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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The more real it becomes.

Project MUSE – Language and Democracy: Meaning Making as Existing in the Work of Gertrude Stein

The writer must not even conceive of anr relationship with himself, he must be a “thing in itself”. These aunts evidently had many stories to tell, and since there were “ten and eleven” of them, the stories were repeated frequently.

Many of these experiments might h ave been failures, but each of them produced a wealth of data regarding the use of words. She says of a man, “he was settled to stay,” but then emphasizes that he was not just settled, but settled to stay. A poem of words — but everything seems quiet, wordless. They may be characters in repetigion of his paintings or characters discussing one repftition f his paintings, or any of a number of other possibilities.

Mass media and mass-education, along with increasing democratization, led to the growth of a mass-culture, which maintained a precarious relationship with high culture.

Is there a sort of rhyme between the seen and the heard what if you hear the sound of a bird at the same moment you are looking at a distant ridgeline in fogand what about meaning — is ridge something seen, or something heard, is the word you are using at the same time you are seeing already always there in the seeing, and so the sound of the word must be there, in the experience of the seeing?


In her portraits, Stein does not repeat, she insists and emphasizes. In her experimentation, Stein produces a variety of very different portraits.

There where the grass can grow nearly four times yearly. 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: It is really that that makes one a genius.

George Steiner refers to the years as the period of the “crisis of the meaning of meaning. Here Stein uses the emphasis that she must later defend in “Portraits and Repetition. A couple, a man and a women, in intimate — if indefinite and entirely wordless — relationship.

On ‘Portraits & Repetition’

It was definitely a “book” that was there; the book definitely “was” there, and the book was definitely ” there”. The words come out of the quiet. Was I very surprised. In writing a portrait, she does not produce a work that merely describes or resembles the subject, or one that identifies the etein through relationships. Perception is central to “Rooms”, the final chapter of Tender Buttons.

It, rather than you, carries the gertgude along. Each day for a year and nearly three months — February 9, —May 28, — Stephen Ratcliffe wrote a ten-line poem that consisted of five couplets, the first line of each couplet always three characters longer than a second line.

The poem may be divided into two parts: Stein chooses the portrait because portrait production is an activity not of identification, but of perception. He is identified as happy, and after his death, his children remember him.

Both writers use the term “concentration” to describe the production of the literary work. Stein bef riends Pablo Picasso in and he persuades her to let him paint her portrait. Search the history of over billion web pages on the Internet.

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Stein is testing the “s” sound against the “t” sound. Barnes Colhard is less interesting to Stein because he is successful only in the changing circumstan ces of the exterior world.

Do you any or all of you understand. Only rarely is the language suggestive of a room. Stein then explores the needs of that book, particularly its need to be dry and protected. Gertrude Stein is born into this crisis of the meaning of meaning, in Allegheny, Pennsylvania in The narrative of Barnes Colhard comprises the first three paragraphs of “Ada”. In the second paragraph of the poem, Stein practices the art of emphasis.

It is very interesting that letter writing has the same difficulty, the letter writes 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. It makes an awful lot of difference to me. The poem breezes through such abstractions as a sister who “was not a mister,” and “a can containing a curtain.

Portraits and Repetition, an essay by Gertrude Stein from Lectures in America

Wind outside, ocean in the distance. Forged from a partnership between a university press and a repetitiob, Project MUSE is a trusted part of the academic and scholarly community it serves. Book titles OR Journal titles. This website uses cookies to ensure you get the best experience on our website.

The basic statement, “book was there,” has three words, each of which may be the emphasis in one of the insistences.

You do it; you simply do it with devotion. Uploaded on February 5,