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 West was very surprised that an artist, and a female at that, could be so bold as to manipulate la nguage in such a phenomenal manner. The section begins by relating the connection between Barnes and Ada. In the steon, language functions as entity, rather than identity. One cannot escape societal norms; however, “strict obedience” to those norms is impossible because, as human beings with individual particularities who are affected by environmental stimuli, we steon necessarily repeat with a difference Although Stein uses the metaphor of the detective story, she does not ask her readers to practice detection, but perception, to experience the images and language and understand that they provid e a substantial portrait of the subject.

Rather, they are related through the inner experiences of Repeetition Colhard. Words, language, abstraction, relationship between objects in a visual field, the negative space between them.

It is not his relationship with the external world that porhraits interesting, but his entity inside himself. She discovers someone with whom she may share her stories, and only then is she successful at living.

Be the first one to write a review. The book occupies a certain physical space; it has “there”ness. Both writers use the term “concentration” to describe the production of the literary work. The writing as practice — as personal sense of meaning, as salvation — is the thing. Uploaded on February 5, The literary culture of the late nineteenth pirtraits was a culture in crisis.


The subject is rendered not as eepetition is seen or as it appears, but as it is perceived and felt. The ambiguity of the poem is best illustrated by the constant use of the interrogative “Why. It is a cake of vegetables.

What is a Portrait and Why Gertrude Stein Produced so Many of Them

In a real life crime, the general public is concerned about the crime itself, not about the detection. George Steiner refers gerrrude the years as the period of the “crisis of the meaning of meaning. Stein sails to Europe in and remains there for m ost of her lifetime, returning to America for visits and lectures only.

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 as to what that thing is, and then at the same time at the moment of looking, or just after — or as the moment of looking you are writing this, what happens, what do you see?

Each number offers peculiar renditions of the subject, Carl Repetjtion Vechten, who was a writer, a friend to Stein, and the editor of a collection of her works. It is so quiet in here you can hear the petal falling when you turn toward it, repetirion is the falling of the petal contingent on your turning toward it, it falls when and because you turn toward it, your movement having jarred the table so that the petal falls, portraots a sound, but can you hear the sound?

In writing a portrait, she does not produce a work that potrraits describes or resembles the subject, or one that identifies the subject through relationships.

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

It is not in relationship to other breakfasts. The first section is not numbered, the second and repetirion sections are both numbered “ONE. The word “sweet” is issued ten times in th e first five lines.

The words of the couplets appear in their published form in Courier font which looks like typewriter fontmaking the words appear oddly old-fashioned or anyway informal and handcrafted in a removed sort of way. The nature of her works shifts as her curiosities change. Stein produces Tender Buttons in using language increasingly as an anti-representational entity.


Strangely, however, the poem does inclu de some description, some activity that resembles the outside world.

So anf true repetition has occurred, only emphasis and insistence, which are necessary to adequately convey all important details. At seventeen she had not yet made the connection between this idea gertruee 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: While listing these conditions, “a steady cake”, “an ordinary color”, “an excuse”, Stein moves increasingly towards abstraction.

When I said settled I meant settled to stay. But in the detective story, it is the detection that has entity.

But the qualities of that moment endure through time so that Ada seems always to be twice as old as her brother. Stein would return the favor in by producing the portrait-poem “Picasso.

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

Eliot at several points. Within each of the couplets there always appears a word in parenthesis. Which person writes what? Once a word is written it is different from the moment before it is written: Advanced embedding details, examples, and help! It was gepetition a “book” that was there; the book definitely “was” there, and the book was definitely ” there”.

He ane identified as happy, and after his death, his children remember him. Then she adds that he was settled to stay Saturday.