"Rose is a Rose": Gertrude Stein and the Critique of Indeterminacy
2002; Johns Hopkins University Press; Volume: 9; Issue: 4 Linguagem: Inglês
10.1353/mod.2002.0063
ISSN1080-6601
Autores Tópico(s)Philosophy and Theoretical Science
ResumoThe foremost example of a contemporary American avant-garde poetry—at least as far as American academics seem to be concerned—is the body of writing that, since the brief run of the journal L=A=N=G=U=A=G=E in the late 1970s and early 1980s, has come to be identified with that name. Aside from its prominence as an object of academic attention—or perhaps in part because of it—L=A=N=G=U=A=G=E writing has been particularly marked by its practitioners' efforts to construct a genealogy for their aesthetic principles. This effort has meant dislodging from their comparatively marginalized positions in literary history a number of key modernist figures—Louis Zukofsky, Laura (Riding) Jackson, George Oppen, and Mina Loy, to name a few—and redefining those figures as postmodernists avant la lettre. The figure who looms largest by far in this reordering of the pantheon is Gertrude Stein. And the particular spirit of innovation she has come to represent in this postmodernist poetic tradition is likewise attributable in part to the cross-pollination among poets and academics associated with L=A=N=G=U=A=G=E writing: a commitment to linguistic indeterminacy as an aesthetic value and principle of composition. 1
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