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Caroline Bergvall’s practice addresses what I call the iterative turn in contemporary culture. This turn encompasses poets’ use of pre-existing material and theorists’ treatment of gender, culture, and text as constituted by repeated acts. Bergvall extends Stein’s iterative writing into other forms of iteration, including performance; translation; presentations in multiple media or versions; archival, serial and conceptual forms; and the rewriting of historical texts. By placing bodily gesture at the intersection of multiple linguistic and technological mediations, Bergvall offers an alternative to existing iterative theories––one that recognizes not just the infinite possibilities of iteration but also each singularly embodied instantiation. KEYWORDS • multimedia • British, French, Norwegian poetry • performance • poetics • repetition • translation • embodiment • contemporary art A sample section from the article is available for download here.
Gertrude Stein is considered one of the most radical literary experimentalists of twentieth-century literature. Here we focus on how repetition and time in Stein’s work are intersemiotically translated in two contemporary dance pieces, Always Now Slowly (2010, by Lars Dahl Pedersen) and ,e [dez episóodios sobre a prosa topovisual de gertrude stein] (2008, by Jo˜ao Queiroz, Daniella Aguiar, and Rita Aquino).
Elena Johnson
Gertrude Stein, movement and media2013 •
The aim of this dissertation is to investigate the ways in which the rise of new forms of technological and artistic expression like photography and cinema influenced Gertrude Stein’s philosophy and work, allowing her to solve the dilemma of how to write the relation between movement, the essence of the world, and the viewer’s perception of it, without resorting to mimesis. Central to that apparatus and to Stein’s work are two ideas developed in Stein’s essays: firstly the notion of the repetition of an image, of an action, of a sound; and secondly the illusion that what the spectator/reader, is enjoying is really taking place hic et nunc, somewhere in a sort of fourth dimension free of temporal boundaries. The dissertation argues that the modern media are the fundamental means through which Stein’s methodology develops. Through an analysis of three central generically-specific examples (Tender Buttons; the portraits; and the plays), the dissertation attempts to show how relevant chronophotography and cinema rather than Cubism were to her understanding of movement. I suggest that not only had new media affected Stein, the reverse was also true: by challenging traditional cognitive and narrative methods and by making use of the latest technological inventions available in order to identify, capture and portray the essence of existence, Stein stretched and surpassed the artistic languages available to her to such an extent that some of her later plays had to wait until new technologies were invented, in order to be realized. I conclude by suggesting that it was not until the advent of digital puppetry and the internet with its a-spacial, atemporal and self-referential status that Stein’s continuous present could finally find an expression.
Collaborating with Gertrude Stein: Media ecologies, reception, poetics
Collaborating with Gertrude Stein: Media ecologies, reception, poetics2018 •
Collaborating with Gertrude Stein Media ecologies, reception, poetics Solveig Daugaard Academic dissertation Academic dissertation for the Degree of Doctor of Philosophy in Language and Culture at Faculty of Arts and Sciences to be publicly defended on Friday 25 May 2018 at 13.15 in Key 1, Campus Valla by Solveig Daugaard. Abstract The reception of the American avant-garde poet, playwright, art collector and salon hostess Gertrude Stein (1874-1946) has to a wide extent taken place in an aesthetic context prior to her work’s academic and hermeneutic canonization. This thesis is in part a mapping of this transmedia reception as it is played out in a North American context in the period from her death and until today, and in part an account of Stein’s particular collaborative poetics, through which her work invites such a reception. Furthermore, the thesis maintains that we in a contemporary context are experiencing a still increasing receptivity towards Stein’s oeuvre, that seems more relevant today than ever before. These circumstances, the thesis illuminates and discusses via a media theoretical framework, where Stein’s own work, as well as its aesthetic reception is considered embedded in a complex media ecology. Media ecology is here conceived as a decentralized, networked approach to aesthetic phenomena, which is able to contain many types of agents and materialities. The media ecology of an artwork is thus potentially made up by the entire network of processes, agents and materials that are relevant to its production, distribution and consumption and influences the subject positions available to the individual agents. Through Stein’s aesthetic reception it is possible to catch sight of important components that are active in the media ecology but often neglected or considered subordinated to text-internal features. These include the material interface of the medium in question, the aestheticized persona of the artist and infrastructures such as the salon, which affect how and to whom the work and its meaning is distributed. The thesis also traces a number of parallels between the media situation of Stein in the beginning of the 20th century and the digital media situation at the verge of the 21st that suggest both explanations for and implications of her increasing contemporary relevance. Keywords: American poetry, Gertrude Stein, media ecology, reception, poetics, collaborative poetics, media poetics, ambient poetics Department of Culture and Communication Linköping University, SE-581 83 Linköping, Sweden ISBN 978-91-7685-309-2 ISSN 0282-9800 ISSN 1403-2570
In this paper I put Gertrude Stein into conversation with Maurice Merleau-Ponty to make manifest a dialogue that is productive on both ends. Merleau-Ponty provides a lens through which to view Stein’s non-representational commitment to writing poetry, while Stein serves as an example of the type of expression Merleau-Ponty advocates: expression that throws sedimented meanings off-center in order to say something new with familiar words. Her writing is also paradigmatic for witnessing how expression is embodied; for Merleau-Ponty language maps onto gesture as sign of the embodied subject’s living engagement with the world. Stein evokes this relationship by presenting us with a series of encounters in her book, Tender Buttons, demonstrating that any encounter is a trifold relation between the body (or the embodied subject), the world (exhibited in and through objects, food, and rooms), and language. Stein's work also exemplifies the way in which Merleau-Ponty views the expression of silence. In this paper I argue that the impasse confronted when trying to make meaning of Stein’s poetry requires us to forgo familiar patterns of signing and signification in our approach to language, and instead enter into a mode of indirect expression in which the body is made to occupy the spaces of encountering the excess of signification as the voices of silence.
2013 •
Journal of American Studies
Sarah Posman and Laura Luise Schultz (eds.), Gertrude Stein in Europe: Reconfigurations across Media, Disciplines, and Traditions (London: Bloomsbury Academic, 2015, £80.00). Pp. 312. isbn 978 1 4742 4228 82018 •
2011 •
The dominant pattern in the Western hermeneutics has been to view autobiography as an occasion for the celebration of the individual. This article tackles the dialectics between identity and entity, between self and other, and between genius and “everybody” in two of Gertrude Stein’s autobiographies: The Autobiography of Alice B. Toklas and Everybody’s Autobiography. Drawing on associations between autobiography and photography, I highlight the performativity of Stein’s autobiographical self, suggest posing as a metaphor for the autobiographical act, and discuss Gertrude Stein’s move from the question of identity to the question of genius as entity
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