Our First Oral Historyаннаalice B. Toklas
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The Radical Ekphrasis of Gertrude Stein's Tender Buttons Georgia Googer University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2018 The Radical Ekphrasis Of Gertrude Stein's Tender Buttons Georgia Googer University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Googer, Georgia, "The Radical Ekphrasis Of Gertrude Stein's Tender Buttons" (2018). Graduate College Dissertations and Theses. 889. https://scholarworks.uvm.edu/graddis/889 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. THE RADICAL EKPHRASIS OF GERTRUDE STEIN’S TENDER BUTTONS A Thesis Presented by Georgia Googer to The Faculty of the Graduate College of The University of Vermont In Partial Fulfilment of the Requirements For the Degree of Master of Arts Specializing in English May, 2018 Defense Date: March 21, 2018 Thesis Examination Committee: Mary Louise Kete, Ph.D., Advisor Melanie S. Gustafson, Ph.D., Chairperson Eric R. Lindstrom, Ph.D. Cynthia J. Forehand, Ph.D., Dean of the Graduate College ABSTRACT This thesis offers a reading of Gertrude Stein’s 1914 prose poetry collection, Tender Buttons, as a radical experiment in ekphrasis. A project that began with an examination of the avant-garde imagism movement in the early twentieth century, this thesis notes how Stein’s work differs from her Imagist contemporaries through an exploration of material spaces and objects as immersive sensory experiences. This thesis draws on late twentieth century attempts to understand and define ekphrastic poetry before turning to Tender Buttons. -
Ida, a [Performative] Novel and the Construction of Id/Entity
Wesleyan University The Honors College Ida, A [Performative] Novel and the Construction of Id/Entity by Katherine Malczewski Class of 2015 A thesis submitted to the faculty of Wesleyan University in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Departmental Honors in Theater Middletown, Connecticut April, 2015 Malczewski 1 Table of Contents Acknowledgments……………………………………………………………………..2 Introduction……………………………………………………………………………3 Stein’s Theoretical Framework………………………………………………………..4 Stein’s Writing Process and Techniques……………………………………………..12 Ida, A Novel: Context and Textual Analysis………………………………...……….17 Stein’s Theater, the Aesthetics of the Performative, and the Actor’s Work in Ida…………………………………………………25 Conclusion…………………………………………………………………………...40 Notes…………………………………………………………………………………41 Appendix: Adaptation of Ida, A Novel……………………………....………………44 Works Cited………………………………………………………………………….56 Malczewski 2 Acknowledgments Many thanks to all the people who have supported me throughout this process: To my director, advisor, and mentor, Cláudia Tatinge Nascimento. You ignited my passion for both the works of Gertrude Stein and “weird” theater during my freshman year by casting me in Doctor Faustus Lights the Lights. Since then, you have offered me with invaluable guidance and insight, teaching me that the process is just as important as the performance. I am eternally grateful for all the time and energy you have dedicated to this project. To the Wesleyan Theater Department, for guiding me throughout my four years at Wesleyan, encouraging me to embrace collaboration, and making the performance of Ida, A Novel possible. Special thanks to Marcela Oteíza and Leslie Weinberg, for your help and advice during the process of Ida. To my English advisors, Courtney Weiss Smith and Rachel Ellis Neyra, for challenging me to think critically and making me a better writer in the process. -
Motivation of the Sign 261 Discussion 287
