Poetica (Art of Poetry), the 476-line literary treatise in verse with which Horace closed his career, has served as a paradigmatic manual for writers. Rarely has it been considered as a poem in its own right, or else it has been disparaged as a great poet's baffling outlier. Here, this book fully reintegrates the Ars Poetica into Horace's oeuvre, reading the poem as a coherent, complete, and exceptional literary artifact intimately linked with the larger themes pervading his work. Arguing that the poem can be interpreted as a manual on how to live masquerading as a handbook on poetry, the book traces its key themes to show that they extend beyond poetry to encompass friendship, laughter, intergenerational relationships, and human endeavor. If the poem is read for how it expresses itself, moreover, it emerges as an exemplum of art in which judicious repetitions of words and ideas join disparate parts into a seamless whole that nevertheless lends itself to being remade upon every reading. This book is a logical evolution of Horace's work, which promises to inspire a long overdue reconsideration of a hugely influential yet misunderstood poem.

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Daniels, Dieter. Silence and Void. A cura di Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.11.

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The notorious “silent piece” 4'33 (1952) by John Cage is a seminal point of convergence for visual and acoustic arts: each performance of the piece offers an acoustic and visual uniqueness, which defies repetition. The equivalent in visual arts is Robert Rauschenberg’sWhite Paintings(1951), credited by Cage as inspirational. Around the same time and without knowing the works by Cage and Rauschenberg, Yves Klein and Guy Debord also created works related to silence, emptiness, and void. This chapter reflects on the similar and different types of absence, reduction, and various kinds of “nothingness” involved in these historical works. The legacy of the “aesthetics of absence” to the present day is presented in a typology of performing, recording, and remediating silence in works by Nam June Paik, Bruce Nauman, Manon De Boer, and others. The chapter also analyzes the complex relation of silence and void in these contemporary practices.

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Galvin, Rachel. Raymond Queneau Reading the Newspaper. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190623920.003.0006.

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The work of Raymond Queneau, who is usually regarded as avoiding making political statements, presents a fruitful case for examining how a civilian writer critiques the transmission of news of war through formal procedures. In poems that explore civilian witnessing and reception of war news, the figure of a solitary reader hunched over a newspaper during a political crisis appears at the same time as Queneau experiments with forms drawn from classical rhetoric (like the progymnasmata, a handbook of rhetorical exercises) and with journalistic formulae (like the fait divers). Close examination of Exercices de style, along with a series of poems Queneau wrote about the Munich Agreement, reveals he developed tropes and schemes that convey obliquity, self-interruption, and repetition as ways of articulating the civilian experience and critiquing the narrative framing of war news.

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Gaines, Jane M. The Genius of Genre and the Ingenuity of Women. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036613.003.0001.

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This chapter examines a two-minute melodrama by silent cinema director-producer, Alice Guy Blaché, and demonstrates several of its entry points for—mutually exclusive—readings. Crucially, such readings depend on familiar generically gendered possibilities. Thus, against feminism's assertion of difference, rethinking gender as generic foregrounds the role of repetition and its dynamic of expectation. It is here that the woman filmmaker can work. Her “ingenuity” lies in responding to the “genius” of genre's play with expectation, working out of the past to stage permutations for future imaginings. Perhaps the true irony on which Blaché's film turns is the impossible choice between mother and fiancée posed not only for the hero but for female spectators—a type of binary thinking elucidated in the film's generic play and which feminism now challenges.

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Abbott, Helen. Baudelaire’s Assemblage. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0002.

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Song is a combination of elements, of which the outcome is not always stable. This chapter examines the nature of the bonds formed between poem and music by proposing a new ‘‘assemblage’’ model, which focuses on five key parameters: (a) metre/prosody; (b) form/structure; (c) sound properties/repetition; (d) semantics/word painting; (e) live performance options. This approach bridges methodological gaps exposed through an examination of existing models used in translation theory, adaptation theory, and word/music theory. The two stages in the assemblage model examine: (1) adhesion strength (how closely poem and music stick together); (2) accretion/dilution (how successful the song setting is). The phases of analysis factor in how song is a non-permanent form which goes through multiple iterations of repackaging, including different performances of the same song and different settings of the same poem.

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Siegmund, Gerald. Rehearsing In-Difference. A cura di Rebekah J. Kowal, Gerald Siegmund e Randy Martin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199928187.013.54.

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European choreographers Pina Bausch and Jérôme Bel share a critical line of inquiry into the established dance practices of their time, putting both the identity of their subjects and the identity of the genre of dance at risk. By addressing and including their own rehearsal processes in the performance, Bausch and Bel play with their own aesthetic strategies and their coming into being as social practices. As the author argues, the political, here, lies in the blurring of definite and defining categories, thus creating ambivalent and polyvalent scenes that defy explanation. Yet, Bausch and Bel’s work on repetition also produces an excess of energy that blurs distinctions and differences. As an emotional response to a rhythm that is created out of the in-difference to difference, this force undoes what subjects have learned socially. It is here that their freedom lies.

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Adleyba, Dzhulyetta. The stylistic and poetical-compositional system of a fairy tale. Volume 1 : Oral stylistic foundations of a fairy tale. Experimental study on the Abkhaz material. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1473.978-5-317-06459-4_v1.

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In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. The monograph “Oral stylistic foundations of a fairy tale. Experimental study on the abkhaz material”, which constituted 1 volume of this edition “The stylistic and poetical-compositional system of a fairy tale”, is devoted to topical problems of folklore studies, dictated by the urgent need for a comprehensive audio-visual study of folklore style. The work was carried out according to a special methodology, providing for the study of samples of oral poetry in their living existence in the light of the requirements of the experimental direction in folklore with the obligatory use of repeated recordings of fairy texts at different times, as well as film and photo documents. The aim and task of the research is to reveal the peculiarities of the style of fairy tale narration in their conditionality by the laws of preservation and transmission of traditions. The section “Appendices” contains samples of tabular analysis and intonation recording of typed repetitions, a package of film and photographic documents, a disc with a recording of the text being executed and rhythmic segments.

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49

Germana, Michael. Time, History, and Becoming in Invisible Man. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682088.003.0002.

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Chapter 1 locates the origins of Ralph Ellison’s philosophy of temporality in the ideas of Henri Bergson and Friedrich Nietzsche, and reads Ellison’s debut novel Invisible Man in light of these observations. Anticipating the work of Gilles Deleuze, Ellison places Nietzsche’s concept of eternal recurrence into a Bergsonian context by combining Nietzsche’s arguments about history and immanence with Bergson’s claims about time and its fundamental creativity. The resulting philosophy prefigures Deleuze’s ideas about difference and repetition, or, the complex relationship between becoming and being. Because Invisible Man is the text where Ellison first fully articulates these concepts, this chapter treats the novel as a critical overture to Ellison’s corpus and the temporal and historical themes that recur throughout it. In the process, this chapter challenges long-held misconceptions about Ellison, including his debt to existentialism, his dedication to disorder, his commitment to surrealism, and his status as a modernist author.

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Beeston, Alix. Torn, Burned, and Yet Dancing. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190690168.003.0005.

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This chapter discusses the collaborative and institutionalized mode of production in studio-era Hollywood through the lens of the two major projects that comprised the work of the final year of F. Scott Fitzgerald’s life: the screenplay “Cosmopolitan” and the unfinished novel The Last Tycoon. These texts modify the modernist literary trope of the woman-in-series in concert with classical Hollywood’s defining logic of substitution and repetition. Ultimately derived from the basic seriality of the photogrammatic track, this logic is incarnated by female characters in “Cosmopolitan” and The Last Tycoon who, in refusing to remain silent substitutes for other women, rupture the illusory conceits of seamless fictional narration in classical Hollywood—and its equally seamless discourse of femininity. Fitzgerald’s Hollywood writing thus confronts the gendered and racialized limits of the modernist literary field and, in the process, unravels the myth of the solitary author and the singular, stable literary text.

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