An unconventional narrative approach in Gertrude Stein's Avant Garde works Three Lives ,Tender Buttons and The Making of Americans | ||
| Al-Adab Journal | ||
| Article 1, Volume 0, Issue 116, August 2018, Pages 1-26 | ||
| Author | ||
| Juan Abdulla Ibrahim Al-Banna | ||
| Abstract | ||
| Gertrude Stein (1874-1946) is an influential writer of the twentieth century whose studies were mostly biographical concentrating on her relations with important modernist, avant- garde artists and writers. Stein's experimental works Three Lives (1909), Tender Buttons (1914), and The making of Americans (1925) have established her reputation as an Avant-garde stylist whose works were characterized by being revolutionary for she invented a literary language far from conventional , patriarchal mode. Instead, she follows a different stylistic mode, which was complex and open-ended syntactical and semantic Polysemy. The theories of prose composition that Stein delivered in Oxford carry much of her literary practice. Through this theory, she clarifies that each part in her work is as important as other parts with no specific difference. Gertrude Stein's works are characterized by having a simple, strange , informality in writing . She was a literary theorist and practitioner as well who depended on philosophical ideas linking them with Arts and the realistic, contemporary experimental form . Her style suggests a defense for women who reject passivity, depending on the psychological approach and the process of consciousness, Stein adopts a unique formation of character type by following an unconventional style and a challenging , complex thought. Incidents and developments are not crucial in Stein's work but the way the character is made or formed is important. Following an unconventional, experimental language becomes a means to identify the conscious psychological aspect of the characters in her prose works. It also reveals her own desire to penetrate her identity through certain biographical notes depending on synchronic sense of time rather than Diachronic. She explains that the synchrony of the Twentieth Century implies modes of juxtaposition that destroys the linearity of nineteenth- century narrative realism. She prefers the synchronic, rational mode of expression that made her to be attracted to the Twentieth century mode of writing. | ||
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