Selected Writings of Gertrude Stein by Gertrude Stein

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By Gertrude Stein

This assortment, a retrospective show of the paintings of a lady who created a distinct position for herself on the planet of letters, encompasses a pattern of virtually each interval and each demeanour in Gertrude Stein's profession. It contains The Autobiography of Alice B. Toklas in its entirety; chosen passages from The Making of usa citizens; "Melanctha" from 3 Lives; snap shots of the painters Cezanne, Matisse, and Picasso; gentle Buttons; the opera 4 Saints in 3 Acts; and poem, performs, lectures, articles, sketches, and a beneficiant component to her well-known e-book at the profession of France, Wars i've got noticeable.

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In 1975 New Theatre Magazine (published from Bristol University) was merged with Theatre Research IRedo erches thedtrales to become Theatre Research International, edited from Glasgow University and published by Oxford Journals. Not to be outdone in this respect, Cambridge University Press, in 1984, launched New Theatre Quarterly, now known as NTQ. A striking difference between European and North American practice, implicit in the titles of the journals, is the much sharper distinction that has traditionally been observed in all European countries between dramatic literature and theatre history.

Nor are Eastern-bloc countries lacking in graphic illustrations of these performances. One such picture - beautiful in its own right - appears as Plate 4 in Volume in of my Early English Stages (726), a version of the Visitatio Sepulchri now in the Art Gallery at Cracow; another, this time from the ancient Hungarian capital city of Estergom, depicts Christ's burial and Resurrection, carved and painted on a huge three-dimensional pageant wagon, or 'tabernacle' dated c. o]). Is it unique? I do not need to labour this point any further since there are other contributors to this volume who will both make it more forcefully and supply correctives to this perspective.

In other words, the effort and skills needed to recover the visual iconography and the musical factors which originally accompanied both the devising and execution of these plays have led scholars to devote far more time and energy in recent years to the dramatic and theatrical, rather than strictly literary, qualities of these plays. The truth of this proposition becomes apparent on even the most cursory perusal of recently published bibliographies. Richard Southern's The Medieval Theatre in the Round (1957 [^2]), T.

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