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Day event time room chair presenter title time room chair presenter title Wed Registration 9.00- opens 9:45 Official 9.45- opening 10.00 plenary 10.00- Gerri KimBer ‘That Pole outside our door’: Floryan SoBieniowsKi and Katherine Mansfield 11.00 Coffee breaK 11.00-11.30 Parallel 11.30- Mirosława Katherine Mansfield and Stanisław 11.30- AngeliKa Burlap’s Angels and Daemons: Aspects of sessions 1-2 13.00 KuBasiewicz WyspiańsKi: Meeting Points 13.00 Reichmann the Mansfield Myth in Point Counter Point Jennifer An Alpine Friendship: Katherine and Janet Wilson Mansfield, France and Childhood WalKer ‘ElizaBeth’ in Montana, Switzerland Sydney Janet A Tree at Roquebrune: Mansfield’s ‘The Hee-Whan Rosemary Fell: Alienated Consumer Kaplan Escape’ in Context Yun Lunch 13.00-14.00 plenary 14.00- Angela Smith ‘There is always the other side, always’: Katherine Mansfield’s and Jean Rhys’s travellers in Europe 15:00 Coffee breaK 15.00-15.30 Parallel 15.30- Patricia Moran “the dream of roots and the mirage of 15.30- EriKa Baldt ‘LiKe any English lady in any French sessions 3-4 17.00 the journey”: 17.00 novel’: National Identity in Mansfield’s Terragraphica in Katherine Mansfield’s ‘An Indiscreet Journey’ and ‘Je ne parle Writing pas français’ Anne Brown Literatures of Expatriation and the Delia da Katherine Mansfield and Germany: ‘these Berens Colonial Mansfield Sousa Correa pine trees provide most suitable accompaniment for a tromBone!’ Verita “Because the waiting is a sort of Louise Synecdochic representations of Sriratana Heaven, too, darling”: Travelling and Edensor Patriarchal Ideology and of Nationality: Transitory Places in “Something Childish Katherine Mansfield and the Germans but very Natural” Creative 17.00- Kathryn The Hedgehog Hides his PricKly Head presentation 18:00 MacLean Reception 18:00 Thu plenary 9.00- Maurizio An ‘utterly concrete and yet impalpable’ art: the early reception of Katherine Mansfield in Italy (1922-1952) 10.00 Ascari Coffee breaK 10.00-10.30 Parallel 10.30- Susan Reid Sought in translation: 10.30- Nasstasia Short stories by Katherine Mansfield: metaphor, sessions 5-6 11.30 The reception of Katherine 11.30 Levanchuk problems of translation Mansfield in continental Europe Nóra Séllei Whose Cup of Tea? Mansfield in JanKa The House of … What Exactly? – Translations of Hungary Kascakova Katherine Mansfield’s Stories into Slovak Coffee BreaK 11:30- 12:00 Plenary 12:00- Sydney Janet Vincent Reading the Gaps – remarks on how the new EdinBurgh University Press edition of Mansfield’s complete fiction may alter 13:00 Kaplan O’Sullivan perspectives on her worK Lunch 13.00-14.00 Trip to Orava 14.00-17:00 Castle Dinner 18:30 Film viewing A Cup of Tea Fri plenary 9.00-10.00 Claire Davison-Pégon “Liaisons continentales” : Katherine Mansfield, S. S. KoteliansKy and the Art of Modernist Translation Coffee breaK 10.00- 10.30 Session 7 10.30- Alice Cheylan A Comparison of Cultural Confrontations and Contradictions in Katherine Mansfield’s Prelude and Je ne 12.00 parle pas franςais Hannah Wen-Shan ‘Carrying out the mouse idea’ in Katherine Mansfield’s ‘Je ne parle pas français ’ Shieh Vera Eliasova Maternity or MoBility?: Women on the Move in Katherine Mansfield’s Life and WorK Coffee breaK 12.00- 12.30 plenary 12.30- C.K. Stead Katherine Mansfield and Continental Europe 13.30 Closing 13.30- 13.45 reception 13.45- Film viewing: evening Nosferatu Sat Trip to Krakow .

