Abstract A survey of the ingredients and paratextual elements that converged in Charles Bernstein's “Gertrude and Ludwig's Bogus Adventure,” occasioned by the translation of the poem into Italian. Historical hints and literary echoes are shown to be not merely juxtaposed but intertwined with trivia drawn from B Hollywood movies and accounting for the title itself of the poem. As the making of meaning, especially in the second part of the text, is driven by phonetic equivalences rather than by referential affinities, readers are alerted that ontophony has been chosen as a modus operandi over any attempt at contentual re-creation. The alliterative deployment of the letter p, for instance, has been retained, though this has caused the scene of the poem to transfer from a baseball park to a painter's studio. A suggestion is also put forward that in Bernstein's poetry, the step-by-step logic of Wittgenstein's Tractatus can be made to dialogue with Gertrude Stein's obsessive brushstroke writing.

中文翻译：

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格特鲁德和路德维希的意大利历险记

摘要 对查尔斯·伯恩斯坦（Charles Bernstein）的“格特鲁德和路德维希的虚假冒险”中的成分和超文本元素的调查，由将这首诗翻译成意大利语引起。历史暗示和文学回响不仅与来自 B 好莱坞电影的琐事并列，而且与这首诗的标题本身交织在一起。由于意义的形成，特别是在文本的第二部分，是由语音对等而不是指称亲和性驱动的，因此提醒读者注意，本音已被选为一种操作方式，而不是任何内容再创造的尝试。例如，保留了字母 p 的头韵部署，尽管这导致诗歌的场景从棒球场转移到画家的工作室。