Picasso and Braque A SYMPOSIUM ORGANIZED BY William Rubin \ MODERATED BY Kirk Varnedoe PROCEEDINGS EDITED BY Lynn Zelevansky THE MUSEUM OF MODERN ART, NEW YORK DISTRIBUTED BY HARRY N. ABRAMS, INC., NEW YORK Contents Richard E. Oldenburg Foreword 7 William Rubin and Preface and Acknowledgments 9 Lynn Zelevansky Theodore Reff The Reaction Against Fauvism: The Case of Braque 17 Discussion 44 David Cottington Cubism, Aestheticism, Modernism 58 Discussion 73 Edward F. Fry Convergence of Traditions: The Cubism of Picasso and Braque 92 Discussion i07 Christine Poggi Braque’s Early Papiers Colles: The Certainties o/Faux Bois 129 Discussion 150 Yve-Alain Bois The Semiology of Cubism 169 Discussion 209 Mark Roskill Braque’s Papiers Colles and the Feminine Side to Cubism 222 Discussion 240 Rosalind Krauss The Motivation of the Sign 261 Discussion 287 Pierre Daix Appe ndix 1 306 The Chronology of Proto-Cubism: New Data on the Opening of the Picasso/Braque Dialogue Pepe Karmel Appe ndix 2 322 Notes on the Dating of Works Participants in the Symposium 351 The Motivation of the Sign ROSALIND RRAUSS Perhaps we should start at the center of the argument, with a reading of a papier colle by Picasso. This object, from the group dated late November-December 1912, comes from that phase of Picasso’s exploration in which the collage vocabulary has been reduced to a minimalist austerity. For in this run Picasso restricts his palette of pasted mate rial almost exclusively to newsprint. Indeed, in the papier colle in question, Violin (fig. 1), two newsprint fragments, one of them bearing h dispatch from the Balkans datelined TCHATALDJA, are imported into the graphic atmosphere of charcoal and drawing paper as the sole elements added to its surface. -
Stein Portraits
74,'^ The Museum of Modern Art NO. 133 (D) U West 53 Street, New York, N.Y. 10019 Tel. 956-6100 Cable: Modemart PORTRAITS OF THE STEIN FAMILY The following portraits of the Steins are included in the show FOUR AMERICANS IN PARIS: THE COLLECTIONS OF GERTRUDE STEIN AND HER FAMILY. Christian Berard. "Gertrude Stein," 1928. Ink on paper (13% x 10%"). Eugene Berman. "Portrait of Alice B. Toklas," ca. I95O. India ink on paper (22 x 17"). Jo Davidson. "Gertrude Stein," ca. I923. Bronze (7 ^/k" high). "Jo Davidson too sculptured Gertrude Stein at this time. There, all was peaceful, Jo was witty and amusing and he pleased Gertrude Stein." —Gertrude Stein, Autobiography of Alice B. Toklas Jacques Lipchitz. "Gertrude Stein," I920. Bronze (I3 3/8"). "He had just finished a bust of Jean Cocteau and he wanted to do her. She never minds posing, she likes the calm of it and although she does not like sculpture and told Lipchitz so, she began to pose. I remember it was a very hot spring and Lipchitz*s studio was appallingly hot and they spent hours there. "Lipchitz is an excellent gossip and Gertrude Stein adores the beginning and middle and end of a story and Lipchitz was able to supply several missing parts of several stories. "And then they talked about art and Gertrude Stein rather liked her portrait and they were very good friends and the sittings were over." --Gertrude Stein, Autobiography of Alice B. Toklas Louis Marcoussis. "Gertrude Stein," ca. I953. Engraving (ik x 11"). Henri Matisse. -
Writing Celebrity: Modernism, Authorial Personas, and Self-Promotion in the Early Twentieth Century United States
Writing Celebrity: Modernism, Authorial Personas, and Self-Promotion in the Early Twentieth Century United States Timothy W. Galow A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2008 Approved by: Linda Wagner-Martin (Director) Erin Carlston (Chair) María DeGuzmán John McGowan Janice Radway ABSTRACT Timothy W. Galow: Writing Celebrity: Modernism, Authorial Personas, and Self- Promotion in the Early Twentieth Century United States (Under the direction of Linda Wagner-Martin, Erin Carlston, John McGowan, Maria Deguzmán, and Janice Radway) “Writing Celebrity” argues that the rise of a national celebrity culture at the turn of the twentieth century transformed cultural production in the United States. While most literary studies of this period focus on the relationship between elite authors and the mass market, I assert that the influence of personality marketing transcended traditional aesthetic categories and reshaped the profession of authorship for both “highbrow” and “lowbrow” writers. Against this backdrop, my work traces the impact that an emergent celebrity culture had on the careers of Gertrude Stein and F. Scott Fitzgerald. Drawing on archival documents, literary texts, and various extant publicity materials, I examine how both of these authors attempted to market distinctive personas and the various ways in which readers and critics responded to their public identities. Gertrude Stein, immediately following the runaway success of The Autobiography of Alice B. Toklas , theorized an authorial identity that exists only in the very instant of creation and instills texts with permanent value. -
Autobiography of Alice B. Toklas
Autobiography of Alice B. Toklas Autobiography of Alice B. Toklas GERTRUDE STEIN RYERSON UNIVERSITY TORONTO This work (Autobiography of Alice B. Toklas by Gertrude Stein) is free of known copyright restrictions. To the best of our knowledge, the text of this work is in the Public Domain in Canada. Since copyright law varies in other countries, and the work may still be under copyright in the country from which you are accessing this website, it is your responsibility to check the applicable copyright laws in your country before downloading this work. This book is not in the public domain in the United States. This book was produced with Pressbooks (https://pressbooks.com) and rendered with Prince. Foreword SALLY WILSON The Autobiography of Alice B Toklas, by Gertrude Stein First published in 1933. This web edition published by Ryerson Pressbooks, last updated June 27, 2019. To the best of our knowledge, the text of this work is in the Public Domain in Canada. Since copyright law varies in other countries, and the work may still be under copyright in the country from which you are accessing this website, it is your responsibility to check the applicable copyright laws in your country before downloading this work. This book is not in the public domain in the United States. Foreword | v Table of Contents 1. Before I came to Paris 2. My arrival in Paris 3. Gertrude Stein in Paris 1903–1907 4. Gertrude Stein before she came to Paris 5. 1907–1914 6. The War 7. After the War 1919–1932 vi | Table of Contents Chapter 1 - Before I came to Paris I was born in San Francisco, California. -
Everybody's Story: Gertrude Stein's Career As a Nexus
EVERYBODY’S STORY: GERTRUDE STEIN’S CAREER AS A NEXUS CONNECTING WRITERS AND PAINTERS IN BOHEMIAN PARIS By Elizabeth Frances Milam A thesis submitted to the faculty of the University of Mississippi in partial fulfillment of the requirements of the Sally Barksdale Honors College Oxford, May 2017 Approved by: _______________________________________ Advisor: Professor Elizabeth Spencer _______________________________________ Reader: Professor Matt Bondurant ______________________________________ Reader: Professor John Samonds i ©2017 Elizabeth Frances Milam ALL RIGHTS RESERVED ii ABSTRACT ELIZABETH FRANCES MILAM: EVERYBODY’S STORY: GERTRUDE STEIN’S CAREER AS A NEXUS CONNECTING WRITERS AND PAINTERS IN BOHEMIAN PARIS Advisor: Elizabeth Spencer My thesis seeks to question how the combination of Gertrude Stein, Paris, and the time period before, during, and after The Great War conflated to create the Lost Generation and affected the work of Sherwood Anderson and Ernest Hemingway. Five different sections focus on: the background of Stein and how her understanding of expression came into existence, Paris and the unique environment it provided for experimentation at the beginning of the twentieth century (and how that compared to the environment found in America), Modernism existing in Paris prior to World War One, the mass culture of militarization in World War One and the effect on the subjective perspective, and post-war Paris, Stein, and the Lost Generation. iii TABLE OF CONTENTS INTRODUCTION………………………………………………………………v-vi CHAPTER ONE: STEIN’S FORMATIVE YEARS…………………………..vii-xiv CHAPTER TWO: EARLY TWENTIETH CENTURY PARIS……..………...xv-xxvi CHAPTER THREE: PREWAR MODERNISM.........………………………...xxvii-xl CHAPTER FOUR: WORLD WAR ONE…….......…………..…………..……...xl-liii CHAPTER FIVE: POST WAR PARIS, STEIN, AND MODERNISM ……liii-lxxiv CONCLUSION…………………………………………………………....lxxv-lxxvii BIBLIOGRAPHY……………………………………………………….lxxviii-lxxxiii iv INTRODUCTION: The destruction caused by The Great War left behind a gaping chasm between the pre-war worldview and the dark reality left after the war. -