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Kimber20168934.Pdf
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Article Title: Katherine Mansfield’s modernist short stories Creator: Kimber, G. Example citation: Kimber, G. (2016) Katherine Mansfield’s modernist short stories. Gale Researcher. It is advisable to refer to the publisher's version if you intend to cite from this work. Version: Accepted version Official URL: http://learn.cengage.com/GaleResearcher NECTARhttp://nectar.northampton.ac.uk/8934/ Katherine Mansfield’s Modernist Short Stories Gerri Kimber University of Northampton Department of English and Creative Writing Gerri Kimber is coeditor of the annual yearbook Katherine Mansfield Studies and chair of the Katherine Mansfield Society. She is the series editor of the four-volume Edinburgh Edition of the Collected Works of Katherine Mansfield (2012–2016). Kimber is author of Katherine Mansfield: The Early Years (2016), Katherine Mansfield and the Art of the Short Story (2015), and Katherine Mansfield: The View from France (2008). Katherine Mansfield employed free indirect discourse, literary impressionism, and the innovative use of time and symbolism, culminating in her position as one of the most important early exponents of the modernist short story. Mansfield’s fiction—and literary modernism as a whole—is associated with a rejection of conventional plot structure and dramatic action in favor of the presentation of character through narrative voice. Many different influences converged to create Mansfield’s own personal aesthetic philosophy, which continually evolved and developed throughout her short lifetime. She presents a down- to-earth kind of “truth,” with its foundations in her observations of the everyday world.
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KMS Newsletter Issue
12 ISSN 2040-2597 (Online) NEWSLETTER Issue 20 April 2015 Published by the Katherine Mansfield Society, Bath, England Illustrated Postcard c. 1915/16 Alexander Turnbull Library ref. MS-Papers-11326-016 Inside: De petits itinéraires littéraires autour de Katherine Mansfield by Bernard Bosque, KMS News and competition results, page 2 page 14 Katherine Mansfield and Antipodean Modernism Margaret Scott Obituary (continued) by C. by Helen Rydstrand, page 3 K. Stead, page 15 An Indiscreet Journey : KM and Francis Carco Announcement : KM Essay Prize, page 16 in Gray by Gerri Kimber, page 7 The Mansfield Garden Party by Martin Announcement : Katherine Mansfield, Leslie Griffiths, page 17 Beauchamp & World War One, Belgium, September, page 11 Announcement : Katherine Mansfield and the ‘Bloom Berries’ in May, page 21 2 Issue 20 April 2015 It has been a great pleasure editing the KMS newsletter for the first time. To take over from Jenny McDonnell was daunting: Jenny has been a fabulous editor and is a hard act to follow. However, I think we have an exciting April edition for you and to keep us up to date with international events we begin with Helen Rydstrand’s report on the conference Katherine Mansfield and Antipodean Modernism, held in Sydney in January 2015. Helen is currently completing her doctoral thesis at UNSW and presented Modernist aesthetics and antipodean nostalgia: Mansfield’s rhythm in theory and practice at the Sydney conference. Also, Dr Gerri Kimber gives us ‘An Indiscreet Journey’: Katherine Mansfield and Francis Carco in Gray, a report on the conference that took place in February near Dijon in France.
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Modernism Reloaded: the Fiction of Katherine Mansfield
DAVID TROTTER Modernism Reloaded: The Fiction of Katherine Mansfield It’s very largely as a Modernist that we now know Katherine Mansfield. Successive waves of new emphasis in the study of literary Modernism have brought her work ever closer to the centre of current understandings of how, when, where, and why this decisive movement arose, and of what it can be said to have accomplished at its most radical. Gender and sexual politics, the interaction of metropolis and colony, periodical networks: whichever way you look, the new emphasis fits.1 No wonder Mansfield has recently been hailed as Modernism’s “most iconic, most representative writer.”2 The aim of this essay is to bring a further perspective in Modernist studies to bear on Mansfield’s fiction, in order primarily to illuminate the fiction, but also, it may be, the perspective. The one I have in mind is that provided in broad outline by enquiries into the historical sequence which leads from nineteenth- century sciences of energy to twentieth-century sciences of information. Introducing an important collection of essays on the topic, Bruce Clarke and Linda Dalrymple Henderson explain that the invention of the steam engine at the beginning of the nineteenth century resulted both in the technological reorganization of industry and transport, and in a new research emphasis on the mechanics of heat. 1 Respectively, Sydney Janet Kaplan, Katherine Mansfield and the Origins of Modernist Fiction (Ithaca: Cornell University Press, 1991); Elleke Boehmer, “Mansfield as Colonial Modernist: Difference Within,” in Gerry Kimber and Janet Wilson, eds, Celebrating Katherine Mansfield: A Centenary Volume of Essays (New York: Palgrave Macmillan, 2011), 57-71; and Jenny McDonnell, Katherine Mansfield and the Modernist Marketplace: At the Mercy of the Public (New York: Palgrave Macmillan, 2010).
