Alienation in the Life and Works of Katherine Mansfield
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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. -
Your Paper's Title Starts Here
International Journal of Science Vol.5 No.1 2018 ISSN: 1813-4890 Representation of Modernism in Mansfield’s Short Stories Jialing Ding Nantong University, Nantong 226001, China [email protected] Abstract The modernist thought itself has a very complex background. Strictly speaking, modernism is not a genre, but a literary trend that is revealed in many modernist creative fictions. Kathrine Mansfield’s works have this unique feature. She uses modernist techniques in her short stories very skillfully and tactfully. The aim of the thesis is to explore representative modernist techniques in Mansfield’s short stories. Through the research, I want to prove that she is an innovator of English short stories. The thesis mainly discusses stream of consciousness in Mansfield’s short stories which includes association, time and space montage and illusion. The thesis also analyses symbols in her representative short stories and different perspectives of narration in her works. I sincerely hope that readers can understand her works better through my efforts. Undoubtedly, Mansfield opens up a path to a higher literary standard. Keywords Mansfield; modernism; stream of consciousness; symbolism; perspectives of narration. 1. Introduction Katherine Mansfield(1888-1923) is a splendid English short story writer in the early 20th century. In order to get a better development, Mansfield gave up her pleasant and affluent life. Surprisingly, she chose to travel to London by herself. From the moment she set foot in London, she has become a wandering soul who didn’t have a complete home. Mansfield had complex personality, at the same time, she went through the same intricate life journey. -
Katherine Mansfield – Assessment Task
Katherine Mansfield – Assessment Task Engaged in the real world of the 20th century, modernist writer Katherine Mansfield depicts her short stories and her strong beliefs on feminism, social issues and relationships through the voice of characters contained in her ‘Collection of Short Stories.’ With narrative anthologies exploring a vast range of dysfunctional relationships, Mansfield argues they should be a matter of personal choice. Her experiences growing up in New Zealand heightened her awareness of the discontinuities, lacunae, and constrictions of 20th century life. Following with her journeys around the world, where she absorbed the condescending ethics of social class around a patriarchy society, which she demonstrates throughout her narratives. The concept that relationships should be a matter of choice is portrayed by the views of multiple characters in Mansfield’s ‘Prelude’. ‘Prelude’ is the first story in the collection and is an essential reading, like its sequel, ‘At the bay.’ Initially, the Burnell family are moving from the city to the country. The three children are neglected by their parents, Linda and Stanley and are predominantly raised by their grandmother, Mrs Fairfield. The Burnell’s being ‘upper class’ use language primarily to establish control over their environment, “we shall simply have to cast them off.” This contrasts with the linguistic style of the Samuel Josephs who are ‘lower class’ and the reader assumes to be less educated, “you come and blay in the dursery”. Mansfield writes with such strong descriptive language that the story is played out visually for the reader, “she had a comb in her fingers and in a gentle absorbed fashion she was combing the curls from her mother’s forehead.” Through this technique we know Linda is unhappy in her marriage and ironically her envious sister Beryl Fairfield contrarily wishes she was in one. -
Mr and Mrs Dove 1921
MR AND MRS DOVE (1921) By Katherine Mansfield Of course he knew—no man better —that he hadn't a ghost of a chance, he hadn't an earthly. The very idea of such a thing was preposterous. So preposterous that he'd perfectly understand it if her father —well, whatever her father chose to do he'd perfectly understand. In fact, nothing short of desperation, nothing short of the fact that this was positively his last day in England for God knows how long, would have screwed him up to it. And even now... He chose a tie out of the chest of drawers, a blue and cream check tie, and sat on the side of his bed. Supposing she replied, "What impertinence!" would he be surprised? Not in the least, he decided, turning up his soft collar and turning it down over the tie. He expected her to say someth ing like that. He didn't see, if he looked at the affair dead soberly, what else she could say. Here he was! And nervously he tied a bow in front of the mirror, jammed his hair down with both hands, pulled out the flaps of his jacket pockets. Making betwe en 500 and 600 pounds a year on a fruit farm in —of all places—Rhodesia. No capital. Not a penny coming to him. No chance of his income increasing for at least four years. As for looks and all that sort of thing, he was completely out of the running. He cou ldn't even boast of top-hole health, for the East Africa business had knocked him out so thoroughly that he'd had to take six months' leave. -
Appendix: Major Periodical Publications (1910–22)
Appendix: Major Periodical Publications (1910–22) Short stories (signed Katherine Mansfield unless otherwise stated) ‘Bavarian Babies: The Child-Who-Was-Tired’, New Age, 6.17 (24 February 1910), 396–8 [Katharine Mansfield] ‘Germans at Meat’, New Age, 6.18 (3 March 1910), 419–20 [Katharine Mansfield] ‘The Baron’, New Age, 6.19 (10 March 1910), 444 [Katharine Mansfield] ‘The Luft Bad’, New Age, 6.21 (24 March 1910), 493 [Katharine Mansfield] ‘Mary’, Idler, 36.90 (March 1910), 661–5 [K. Mansfield] ‘At “Lehmann’s” ’, New Age, 7.10 (7 July 1910), 225–7 [Katharine Mansfield] ‘Frau Brechenmacher Attends a Wedding’, New Age, 7.12 (21 July 1910), 273–5 ‘The Sister of the Baroness’, New Age, 7.14 (4 August 1910), 323–4 ‘Frau Fischer’, New Age, 7.16 (18 August 1910), 366–8 ‘A Fairy Story’, Open Window, 1.3 (December 1910), 162–76 [Katharina Mansfield] ‘A Birthday’, New Age, 9.3 (18 May 1911), 61–3 ‘The Modern Soul’, New Age, 9.8 (22 June 1911), 183–6 ‘The Journey to Bruges’, New Age, 9.17 (24 August 1911), 401–2 ‘Being a Truthful Adventure’, New Age, 9.19 (7 September 1911), 450–2 ‘A Marriage of Passion’, New Age, 10.19 (7 March 1912), 447–8 ‘Pastiche: At the Club’, New Age, 10.19 (7 March 1912), 449–50 ‘The Woman at the Store’, Rhythm, no. 4 (Spring 1912), 7–24 ‘Pastiche: Puzzle: Find the Book’, New Age, 11.7 (13 June 1912), 165 ‘Pastiche: Green Goggles’, New Age, 11.10 (4 July 1912), 237 ‘Tales of a Courtyard’, Rhythm, no. -
Bliss and Other Stories by Katherine Mansfield
Bliss and Other Stories 1 Bliss and Other Stories by Katherine Mansfield NEW YORK ALFRED A KNOPF MCMXXII Published, 1920 Reprinted 1920 Reprinted 1921 Reprinted 1921 Reprinted 1921 by Katherine Mansfield 2 Reprinted 1922 Reprinted 1922 Printed in Great Britain at The Mayflower Press, Plymouth. William Brendon & Son, Ltd. To John Middleton Murray CONTENTS PRELUDE JE NE PARLE PAS FRANCAIS BLISS THE WIND BLOWS PSYCHOLOGY PICTURES THE MAN WITHOUT A TEMPERAMENT MR. REGINALD PEACOCK'S DAY SUN AND MOON FEUILLE D'ALBUM A DILL PICKLE THE LITTLE GOVERNESS REVELATIONS THE ESCAPE PRELUDE 1 THERE was not an inch of room for Lottie and Kezia in the buggy. When Pat swung them on top of the luggage they wobbled; the grandmother's lap was full and Linda Burnell could not possibly have held a lump of a child on hers for any distance. Isabel, very superior, was perched beside the new handy-man on the driver's seat. Hold-alls, bags and boxes were piled upon the floor. "These are absolute necessities that I will not let out of my sight for one instant," said Linda Burnell, her voice trembling with fatigue and by Katherine Mansfield 3 excitement. Lottie and Kezia stood on the patch of lawn just inside the gate all ready for the fray in their coats with brass anchor buttons and little round caps with battleship ribbons. Hand in hand, they stared with round solemn eyes, first at the absolute necessities and then at their mother. "We shall simply have to leave them. That is all. We shall simply have to cast them off," said Linda Burnell. -