Settling Mud, Running Streams, and “The Whole Thing About Men and Women”: Subverting Classical Discourse and the Role of Character in Gertrude Stein’S “Melanctha”
University of Kentucky UKnowledge Theses and Dissertations--English English 2014 SETTLING MUD, RUNNING STREAMS, AND “THE WHOLE THING ABOUT MEN AND WOMEN”: SUBVERTING CLASSICAL DISCOURSE AND THE ROLE OF CHARACTER IN GERTRUDE STEIN’S “MELANCTHA” Elizabeth D. S. Wise University of Kentucky, [email protected] Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Wise, Elizabeth D. S., "SETTLING MUD, RUNNING STREAMS, AND “THE WHOLE THING ABOUT MEN AND WOMEN”: SUBVERTING CLASSICAL DISCOURSE AND THE ROLE OF CHARACTER IN GERTRUDE STEIN’S “MELANCTHA”" (2014). Theses and Dissertations--English. 10. https://uknowledge.uky.edu/english_etds/10 This Master's Thesis is brought to you for free and open access by the English at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--English by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. -
The Alice B. Toklas Cookbook Free
FREE THE ALICE B. TOKLAS COOKBOOK PDF Alice B. Toklas,Sir Francis Rose | 304 pages | 01 Jul 2004 | SERIF | 9781897959190 | English | London, United Kingdom The Alice B. Toklas Cookbook, Illustrated – Brain Pickings Goodreads helps you keep track of books you want to read. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh and try again. Open Preview See a Problem? Toklas Cookbook by Alice B. Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — The Alice B. The Alice B. Toklas. Fisher Foreword. Toklas's rich mixture of menus and memories of meals shared with such famous friends as Wilder, Picasso, and Hemingway, The Alice B. Toklas Cookbook published in Get A Copy. Paperbackpages. Published June 1st by Lyons Press first published January 1st The Alice B. Toklas Cookbook Details Original Title. Gertrude SteinErnest Hemingway. Other Editions Friend Reviews. The Alice B. Toklas Cookbook see what your friends thought of this book, please sign up. To ask other readers questions about The Alice B. Toklas Cookbookplease sign up. See 1 question about The Alice B. Toklas Cookbook…. Lists with This Book. Community Reviews. Showing Average rating 3. Rating details. More filters. Sort order. Start your review of The Alice B. Toklas Cookbook. Sep 06, Paul rated it liked it Shelves: The Alice B. Toklas Cookbook. Food was clearly very important in their lives and it is written with great The Alice B. Toklas Cookbook. Contributory to that may be that Toklas had jaundice when she wrote it The Alice B. -
A Catalogue of the Collection of American Paintings in the Corcoran Gallery of Art
This page intentionally left blank This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 This page intentionally left blank A Catalogue of the Collection of American Paintings in The Corcoran Gallery of Art Volume 2 Painters born from 1850 to 1910 by Dorothy W. Phillips Curator of Collections The Corcoran Gallery of Art, Washington D.G. 1973 Library of Congress Catalogue Card Number N 850. A 617 Designed by Graham Johnson/Lund Humphries Printed in Great Britain by Lund Humphries Contents Foreword by Roy Slade, Director vi Introduction by Hermann Warner Williams, Jr., Director Emeritus vii Acknowledgments ix Notes on the Catalogue x Catalogue i Index of titles and artists 199 This page intentionally left blank Foreword As Director of the Corcoran Gallery of Art, I am pleased that Volume II of the Catalogue of the American Paintings in the Corcoran Gallery of Art, which has been in preparation for some five years, has come to fruition in my tenure. The second volume deals with the paintings of artists born between 1850 and 1910. The documented catalogue of the Corcoran's American paintings carries forward the project, initiated by former Director Hermann Warner Williams, Jr., of providing a series of defini• tive publications of the Gallery's considerable collection of American art. The Gallery intends to continue with other volumes devoted to contemporary American painting, sculpture, drawings, watercolors and prints. In recent years the growing interest in and concern for American paint• ing has become apparent. -
The Museum of Modern Art NO. 133
-vt* The Museum of Modern Art NO. 133 11 am - 4 pm STEIN COLLECTIONS ON VIEW AT THE MUSEUM OF MODERN ART FOUR AMERICANS IN PARIS: THE COLLECTIONS OF CERTEUDE STEIN AND KER FAMILY will be on view at The Museum of Modern Art from December 19 through March 1. Sponsored by Alcoa Foun dation, the exhibition of more than 200 vrorks represents the first attempt to reassemble the paintings, sculptures, drawings and prints acquired by this extraordinary family, x^jho were early, ardent patrons of Matisse and Picasso in the first decades of this century. From about 1905 on, an international assemblage of artists, writers, musicians and intellectuals gathered regularly in their Paris apartments to look, listen, talk and be introduced to the revolutionary art of our time. Directed by Margaret Potter, Associate Curator, Department of Painting and Sculpture, the show includes many paintings long recognized as masterpieces of the 20th century, other important works that are virtually unknown, and portraits, sketches and documentary photo graphs. Together, these evoke a highly significant moment in the history of art and illu minate the personalities of the four members of this noted family: Gertrude, her brothers Leo and Michael, and the latter's wife, Sarah. Nucleus of the exhibition is formed by the 47 works — 38 by Picasso and 9 by Gris — acquired by five American collectors from the Estate of Gertrude Stein in 1968. It was decided to reassemble around these as many as possible of the works once owned by Gertrude, Leo, Michael and Sarah Stein. Because their collections had been gradually dispersed over many years, the loans have been gathered from some 90 institutions and individuals ranging geographically from the USSR to Australia, and from Norway to Mexico. -
Books at the Borders of Picasso's Les Demoiselles D'avignon
Books at the Borders of Picasso’s Les Demoiselles d’Avignon Karen L. Schiff Abstract This paper proposes that Picasso’s landmark 1907 painting, Les Demoiselles d’Avignon, is full of images of books and pages, especially at the borders of the canvas. The curving shapes which are traditionally seen as “curtains” can alternatively be interpreted as the white pages and brown paper wrappers of open books, rotated 90 degrees. This “visual marginalia” supports the interpretation of Picasso’s famous brothel scene as a semiotic construction, befitting the painting’s early title (devised by Picasso’s writer friends), “The Philosophical Brothel”. The painting also contains iconographic representations of textuality. A slightly open book can be perceived in the middle of the painting, and along the bottom border, an open envelope and writing paper can be seen laid atop the tipped-up table, under the fruit. I claim that Picasso’s images of texts derive from his acquaintance with the text-driven, monumental novel, Don Quixote. I give special attention to the narrative Author’s Preface to the Spanish literary classic, in which the author describes assembling quotations from diverse sources to compose the first and last pages of his book. Picasso visually represents this allusion by depicting pages at the left and right “ends” of his canvas. Other texts and images are considered as sources for the bibliographic imagery, which generally reframes this canvas as a fictive tissue of quotations, akin to the overabundance of texts that Don Quixote is reading in Cervantes’s novel. Picasso’s painted image of a blank leaf of writing paper and its envelope, finally, encourages viewers to see the painting as a letter of communication, for which we ourselves must provide the writing that would represent our interpretations.