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Mansfield, France and Childhood
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: Mansfield, France and childhood Creators: Wilson, J. M. Example citation: Wilson, J. M. (2012) Mansfield, France and chiRldhood. Panel Presentation presented to: Katherine Mansfield and Continental Europe, Catholic University of Ruzomberok, Slovakia, 27-29 June 2012.A Also presented at: Exile's Return, An Editing Modernism in Canada (EMiC) Colloquium at the Sorbonne Nouvelle, Paris, France, 28–30 June 2012 T Version: Presented version C Official URL: http://km-slovakia.ku.sk/ NhttEp://nectar.northampton.ac.uk/4854/ Ruzomberok Conference. Mansfield and Continental Europe 26 – 29 June 2012 Mansfield, France and Childhood Janet Wilson, University of Northampton In her stories written after those collected in In a German Pension (published in 1911) and before the first draft of ‘The Aloe’ written in March-May 1915, Mansfield attempts to refine and consolidate her style through literary experimentation,1 (Kaplan 1991: 204). This is particularly true of her themes of female vulnerability and transgression, in stories that focus on the child’s confusions inaugurated by adult turmoil; as for example in ‘The Child Who Was Tired’ (1910), and ‘How Pearl Button was Kidnapped’ (1910— published in 1912), and even the grotesque child in ‘The Woman at the Store’ (1912). In two stories published in Rhythm in 1912 (but written earlier probably in 1910) that reflect the family dynamics of her own childhood, ‘New Dresses’, ‘The Little Girl’, she represents the girl in relation to her family members, as both victim of parental power or indifference and transgressor of family protocols.
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The Collected Fiction of Katherine Mansfield
The Collected Fiction of Katherine Mansfield, Edited by Gerri and Vincent O'Sullivan Mansfield, Katherine digitalisiert durch: The Edinburgh edition of the collected works of Katherine ... IDS Luzern 2012- Contents Acknowledgements ix Abbreviations and Textual Note xi Chronology xiii Introduction xix Fiction Enna Blake 3 A Happy Christmas Eve 5 The Great Examination 7 The Pine Tree, The Sparrows, and You and I Misunderstood She A True Tale was a big bare house' 'I am afraid I be very Two with One Moral Die Einsame (The Lonely One) 20 Your Birthday 22 One Day 24 About Pat 29 CONTENTS My Potplants Les Deux Etrangeres 3 5 Juliet 37 '"I was never happy", Huia said' Memories 63 The Tale of the Three 64 66 Vignette: Summer in Winter 66 Summer Idyll 67 Night Swiftly She and the Boy; or the Story of the 73 'She unpacked her box' Vignettes Vignette: Through the Afternoon Silhouettes 83 In the Botanical Gardens 84 In a Cafe Leves 89 The Story of Pearl Button Vignette: Sunset Tuesday 'On waking next morning' 94 An 97 Vignette: Westminster Cathedral 'She on the broad 99 The Man, the Monkey and the Mask The Education of Audrey Juliette Delacour The Unexpected Must Happen Vignette: By the Sea In Summer The Yellow Chrysanthemum The Thoughtful Her Literary Aspirations Vignette: They are a ridiculous Company The Thoughtful Child Rewa The Tiredness of Rosabel Study: The Death of a Rose 'Youth and Age' CONTENTS Vignette: 'I out through the window' Almost a Tragedy: The Cars on Lambton Quay A God, One Day on Mount Olympus 'He her again on the Pier at Prose
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Katherine Mansfield As Traveller Writer: Space, Identity, Home
This work has been submitted to NECTAR, the Northampton Electronic Collection of Theses and Research. Conference or Workshop Item Title: Katherine Mansfield as traveller writer: space, identity, home Creators: Wilson, J. M. Example citation: Wilson, J. M. (2011) Katherine Mansfield as traRveller writer: space, identity, home. Paper presented to: Shaping Modernism: Katherine Mansfield and her Contemporaries, University of CambAridge, 25-26 March 2011. Version: Presented version T Official URL: http://www.katherineCmansfieldsociety.org/cambridge-2011/ NhttEp://nectar.northampton.ac.uk/5231/ Mansfield as traveller writer: space, identity, home Mansfield’s travels in Europe after 1909, make her resemble the figure of the postcolonial woman writer who, in Elleke Boehmer’s terms, is ‘ more likely to be a cultural traveler, or an “extra-territorial” than a national. Ex colonial by birth […] cosmopolitan in almost every other way, [she] works within the Western metropolis, while at the same time retaining thematic and /or political connections with a national, ethnic or regional background’ (Colonial and Postcolonial Literature, OUP, 2005, p. 227) . This paper examines Mansfield as a post/colonial, mobile writer, who in travelling and writing, occupies different spaces which demand new points of identification and referencing, because they lie outside culturally coded norms. Referring to the types of journey she made I will identify her as both an obsessional and a melancholic traveller (with reference to Stephen M. Levin, The Contemporary Anglophone Travel Novel (Routledge 2008)), drawing a comparison between first person travel narratives set in Europe, and stories with female travellers as in ‘The Little Governess’, and the later New Zealand stories, like ‘Prelude’ and ‘The Garden Party’ where journeys are represented in symbolic and mythological terms.
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Edinburgh University Press Chapter Title: Introduction: Katherine Mansfield, War Writer Chapter Author(S): Alice Kelly Book Titl
Edinburgh University Press Chapter Title: Introduction: Katherine Mansfield, War Writer Chapter Author(s): Alice Kelly Book Title: Katherine Mansfield and World War One Book Editor(s): Gerri Kimber, Todd Martin, Delia da Sousa Correa, Isobel Maddison, Alice Kelly, Louise Edensor Published by: Edinburgh University Press. (2014) Stable URL: http://www.jstor.org/stable/10.3366/j.ctt14brw90.6 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Edinburgh University Press is collaborating with JSTOR to digitize, preserve and extend access to Katherine Mansfield and World War One This content downloaded from 192.76.177.125 on Mon, 26 Feb 2018 18:58:38 UTC All use subject to http://about.jstor.org/terms Introduction: Katherine Mansfield, War Writer Alice Kelly I put all the unfinished MSS I had brought with me here in a row last night and [. .] reviewed them – & told them that none of them were really good enough – to march into the open (Ugh! No – I cant even in fun use these bloody comparisons. I have a horror of the way this war creeps into writing . oozes in – trickles in.)1 In a letter to John Middleton Murry from February 1918, Katherine Mansfield explicitly acknowledges the unintentional influence of the ongoing war on her own rhetorical structures, using the metaphors of creeping, oozing and trickling to describe its pervading effects.
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University of Dundee DOCTOR of PHILOSOPHY Katherine Mansfield
University of Dundee DOCTOR OF PHILOSOPHY Katherine Mansfield and Visual Culture Harland, Faye Award date: 2017 Link to publication General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 07. Oct. 2021 Katherine Mansfield and Visual Culture Faye Harland Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Dundee School of Humanities February 2017 ii The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. ©2017 The University of Dundee and Faye Elizabeth Harland. iii Contents Acknowledgements………………………………………………………………………………………………………………………v Abstract……………………………………………………………………………………………………………………………………….vi List of Illustrations……………………………………………………………………………………………………………………….vii Introduction: ‘At moments it seems to me that all literature is in that picture’………………………………1 I.