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). -
Thesis Hum 2009 Johnstone V.Pdf
The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgement of the source. The thesis is to be used for private study or non- commercial research purposes only. Published by the University of Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University of Cape Town "Divine warnings": Katherine Mansfield Vanessa Johnstone (JHNVANOOl) A minor dissertation submitted in partial fulfilment of the requirements for the award of the degree of Master of Arts in English Language and Literature. Faculty of the Humanities Universityty ofof Cape Cape Town Town May 2009 DIGITISED Universi - 2 APR Z013 This work has not previously been submitted in whole, or in part, for the award of any degree. It is my own work. Each significant contribution to, and quotation in, this dissertation from the work, or works, of other people has been attributed, and has been cited and referenced. Signature: Date: IS-· S- .0'1 ~--......:7 /~ } Contents Abstract 3 Introduction 4 Part One: Katherine Mansfield 6 Part Two: Modernist London 16 Part Three: Six Mansfield themes Town23 Part Four: Short stories 36 "Germans at meat" Cape 36 of The Aloe and "Prelude" 40 "Psychology" 57 "Bliss" 62 University "M iss Brill" 70 "A Married Man's Story" 75 Conclusion 83 References 85 2 "My secret belief - the innennost credo by which I live - is that although Life is loathsomely ugly and people are terribly often vile and cruel and base, nevertheless there is something at the back of it all, which if only I were great enough to understand would make everything, everything, indescribably beautiful. -
Poetry, Ellipsis, and Katherine Mansfield's
Journal of Literature and Art Studies, March 2015, Vol. 5, No. 3, 169-176 doi: 10.17265/2159-5836/2015.03.002 D DAVID PUBLISHING Poetry, Ellipsis, and Katherine Mansfield’s “Special Prose” SHIEH Wen-Shan Shih Chien University, Kaohsiung Campus, Taiwan In this essay, the author proposes to explore Mansfield’s “special prose” by examining the two issues raised in her journal entries: First, the phrase “perhaps not in poetry. No, perhaps in Prose” in her journal entry of 22 January 1916 shows that Mansfield plans to experiment with a kind of poetic prose, or in her own words—“special prose”. The profound affinity between the “special prose” and the notion of elegy, “a mournful poem for the dead” (OED, “elegy”, n. sense 1), calls attention to her work’s decisive but still insufficiently examined relationship to poetry and her preoccupation with mortality. Second, the words “scraps”, “bits”, and “nothing real finished” in her journal entry of 19 February 1918 indicate that the mortal fragility she writes about in her “special prose” is closely bound up with verbal fragility, as embodied, for example, in the form of an ellipsis mark that she uses extensively elsewhere in her short stories. Her connection to poetry and her use of ellipsis marks will be discussed by looking at the impact of John Keats’s poems on her own work and “The Canary” (1922), the last story she completed before her death. Keywords: Mansfield, Keats, poetry, “special prose”, ellipsis, mortal fragility Introduction Katherine Mansfield (1888-1923) was born in 1888 and brought up in colonial Wellington, New Zealand. -
PDF Download the Collected Stories of Katherine Mansfield
