Gifford suggests that: “ pastoral refers to any literature that describes the country with an implicit or explicit contrast to the urban” (Gifford 2). Applying this pastoral approach to Stein is possible through the lens of Terry Gifford, which enables us to consider the pastoral modes used outside of the traditional pastoral periodic definitions. In her own way, Gertrude becomes the modernist shepherdess of a mechanized pastoral soundscape. In these pieces, Stein pays particular attention to the war sounds as they interweave with more traditional pastoral sounds.
While these themes of war do not usually rhyme with pastoral images, two works from Gertrude Stein’s corpus specifically couch descriptive images of the French countryside within the context of World War II: Paris France (1940), and Wars I Have Seen (1945). Yet, some of Stein’s works are not particularly humorous, notably those where she chooses to relate her life experience during wartime. Her corpus is highly intertextual, and with each progressive reading or re-reading, we can start to laugh at Stein’s inside jokes. Moreover, Stein is one of those authors whose reading rewards are best appreciated in the long term. 1 The terminology is used frequently the “Lost Generation” expression can be traced to the epigraph (.)ġ Those of us who read Gertrude Stein, and enjoy it, have learned that it is best to do so with an open sense of humor.Enfin, on verra que les sons pastoraux présents dans ces textes invitent les lecteurs à participer à une promenade d’un après-midi à la campagne menée par la bergère elle-même. Pour comprendre les sons pastoraux chez Stein, nous analyserons d’abord ses influences pastorales, pour aborder ensuite ses productions pastorales, notamment celles qui impliquent des sons pastoraux, dans Four Saints in Three Acts, The World is Round, Paris France, et Wars I Have Seen. Cette étude démontre que, dans la langue exigeante de Stein, on entend des éléments pastoraux, tels que des sons spécifiques (cloches de vaches, musique de cascades, chant d’oiseaux, ou voix humaine), qui guident le lecteur à travers le paysage sonore évoqué par le récit. À sa façon, Stein devient la bergère moderniste d’un paysage sonore pastoral mécanisé.
L’étude de ces associations révèle une mise en scène continue de la pastorale et la production des sons pastoraux. Thank you for visiting and all inquiries are always welcome.Gertrude Stein représente des paysages campagnards « pastoraux », qu’elle associe à des thèmes de guerre. Your book will be carefully wrapped in bubble wrap.Įvery item we sell is authentic vintage, one-of-a-kind, and anywhere from 20 to 100+ years old! Ready to ship to you within a 24 hour business day. Other Items: Spots and shelf wear on cover/spine.
It has all the elements of a good romance - a superior but natural heroine, a hero who is an agent of progress and enlightenment, a group of supposedly benighted mountaineers to be drawn into the flow of mainstream American culture, a generous dose of social and class struggle, and a setting among the misty coves and cliffs of the blue Cumberlands." From Goodreads. published this great romantic novel of the Cumberland Mountains of Kentucky and Virginia in 1908, and the book quickly became one of America's favorites.
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