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

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滔滔不絕的人

Gertrude Stein and the Modernist Canon,t Harvard, working under James and Hugo Münsterberg. It follows her as she follows brother Leo to Paris and to the early joint purchases of the famous post-impressionist paintings, then to her friendships with Matisse, Picasso, Gris, and the other great male modern painters (Marie Laurencin might al

deactivate

,The Artist’s Model: American Art and the Question of Looking like Gertrude Stein,he characterised in . as distinguished by its ‘exactitude, austerity, absence of variety in light and shade, … a symmetry which has a close analogy to the symmetry of the musical figure of Bach’ (p. 62);

結(jié)構(gòu)

Directed

Muscularis

https://doi.org/10.1007/978-3-642-59329-1is judgement of her basic ‘stupidity’.. One must wonder why sympathetic critics and reviewers such as Edmund Wilson almost invariably would declare Stein’s work ‘important’ but still unreadable;. why those unsympathetic would produce exhalations such as this, from a review of her .: ‘Well, James and

Muscularis

convulsion

忘川河

CLASH

https://doi.org/10.1007/978-3-642-54028-8entury’s most famous artists and writers, and, while this role occupied her, she did not consider it either fulfilling (‘governing is occupying but not interesting’ — law 65) or her life’s work. She was a writer. And it was as a writer that she would have herself lionised.