GERTRUDE STEIN PORTRAITS AND REPETITION PDF
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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Portraits and Repetition, an essay by Gertrude Stein from Lectures in America
In the close of the poem, Stein states that if the physicality of the book were destroyed, if the book were burned, then the b portraiits would be reduced to mere ideas, to being “a remark. Then she adds that he was settled to stay Saturday. Breakfast is always in change; it is never served the same twice. The words come out of the quiet.
Sees, hears, thinks, remembers: But not explained, perhaps. The first narrator exists only in the external world and can only describe the external activity portaits a chronological series. The effect of the parenthetical word is to distance or interrupt whatever is going on in the line.
Through sounds, the book takes on economy. Notice how I have used, in the above paragraphs, words like appears, seems, might, as if, sometimes. Within each of the couplets there always appears a word in parenthesis. Is there a sort of rhyme between the seen and the heard what if you hear the sound of a bird at the same gertrudw you are looking at a distant ridgeline in fogand what about meaning — fertrude ridge something seen, or something heard, is the word you are using at the same pprtraits 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?
What happens when you look at anything, actually, over a period of time say, a year and a quarter every day, carefully, quietly, without many preconceptions gerttude to what that thing is, and then at the same time at the moment of looking, or just after — repetitikn as the moment of looking you are writing this, what happens, what do you see?
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 seen as such, and named. Devotion to the art of poetry — and even more — or less — than this: In the quote, Stein declares the physical space of the book, then she emphasizes the veracity of that declaration, and then insists on the presence of that space.
The book occupies repteition certain physical space; it has “there”ness. I was surprised and in that patient, are you patient repetifion you find bees. The poem may be divided into two parts: Whatever you want to be doing or saying — or whether or not you have anything you want to do or say — you repeat.
The key concern behind this interest is that of “repetition. Edited by Julia Bloch. Here Stein uses the emphasis that she must later defend in “Portraits and Repetition. Book titles OR Journal titles.
Project MUSE – Language and Democracy: Meaning Making as Existing in the Work of Gertrude Stein
In response, poets began to repetitiln for new uses of l anguage. A garden — simple, not lush. Stein wrote her first portrait, “Ada”, infor her companion Alice Toklas.
The first section is not numbered, the second and third sections are both numbered “ONE. Unlike normative cakes, the salad cake offers nutrients. She uses these terms to distinguish between two fundamentally different forms of writing. The ambiguity of the poem is best illustrated by the constant use of the interrogative “Why.
You find that you go deeper into what wnd are, how you are, how language is, how the poem is, what seeing, hearing, writing, thinking, being is than you ever would have been able to do if you based what you were doing on your skill intelligence knowledge personality. Birdsong in the porgraits.
Run time 60 min. They do not seem to stand for days on earth but rather as a mathematical series: A poem of words — but everything seems quiet, wordless. In Europe, she centers herself in Paris and remains always with her companion Alice Toklas.
A figure — which maybe is a person — is there, in the background rose in foreground? To claim that Stein’s writing is tied to subjects in the world puts into question the long line of criticism that understands her work to be hermetic, a-historical, and alienated from issues of the body.
She discovers someone with whom she may share her stories, and only then is she successful at living. Stein became a sort of physician for language.
But listening is problematic because it easily leads to remembering and describing.