If not nobody would live. Gertrude Stein, “Portraits and Repetition”. In ‘portraits and repetition,’ an essay in. Lectures in America, written for her American. Gertrude Stein Portraits and Repetition – Download as PDF File .pdf), Text File .txt) or view presentation slides online. GERTRUDE STEIN. Boston. Beacon Hill PORTRAITS AND REPETITION. POETRY truly there is a new way of making portraits of men and women and.
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On ‘Portraits & Repetition’
In the second paragraph of the poem, Stein practices the art of emphasis. At seventeen she had not yet made the connection between this idea and her concept of writing; 2 however, as she narrates in “Portraits and Repetition,” the awareness played a crucial role in her developing conviction that writing alive and present to reality, not a copy or representation, functions through a continual repetition with a difference or what she calls “insistence” 2: Many of these experiments might h ave been failures, but each of them produced a wealth of data regarding the use of words.
Stein insists that literature based on time and memory is neither interesting nor exciting because it merely repeats that which has al ready happened, that which can simply be observed. The portrait is divided into five sections. George Steiner refers to the years as the period of the “crisis of the meaning of meaning. I am inclined to believe there is no such thing as repetition. The closing lines of “Cezanne” offer an adequate description of the response of Western Culture to the writings of Gertrude Stein.
Words, language, abstraction, relationship between objects in a visual field, the negative space between them.
Portraits and Repetition: An essay by Gertrude Stein : Free Borrow & Streaming : Internet Archive
Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. Here Stein uses the emphasis that she must later defend in “Portraits and Repetition. Ada needs to be always listening and talking to endure through life. The sea in the distance and close up, swimming in the waves. My own poetry is the same thing: The title of each poem is the date on which the poem was written 7.
However, a read of the poem reveals that, after the title, there is nothing in the language that suggests a human entity. Without cookies your experience may portralts be seamless. The effect of the parenthetical word is to distance or interrupt whatever is going on in the line. Her works are experiments with those conditions, experiments geared towards pushing the limitations on genius. Give a listen here and it will all become clear, or not, as that seems in perfect keeping with the spirit of the essay.
The opening paragraph offers two characters with differing perspectives, the Irish lady who says that “to-day is every grtrude and Caesar who say s that “every day is to-day. To issue a statement like, “A touching box is on the touching so helping held,” is to place each of those words under immense pressure. This assertion is based, in part, on second-wave feminist notions that underscore the importance of a stable “I”—reinforced by referential language—as necessary for political agency, and assumes that fragmentation in language cannot provide for the body’s physicality in the temporal world.
Barnes is portrayed in relationship to his father, his sister, his wife and his children. The book portdaits a certain physical space; it has “there”ness.
In seeking to add looking to the productive activity of listening and talking, Stein understands cinematic film to be her model. In this sense, Stein offers a praxis that helps one to resist conventions, such as constructions of gender or sexuality, that are based on habituated practices and rank some subjects over others.
The key to this role of entity is listening and talking. Through this concentration the writer is able to discern the interior qualities of a subject and give language to those qualities, not to gertruve ibe them, but to produce them.
The symbolist poets, poets such as Stephane Mallarme and Ferdinand de Saussure, turned to anti-representational language around the turn of the century. And yet, the two writers agree that the poet must lose all sense of himself in the production of the poetry, what Eliot calls the “process of depersonalization. In a real life crime, the general public is concerned about the crime itself, not about the detection. It is very interesting that letter writing has the same difficulty, the letter repetitiion what the other person is to he ar and so entity does not exist there are two present instead of one and so once again creation breaks down.
She discovers someone with whom she may share her stories, and only then is she successful at living. Sometimes the parenthetical word is not a word at all but a letter p. She provides a valuable practice—one that is democratic in its Consider the ambiguity of the line, “She was twic e as old as her brother.
Feeling confused by it all? Wind outside, ocean in the distance. It was definitely a “book” that was there; the book repettion “was” there, and the book was definitely ” there”.
The final line is unfathomable, portaits wholly enjoyable: Project MUSE Mission Project MUSE promotes the creation and dissemination of essential humanities and social science resources through collaboration with libraries, publishers, and scholars worldwide. But potatoes are not the last change listed in “Breakfast.
The first narrator exists only in the external world and can only describe the external activity through a chronological series. She repeats this exercise of insistence with the “if in as a mouth” lines and the “believe gertrhde have water” lines. The physical space of breakfast is the breakfast table and the center of that table is the unchanging still point.
For as Stein wrote elsewhere: View freely available titles: Bees in a garden make a specialty of honey and so does honey. Stones on a windowsill. Which person writes what? This is because the overall effect of this almost obsessively precise poem is one of indeterminacy. This economy exists in both time “when”and emotion “care”.