Por uma Historiografia do Modernismo: O Caso da Competitividade nas Literaturas Anglófonas
The present text brings and comments on a series of dichotomies and conflicts that ravaged the English language... more
The present text brings and comments on a series of dichotomies and conflicts that ravaged the English language modernists. The context of creation of their works is introduced
and external conflicts are highlighted, such as the world wars and their social, cultural and artistic implications, so as to reach the internal conflicts, those motivated by the anxiety and the disorientation that stemmed from that turbulent era and that generated a number of injurious observations among writers, i.e., the invectives which are the focus of this investigation. Based on oral and printed documents, this sagacious, oftentimes unhealthy, competition explored by Anglophone Modernists the likes of Virginia Woolf, Gertrude Stein, Ezra Pound, James Joyce, T. S. Eliot and William Carlos Williams, among others, is presented through the search of a balance between historical-scientific rigor and good humor.
Gertrude Stein, Pablo Picasso, and the love of error
by Karin Cope
This was my PhD thesis--will see if I can find any links to it or portions of it. This study was thoroughly revised--indeed, rethought entirely in my book, Passionate Collaborations: Learning to Live with Gertrude Stein (ELS 2005).
As Gertrude Stein completed The Making of Americans: Being a History of a Family's Progress, she sought to dispense... more As Gertrude Stein completed The Making of Americans: Being a History of a Family's Progress, she sought to dispense with dependency, whether of one clause on another, form upon theme, or cultural reproduction upon heterosexual models. In A Long Gay Book, she began to write in the style which would articulate the remainder of her work, establishing a perverse, or, in her parlance, 'gay' relationship in and to the terms of her paternal predecessors. Trading 'description' (illustrative or narrative modes) for 'composition,' Stein and Picasso produced a new model of relationship, based on perverse or 'gay' modes of cultural reproduction. Without imitating or becoming dependent upon one another, they took each other as models in a variety of ways. Enabled 'together and apart,' each created in his or her medium, queer, provocative, and highly influential modes of thought.