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Katherine Mansfield: a Thematic Study
KATHERINE MANSFIELD: A THEMATIC STUDY Ajcmta Deb A THESIS SUBMITTED TO THE UNIVERSITY OF NORTH BENGAL IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY (PH.D) IN ENGLISH 1999 Supervisor: Professor K.K. Roy S'i' - >^iM^ I28?4o " ^ APR tm Dedicated to my late unfathomable pa-man Preface This study is both a descriptive and an analytic examinar* tion of doniinant theraes and patterns in Katheriiie Mansfield's stories. Arbitrarily referred to as the author oE "The Ply" or "Prelude"^ Mansfield remains scanething of an enigma^ shrouded in mystery. Much of the confusion may directly be attributed to her wild propensities. Tolerance and a comprehensive Judgment are absolute essentials for studying the works of a writer who has perfomied with great elan. The present work intends to discern the shifts and dis~ placeinents of a sensibility^ rather than to proffer a bland discussion of essential thematic structures in Mansfield's stories i.e. the question how Mansfield in "The woman at the Store" differs frcan Mansfield of "Prelude" has been regarded as more important than the intrinsic qualities of each as a short story. Her almost belligerent insistence on the rational incoherence in the sequence of feeling in each character has been highlighted. Yet the incoherence is psychologically fully con vincing. Mansfield' s protagonists are incapable of leading a strict and methodical life. Their waverings may be partly ascribed to the lapse of time sense in the sleepy, temperate and equable climate of New Zealand. The luxuriant vegetation and sub-tropical forests with dense undergrowth have active participation in the human drama* Oi) what may be called Mansfield's 'strife* is strangely woven into modem consciousness, possessing the power to startle and to charm.
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Katherine Mansfield and Continental Europe
Copyrighted material – 978–1–137–42996–4 Introduction, selection and editorial matter © Janka Kascakova and Gerri Kimber 2015 Individual chapters © Contributors 2015 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identiﬁ ed as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2015 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndsmills,Basingstoke, Hampshire,RG21 6XS Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–42996–4 This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin.
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Présentation Powerpoint
La mémoire dans les œuvres littéraires néo- zélandaises SARGESON, Frank (1903–82), was born Norris Frank Davey, the child of a middle-class family in Hamilton. He was educated there and in Auckland until he completed his training as a solicitor in 1926, when he went for two years to Britain and Europe. Returning in 1928, he decided not to pursue a career in law and instead worked at various jobs before settling on family land near Takapuna, where he was to remain for the rest of his life, most of it as a full-time writer. Overview A short story, no information given about the date of publication, Easy understanding : simple vocabulary and syntax, no rhetorical devices first-person narrative, no names given, a feeling of anonymous setting as no clues given as regards the place except being an English country as references to “tea, boiled chicken and pieces of jelly”.. Limited viewpoint Time : “1920”, “the last war”, “the armistice”, “the trenches”, “German atrocities”. Characters : “I”, “classmates”, “the mayor”, “my mother”, “Huns”, “ a man” etc.. Topic : tips given about how people and especially schoolboys experienced WWI and the impact on their daily life and their way of thinking. Comprehension -“I” as being the writer : so the story as memories of how the 1914-1918 period affected him. He acts as a chronicler of events through an economy of language appropriate to the characters. -Realism depicted through “Such a lot….all of us”, “A man from….to tea”, “But my uncles…retired” (social realism). -Daily routine pointed out as school work with “composition on the war”, “our annual sports day”.
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Katherine Mansfield, 1888–1923
63 Katherine Mansfield, 1888–1923 Joanna Woods Katherine Mansfield is one of New Zealand’s most celebrated authors and enjoys a widespread international following. With her contemporaries, James Joyce and Virginia Woolf, she forms part of the literary avant-garde whose innovations in the second and third decades of the twentieth century signalled the emergence of modernism. Her reputation rests on a collection of eighty- eight deceptively simple short stories, in which she pioneered many new literary techniques and exerted an important influence on the evolution of the short story in English. In her writing Mansfield breaks away from the conventions of nineteenth century fiction by dispensing with the independent voice of the narrator and by reducing plot to a minimum. Her focus is on the inner world rather than on external action, and much of the narration is located within the minds of her characters. Mansfield’s place in Western literature has been assured by her technical achievements, but she owes her lasting popularity with her readers to the elegance and wit of her writing. Her stories are a brilliant evocation of a bygone, Edwardian world, in which childhood memories, loneliness, and the complexity of human relationships are recurring themes. Her prose is noted for its economy and compression, and she presents her artistic vision through a series of meticulously crafted impressions, enlivened by often-mischievous imagery. Mansfield left New Zealand in 1908, aged nineteen, and spent most of her adult life in England and France, but her New Zealand heritage played a crucial role in her creative development and inspired many of her finest stories.
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