Abstract This article argues that Gertrude Stein’s The Autobiography of Alice B. Toklas (1933) is a genderqueer narrative of alternating identities related to artist Marcel Duchamp’s appearance as his female alter ego Rrose Sélavy (Man Ray 1920–1921; Man Ray 1921b). Art historians assume that Stein’s textual word play and outsized personality influenced Duchamp. Few scholars, however, have addressed the possible influence of Duchamp on Stein’s work. The similar ways in which Duchamp and Stein play with gender privileges gender ambiguity above gender identity. Seeing Stein’s work in relation to Duchamp’s genderqueer performance enables Stein to be recognized as an innovator of genderqueer aesthetics, which also leads to a recognition of Stein’s alternative approach to fine art: as this article will discuss, Stein’s interwar essay ‘Pictures’ (1935) reveals an undoing of such distinctions as copy and original that anticipates the achievements of the avant-garde and the Pop art movement of the late twentieth century. Stein’s gender play was integral to her development as a writer, popular author, and artists’ muse.

中文翻译：

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A Rrose is a Rrose is a Rrose：格特鲁德·斯坦 (Gertrude Stein) 两次世界大战间文本中的同性恋叙事和摄影

摘要 本文认为，格特鲁德·斯坦 (Gertrude Stein) 的《爱丽丝 B.托克拉斯自传》(The Autobiography of Alice B. Toklas，1933 年) 是一种性别酷儿叙事，与艺术家马塞尔·杜尚 (Marcel Duchamp) 作为他的女性另一个自我 Rrose Sélavy (Man Ray 1920–1921；Man Ray 1921b) 的出现有关。艺术史学家认为斯坦因的文字文字游戏和超大的个性影响了杜尚。然而，很少有学者谈到杜尚对斯坦因作品可能产生的影响。杜尚和斯坦因玩弄性别特权的类似方式将性别歧义置于性别认同之上。看到斯坦因与杜尚的性别酷儿表演相关的作品，使斯坦因被公认为性别酷儿美学的创新者，这也导致了对斯坦因对美术的另类方法的认可：正如本文将要讨论的，斯坦因在两次世界大战之间的文章“图片”（1935 年）揭示了复制和原创等区别的消除，这些区别预示着 20 世纪后期前卫艺术和波普艺术运动的成就。斯坦因的性别游戏对她作为作家、流行作家和艺术家的缪斯女神的发展不可或缺。