THE COLLECTED STORIES OF KATHERINE MANSFIELD PDF, EPUB, EBOOK Katherine Mansfield,Ali Smith | 816 pages | 01 Jan 2008 | Penguin Books Ltd | 9780141441818 | English | London, United Kingdom The Collected Stories of Katherine Mansfield PDF Book No, they were eager, serious travellers, absorbed in understanding what was to be seen and discovering what was hidden--making the most of this extraordinary absolute chance which made it possible for him to be utterly truthful to her and for her to be utterly sincere with him. As far as writers of short fiction go, I'd be tempted to count her on par with Borges someone I once described as "the greatest writer in any language Katherine Mansfield is one of the greats of Modernist literature. For a better shopping experience, please upgrade now. Post to Cancel. There's "nothing to it"--but there's so much in it! Some of her images have captured me for years, and have become private jokes. She was a master of the modern short story. In she began to write for Rhythm, edited by John Middleton Murry, whom she eventually married. Add your interests. Katherine Mansfield, short-story writer and poet, was born Kathleen Mansfield Beauchamp in in Wellington. The thirteen very short tales are all set in Germany; almost all are about the clients of a particular boarding house in a spa town where they are all on a cure. Trivia About The Collected Sto Mansfield had the talent to write apparently simplistic stories that are rich in their meaning. Infinite Intruder. View all 3 comments. -
Katherine Mansfield: the Question of Perspectives in Commonwealth Literature
Kunapipi Volume 6 Issue 2 Article 11 1984 Katherine Mansfield: The Question of Perspectives in Commonwealth Literature Andrew Gurr Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Gurr, Andrew, Katherine Mansfield: The Question of Perspectives in Commonwealth Literature, Kunapipi, 6(2), 1984. Available at:https://ro.uow.edu.au/kunapipi/vol6/iss2/11 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Katherine Mansfield: The Question of erspectivP es in Commonwealth Literature Abstract Writing literary criticism as a collaborative act is a complex operation. It requires similar interests, similar styles of writing and above all a similarity of critical perspective which must be neither so narrow as to inhibit original thinking nor so broad as to allow real differences to show. Even parallel lines of thought can follow tracks different enough to be embarrassing when the aim is to present a coherent and unified view of the subject. When the writer is a regional figure with a metropolitan publishing history the strain of diversity can be acute. This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol6/iss2/11 ANDREW GURR Katherine Mansfield: The Question of Perspectives in Commonwealth Literature Writing literary criticism as a collaborative act is a complex operation. It requires similar interests, similar styles of writing and above all a similar- ity of critical perspective which must be neither so narrow as to inhibit original thinking nor so broad as to allow real differences to show. -
The Ideologies of Lived Space in Literary Texts, Ancient and Modern
The Ideologies of Lived Space in Literary Texts, Ancient and Modern Jo Heirman & Jacqueline Klooster (eds.) ideologies.lived.spaces-00a.fm Page 1 Monday, August 19, 2013 9:03 AM THE IDEOLOGIES OF LIVED SPACE IN LITERARY TEXTS, ANCIENT AND MODERN ideologies.lived.spaces-00a.fm Page 2 Monday, August 19, 2013 9:03 AM ideologies.lived.spaces-00a.fm Page 3 Monday, August 19, 2013 9:03 AM THE IDEOLOGIES OF LIVED SPACE IN LITERARY TEXTS, ANCIENT AND MODERN Jacqueline Klooster and Jo Heirman (eds.) ideologies.lived.spaces-00a.fm Page 4 Monday, August 19, 2013 9:03 AM © Academia Press Eekhout 2 9000 Gent T. (+32) (0)9 233 80 88 F. (+32) (0)9 233 14 09 [email protected] www.academiapress.be The publications of Academia Press are distributed by: UPNE, Lebanon, New Hampshire, USA (www.upne.com) Jacqueline Klooster and Jo Heirman (eds.) The Ideologies of Lived Space in Literary Texts, Ancient and Modern Gent, Academia Press, 2013, 256 pp. Lay-out: proxessmaes.be Cover: Studio Eyal & Myrthe ISBN 978 90 382 2102 1 D/2013/4804/169 U 2068 No part of this publication may be reproduced in print, by photocopy, microfilm or any other means, without the prior written permission of the publisher. ideologies.lived.spaces.book Page 1 Saturday, August 17, 2013 11:47 AM 1 Contents INTRODUCTION . 3 The Ideologies of ‘Lived Space’, Ancient and Modern Part 1 LIVED SPACE AND SOCIETY CAVE AND COSMOS . 15 Sacred Caves in Greek Epic Poetry from Homer (eighth century BCE) to Nonnus (fifth century CE) Emilie van Opstall SPACE AND MYTH .