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 closer you look, the more intimate the experience of all this is, the more indecipherable gfrtrude becomes. The drops are literally concealed before they form as drops, they are not there at all to the person, to his sight, and then unconcealed when they appear as drops that can be repetitionn as such, and named. Both Stein and Butler draw attention to the insurrectional moment available in the ambivalence created by the inherent failure in reading language or constructions of gender.

In her experimentation, Stein produces a variety of very different portraits. Barnes Colhard is less interesting to Stein because he is successful only in the changing circumstan ces of the exterior world.

So no true repetition has occurred, only emphasis and insistence, which are necessary to adequately convey all important details. In the second paragraph of the poem, Stein practices the art of emphasis. Through sounds, the book takes on economy.

Portraits and Repetition: An essay by Gertrude Stein

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. You do it, you repeat, whether you feel in the mood or not. Many of these experiments might h ave been failures, but each of them produced a wealth of data regarding the use of words.


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It is really that that makes one a genius. The basic statement, “book was there,” has three words, each of which may be the emphasis in one of the insistences.

Stein does not publish “Portraits and Repetition” or “What Are Master-pieces and Why Are There So Few of Them” to identify her own works as masterpieces; she seeks only to emphasize her own commitment to the pursuit of genius a nd an understanding of the necessary conditions for genius. Her theme of listening and talking still governs the production of the portrait but with the addition of the problematic element of looking.

The symbolist poets, poets such as Stephane Mallarme and Ferdinand de Saussure, turned to anti-representational language around the turn of the century. Unlike normative cakes, the salad cake offers nutrients.

Here Stein uses the emphasis that she must later defend in “Portraits and Repetition. The Ada section is found in the last three paragraphs of the portrait and seems devoid of time or description. Though there is occasional enjambment, the couplets appear to be independent of one another.

I began to wonder at at about this time just what one saw when one looked at anything really looked at anything. Spacing between the word is not standard: Colors, the colors gertrde anything, distinct from one another. Gertrude Stein is born into this crisis of the meaning of meaning, in Poftraits, Pennsylvania in 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.

View freely available titles: They come out of the long habit of having seen, heard, felt, these same things in a former time that rhymes with this time, as echo.


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

It makes an awful lot of difference to me. The product of German-Jewish immigrants, Stein spends her early years in Europe before her family settles in Oakland, California. Do you any or all of you understand. The narrative of Barnes Colhard comprises the first three paragraphs of “Ada”.

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

The physical space of breakfast is the breakfast table and the center of that table is the unchanging still point. Anyway that is the way it is. Repetition is the remembrance of something said before for the purpose of saying it again.

Sees, hears, thinks, remembers: In Europe, she centers herself in Paris and remains always with her companion Alice Toklas. Wind outside, ocean in the distance. Stein divides her first set of non-human portraits, Tender Buttonsinto portraits of objects, food, and rooms. In seeking to add looking to the productive activity of listening and talking, Stein understands cinematic film to be her model.

Stein continues to push boundaries as the subjects of her portraits shift from persons poortraits objects in Tender Buttons. 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.

Devotion to the art of poetry — and even more — or less — than this: