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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Person as part of the field, figure in a landscape. They may be characters in one of his paintings or characters discussing one o f his amd, or any of a number of other possibilities.

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

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. Barnes Colhard is the brother of Ada, alt hough her name is not lortraits in this section.

Stein chooses the portrait because portrait production is an activity not of anv, but of perception. The key concern behind this interest is that of “repetition. It appears your browser does not have it turned on. Forged from a partnership between a university press and a library, Project MUSE is a trusted part of the academic and scholarly community it serves. Stein would return the favor in by producing the portrait-poem “Picasso. Stones on a windowsill.

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At seventeen she had not yet made the connection between this idea and 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: She is successful despite her circumstances, because she exi sts as entity rather than identity.

How these characters relate to Cezanne is unclear. Stein is always concerned with subjects that are interesting or exciting, and this portrait reveals Ada to be such a subject, much more so than her brother. The product of German-Jewish immigrants, Stein spends her early years in Europe before her family settles in Oakland, California. She provides a middle ground that reveals her to be particularly useful to literary feminism and issues relating to the body. Dressing is like icing. In The Geographical History of America or the Relation of Human Nature to the Human Mind she identifies writing as “romance”—the play between the reader’s ability to read to apply habits of communicative systems and the reader’s inability to read to think without a dependency on referential memory in the passing moment.


Throughout the portrait Stein uses the phrase, “In this way,” by which she takes the entirety of the images previously given and rolls them through a new set of imagery.

On ‘Portraits & Repetition’

The literary culture of the late nineteenth century was a culture in crisis. The chapter opens with, “Act so that there is no use in a center. Through this concentration the writer is able to discern the interior qualities of a subject and give language to those qualities, not to descr ibe them, but to produce them. The first section is not numbered, the second and third sections are both numbered “ONE. Bees in a garden make a specialty of honey and so does honey.

Later, she li ves briefly in Baltimore before enrolling in Harvard Annex re-named Radcliffe before Stein leaves. The nature of her works shifts as her curiosities change. Compare this t o “Ada”, which has very definite characters, “One Carl Van Vechten” has only a continuous stream of objects: This is because the overall effect of this almost obsessively precise poem is one of indeterminacy. The issue of looking began suddenly to disappear.

By a continuously moving picture of any one the re is no memory of any other thing and there is that thing existing, it is in a way if you like one portrait of anything not a number of them. Stein has an incredible relationship with painting and is a significant patron of modern art. In “Portraits and Repetition”, published in Lectures in America inStein elucidates on her fascination with portraits. The poem may be divided into two parts: A person witnesses this, but is no longer here: But not explained, perhaps.

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Stein is always pursuing the necessary characteristics for production of works of genius. 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. 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.

Unlike “Objects” and “Food”, which have numerous sub-headings, “Rooms” consists of only one section, which seems to suggest that the section paints a single portrait. 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.

In seeking to add looking to the productive activity of listening and talking, Stein understands cinematic film to be her model. The more real it becomes.

These aunts evidently had many stories to tell, and since there were “ten and eleven” of them, the stories were repeated frequently. You do it, you repeat, whether you feel in the mood or not. Leaves on trees moving in the wind or leaves leaving? But the portrauts of that moment endure through time so that Ada seems always to be twice as old as her brother.

Something happens when you repeat. It was definitely a “book” that was there; the book definitely “was” there, and the book was definitely ” there”.

In the production of a masterpiece, the artist must write as an entity apart from any sense of relationship to the external world. The crime is merely the identification of a particular person with a particular misfortune, but in the detection, the human mind emerges above human nature, and it is the human mind, as it detects, that accomplishes that which is intere sting. She produced “Cezanne” in Such works require no intervention of genius.

It is not his relationship with the external world that is interesting, but his entity inside himself.