近二、三十年来,格特鲁德·斯泰因作为20世纪重要诗人之一的地位已经在美国文学研究领域被广为接受,然而,在她数百篇实验性作品中哪些可以归于诗歌文类、她关于诗歌的定义在其文学生涯中可能有怎样的变化,学界对此还不十分清晰。鉴于此,本文将重新审视创作于《美国人的创造》(成稿于1911)与《软纽扣》(1914)之间的过渡性作品,尤其是《断袖之书》,探讨这些作品是否能够支撑斯泰因的《美国讲稿》中关于她作为诗人之渊源的观点。本文还将从斯泰因作为诗歌创作的文本中去探究是否能够探查到隐含于文本之中的某种关于诗歌建构的理论的演变轨迹,并将对斯泰因关于散文/诗歌分界与后来的批评家关于其具体文本分类之间的观点进行比较研究。21世纪之初,学界在诗与非诗的观念上有着激烈的论争,而斯泰因的名字作为文学形式与文类当代实验的典范和先驱始终突出地深陷于这种争论之中,因此,重新回到她的作品并且弄清她本人有意识地创作的是什么,有助于我们更加清晰准确地面对当前的这些学术争论。 Gertrude Stein’s position as one of the twentieth-century poets in the last two or three decades has been widely accepted in the field of American literary studies, however, in which of her hundreds of experimental works can be attributed to poetry Her classics, her definition of poetry may change in his literary career, the academic community is not very clear. In view of this, this article will re-examine the transitional works created in “The Creation of Americans” (Manuscript in 1911) and “Soft Buttons” (1914), especially the book “The Sleeve” to explore whether these works can Support Stein’s “American Speeches” on her point of view as a poet. This article also explores whether Stein can explore the evolution of a certain theory about the construction of poetry embedded in the text from Stein’s text as a poetic creation, Critics have conducted a comparative study of the perspectives between their specific textual categories. At the beginning of the 21st century, the academic circles had fierce arguments on the concepts of poetry and non-poetry. As the model and pioneer of contemporary experiments in literary form and genre, Stein’s name has always been deeply trapped in this controversy , Returning to her work and figuring out what she was consciously creating would help us face these current academic debates more clearly and accurately.