Titlebook: Gertrude Stein and the Making of Literature; Shirley Neuman (Professor of English),Ira B. Nadel Book 1988 Palgrave Macmillan, a division o

愛(ài)國(guó)者

Gertrude Stein and Henry James, detachment from ‘the solidity of anything’ (., p. 10). When she wrote . in 1932–3, Stein chose James to accompany General Grant, Wilbur Wright and George Washington: ‘Henry James nobody has forgotten Henry James even if I have but I have not’, she declared (., p. 128).

下級(jí)

字謎游戲

and American History,can history. A careful reading of the opera makes it clear that this work is a part of Stein’s last creative stage, in which she moved beyond her modernism to an art that was both representational and firmly situated in historical space.

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出沒(méi)

Gertrude Stein as Exemplary Theorist,nting and literature for more than a century; and it presents an acute case of the dialogic situation inherent in all literature and salient in modernist literature. One must wonder, then, why a generation of moderns would direct such animus toward Stein and, in effect, direct a generation of critic

冰雹

空中

,The Artist’s Model: American Art and the Question of Looking like Gertrude Stein,s, usually on foot, to Picasso’s littered studio in the Bateau Lavoir on the rue Ravignan, and there pose until evening, sitting in an old armchair with one of its arms missing, as Picasso ever so slowly progressed with his work on her likeness; how at first Picasso’s mistress Fernande would read to

DRILL

Gertrude Stein: Composition as Meditation,f 1901–3 told in her first novel, .., and the descriptions of acquaintances entered in her first notebooks record her struggle to comprehend her perceptions as her struggle to write them. Throughout the years, struggle characterised writing. The popular picture of Gertrude Stein working at her ample

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