Gertrude Stein’s Transmasculinity argues for a new conception of Stein’s writing and activity on the modernist cultural scene as manifestations of her shifting, fluid and complex engagements with masculine identity. The book challenges ‘the assumption that she identified as a woman’ and rethinks the established scholarly view of Stein as a queer author, nuancing and refining this identification by deploying the category of transmasculinity (8). Emphasizing the transitive rather than ascribing a desire for permanent transition, Coffman insists on the instability of Stein’s identification with masculinity, retaining the troubling of categories that queerness affords whilst enabling a greater precision in exploring Stein’s gender and its significance for her authorship. Importantly, it also counters the view that Stein’s masculine identifications exemplify either a self-hating abjection or an anti-feminism that might sit uneasily with her overt rejection of patriarchy. Coffman argues that Stein’s gender is formulated through relationality, defined and redefined through a series of fluctuating and multivalent intimate connections: in her homosexual relationship with her partner Alice B Toklas, and in a series of homosocial relationships with modernist men. These complex and fluctuating relationships generate shifting forms of masculine identification that shape her ‘anti-identitarian form of transmasculinity’ (9). Coffman takes an interdisciplinary approach, reading Stein’s literary texts alongside examples of visual art, curational practices and cultural artefacts through the lens of current gender theory, looking again at Stein’s queer practice and finding new traces of her transitory masculinities. The first chapter sets up the emphasis in this study on the significance of the visual and the possibilities of the queer gaze (or ‘look’, in Coffman’s refinement of terms) in both seeing Stein anew and in recognizing the network of queer looks her texts set in motion. Here, Coffman explores the ways that images of Stein are reframed to present ‘positive signs of Chris Coffman, Gertrude Stein’s Transmasculinity, Edinburgh University Press, 2018, £80.00 hardback 9781474438094; £24.99 paperback 9781474438100

中文翻译：

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格特鲁德·斯坦 (Gertrude Stein) 性别的新视野

格特鲁德·斯坦 (Gertrude Stein) 的《超男性气质》(Transmasculinity) 主张对斯坦因在现代主义文化场景中的写作和活动提出一种新概念，将其作为她与男性身份转变、流畅和复杂参与的表现。这本书挑战了“她认定为女性的假设”，并重新思考了斯坦因作为酷儿作者的既定学术观点，通过部署跨男性气质的类别来细致入微和完善这种认定 (8)。科夫曼强调传递性而不是永久过渡的愿望，坚持斯坦因对男性气质的认同的不稳定性，保留了酷儿所提供的令人不安的类别，同时能够更精确地探索斯坦因的性别及其对她的作者身份的意义。重要的，它还反驳了这样一种观点，即斯坦因的男性认同体现了一种自我憎恨的堕落或一种反女权主义，这可能与她对父权制的公开拒绝感到不安。科夫曼认为，斯坦因的性别是通过关系形成的，通过一系列波动和多价的亲密关系来定义和重新定义：在她与伴侣爱丽丝 B 托克拉斯的同性恋关系中，以及在与现代主义男性的一系列同社会关系中。这些复杂和波动的关系产生了男性认同的转变形式，塑造了她的“跨男性气质的反身份主义形式”（9）。科夫曼采用跨学科的方法，通过当前性别理论的视角阅读斯坦因的文学作品以及视觉艺术、策展实践和文化艺术品的例子，再次审视斯坦因的酷儿行为，发现她短暂的男子气概的新痕迹。第一章将本研究的重点放在视觉的重要性和酷儿凝视（或“看”，在科夫曼对术语的细化中）在重新审视斯坦因和识别酷儿长相网络方面的可能性。启动。在这里，科夫曼探索了重新构建斯坦因图像以呈现“克里斯科夫曼的积极迹象”的方式，格特鲁德斯坦的跨男性气质，爱丁堡大学出版社，2018 年，80.00 英镑精装本 9781474438094；£24.99 平装本 9781474438100 在科夫曼对术语的细化中）在重新看到斯坦因和识别酷儿外表的网络方面，她的文本开始运动。在这里，科夫曼探索了重新构建斯坦因图像以呈现“克里斯科夫曼的积极迹象”的方式，格特鲁德斯坦的跨男性气质，爱丁堡大学出版社，2018 年，80.00 英镑精装本 9781474438094；£24.99 平装本 9781474438100 在科夫曼对术语的细化中）在重新看到斯坦因和识别酷儿外表的网络方面，她的文本开始运动。在这里，科夫曼探索了重新构建斯坦因图像以呈现“克里斯科夫曼的积极迹象”的方式，格特鲁德斯坦的跨男性气质，爱丁堡大学出版社，2018 年，80.00 英镑精装本 9781474438094；£24.99 平装本 9781474438100