JSTOR CITATION LIST

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NUMBER OF CITATIONS :

10

---------------------------------------------------------------------------------------------------1.
Title: The Steinian Portrait
Author(s): Wendy Steiner
Source: The Yale University Library Gazette, Vol. 50, No. 1 (July 1975), pp. 30-40
Stable URL: http://www.jstor.org/stable/40858580
2.
Title: Convulsive Beauty: Images of Hysteria and Transgressive Sexuality Claude
Cahun and Djuna Barnes
Author(s): Sharla Hutchison
Source: symplok, Vol. 11, No. 1/2, Theory Trouble (2003), pp. 212-226
Stable URL: http://www.jstor.org/stable/40536944
3.
Title: Etant donns: Rrose/Duchamp in a Mirror
Author(s): Ernestine Daubner
Source: RACAR: revue d'art canadienne / Canadian Art Review, Vol. 22, No. 1/2
(1995), pp. 87-96
Stable URL: http://www.jstor.org/stable/42630538

4.
Title: Where's Duchamp?: Out Queering the Field
Author(s): Robert Harvey
Source: Yale French Studies, No. 109, Surrealism and Its Others (2006), pp. 82-97
Stable URL: http://www.jstor.org/stable/4149287
5.
Title: Of or By
Author(s): Marcel Duchamp, Rrose Slavy and Ann Temkin
Source: Grand Street, No. 58, Disguises (Autumn, 1996), pp. 57-72
Stable URL: http://www.jstor.org/stable/25008084
6.
Title: Imaging the Actor: The Theatre of Claude Cahun
Author(s): Miranda Welby-Everard
Source: Oxford Art Journal, Vol. 29, No. 1 (2006), pp. 3-24
Stable URL: http://www.jstor.org/stable/3600491
Abstract: Existing readings of Claude Cahun have tended to position her within
surrealist or feminist/postmodernist discourse, marginalising her dramatic
background and leaving the discipline of theatre unrecognised as the essential
language of the artist. This paper seeks to redress the balance, reviewing Cahun's
'self-portraiture' through the dual lens of traditional and avant-garde theatre, and
exploring the dynamic relationship between her pictured constructions and the
apparatus of the stage. Theatricality is explicitly coded within the use of her body,
and in her vocabulary of mask, makeup, costume and curtain -- the setting of a
scene and the physical transformation into character being a basic stage premise.
The narrative of The Actor is also traced within her literary protagonists and
dramatic dialogue, with particular focus upon her biblical heroines Judith, Salom,
and Delilah, revealing her own personal realm of veils, dance, and execution.
Marked by the faceless and the inanimate, Cahun's world of artifice is
contextualised within the new stage aesthetic of the non-human and the anti-real;
its emblematic figures the mask and the marionette being considered instrumental
to her reinvention. I argue that Pierre Albert-Birot's Plateau Theatre of 1929,
dominated as it was by the puppet principle, provided an ideal platform for the
playing out of an elastic sexless actor-identity, as demonstrated by her visual
reconstructions of her three stage roles, raising the question of the theatre as tool
for the mythologisation -- if not mythical erasure -- of self as somebody else.
7.
Title: Claude Cahun's Double

Author(s): Carolyn J. Dean

Source: Yale French Studies, No. 90, Same Sex/Different Text? Gay and Lesbian
Writing in French (1996), pp. 71-92
Stable URL: http://www.jstor.org/stable/2930358
8.
Title: Gertrude Stein's Portraits of Matisse and Picasso
Author(s): Ulla Haselstein
Source: New Literary History, Vol. 34, No. 4, Multicultural Essays (Autumn, 2003),
pp. 723-743
Stable URL: http://www.jstor.org/stable/20057810
9.
Title: Stein's Postmodern Portraiture
Author(s): Paul Cohen
Source: Interdisciplinary Literary Studies, Vol. 9, No. 2 (Spring 2008), pp. 17-28
Stable URL: http://www.jstor.org/stable/41210292
10.
Title: Unmasking Pablo's Gertrude: Queer Desire and the Subject of Portraiture
Author(s): Robert S. Lubar
Source: The Art Bulletin, Vol. 79, No. 1 (Mar., 1997), pp. 56-84
Stable URL: http://www.jstor.org/stable/3046230
Abstract: This essay examines the function of the mask in Picasso's Portrait of
Gertrude Stein, 1906, in relation to the artist's anxious confrontation with lesbian
sexuality and his own gendered identity. In examining the portrait as a performative
event between the artist and the sitter, the essay attempts to shed light on the
significance of the delay in Picasso's completion of the painting and the problem of
gender instability in his art over the course of 1906-7. Recent work in gender and
queer studies provides the theoretical armature for the argument.
11.
Title: High and Low: Caricature, Primitivism, and the Cubist Portrait
Author(s): Adam Gopnik
Source: Art Journal, Vol. 43, No. 4, The Issue of Caricature (Winter, 1983), pp. 371376
Stable URL: http://www.jstor.org/stable/776736

Hackett, Robin. Sapphic Primitivism: Productions of Race, Class, and Sexuality in Key
Works of Modern Fiction. 1st ed. Vol. 1. New Brunswick: Rutgers UP, 2004. Print.

Mundy, Jennifer, ed. Surrealism: Desire Unbound. 1st ed. Vol. 1. Princeton: Princeton
UP, 2001. Print.

Stein, G. (1913). Tender Buttons. 1st ed. [ebook] Project Gutenburg. Available at:
http://www.gutenberg.org/files/15396/15396-h/15396-h.htm [Accessed 21 Dec.
2014].

Stein, Gertrude, and Ulla E. Dydo. A Stein Reader. 1st ed. Vol. 1. Evanston:
Northwestern UP, 1993. Print.

Breton, Andre. Nadja. Ed. Entierement Revue Par L'auteur. ed. Paris: Grove, 1960.
Print.