Worlding: Gertrude Stein and Alice B. Toklas

Keyword(s):  
Author(s):  
Robert Carlton Brown

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.


Author(s):  
Joshua S. Walden

The first chapter examines musical portraits of literary figures. It first explores Virgil Thomson’s multiple works in the genre including his portrait of Gertrude Stein, to interpret the influence of Stein’s modernist literary portraits on Thomson’s compositions. It then turns to Pierre Boulez’s orchestral portrait Pli selon pli: portrait de Mallarmé. Analyzing Boulez’s incorporation of elements of Stéphane Mallarmé’s poetry as well as the complex and idiosyncratic theories regarding the relationship between poetry and music that Mallarmé developed in his essays. Through the discussion of these portraits, the chapter addresses the crucial role of language in the musical representation of identity.


Author(s):  
Cleo Hanaway-Oakley

This concluding chapter briefly turns to Joyce’s final work, Finnegans Wake (1939). Joyce’s cacophonous ‘book of the dark’, with its many references to cinema, forms the centre of a discussion of the emergence of sound film. The importance of touch in both silent and sound film is restated through reference to the film criticism of Bryher, Dorothy Richardson, and Gertrude Stein, and Chaplin’s City Lights (1931), a late silent film focusing on Chaplin’s relationship with a blind flower-seller. The complex interrelationship between sound and image in both film and Finnegans Wake is contemplated through gestalt theory and multi-perspectival ‘figure–ground images’. The chapter concludes by returning to Ulysses, to consider the never-produced Reisman–Zukofsky screenplay and the ways in which the film would, and would not, have affirmed a phenomenological reading of Joyce’s text.


2006 ◽  
Vol 50 (1) ◽  
pp. 87-99
Author(s):  
John Bell

Donald Vestal's 1930s puppet theatre production of a Gertrude Stein play, Identity, or I Am I Because My Little Dog Knows Me, marked a confluence of Midwest modernism, the resources of the Federal Theatre Project, the development of American puppet theatre as a modernist art form, and the coincidental presence of Stein, Vestal, Thornton Wilder, Bil Baird, and other artists of 1930s Chicago.


1986 ◽  
Vol 13 (1-2) ◽  
pp. 33-47
Author(s):  
Linda Mizejewski
Keyword(s):  

1981 ◽  
Vol 53 (1) ◽  
pp. 114
Author(s):  
Scott Donaldson
Keyword(s):  

1998 ◽  
Vol 17 (1) ◽  
pp. 156
Author(s):  
Olivia Frey ◽  
Charles Caramello ◽  
Linda Wagner-Martin
Keyword(s):  

Sign in / Sign up

Export Citation Format

Share Document