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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. Word and Image Studies…………………………………………………………………………………………………….2 II. The Critical Gap…………………………………………………………………………………………………………………5 III. Mansfield and the Visual………………………………………………………………………………………………….7 IV. Historical and Theoretical Methodologies………………………………………………………………………11 V. A Schema………………………………………………………………………………………………………………………..14 Chapter 1: ‘Here is painting, and here is life’: Mansfield and Art………………………………………………….20 I. Intermedial Impressions in ‘Miss Brill’………………………………………………………………………………23 II. ‘Retained for the interior’: Gendered Spatial Dynamics in Impressionist Painting and Mansfield’s Short Stories…………………………………………………………………………………………………….28 III. Public Space, The Gaze and Female Subjectivity…………………………………………………………….33 IV. Urban Modernity and Consumer Culture……………………………………………………………………….37 Chapter 2: ‘Transforming into an image’: Mansfield and Photography…………………………………………49 I. The Myth of Photographic Truth………………………………………………………………………………………51 II. ‘The dark curtain has rolled down’: Photographic Manipulation and the Return of the Dead……………………………………………………………………………………………………………………………………54 III. Studium, Punctum and the Photograph as Fetish Object………………………………………………..58 IV. ‘I’ve just had some new photers taken, my dear’: Class Dynamics and Ideology…………….66 Chapter 3: ‘Into Unknown Country’: The Visual Consciousness of Mansfield’s Journeys………………71 I. The Mobilized Virtual Gaze: Cinematic Perception in ‘An Indiscreet Journey’ and ‘The Little Governess’………………………………………………………………………………………………………………………….72 II. The Journey in Modern Art and Popular Entertainment………………………………………………….75 III. Journeys Through Time and Space…………………………………………………………………………………79 IV. ‘Lost in Translation’: Marginality, Exile and Liminal Space……………………………………………..81 V. Authenticity and the Existential Journey in ‘Je ne parle pas français’ and ‘An Indiscreet Journey’………………………………………………………………………………………………………………………………84 iv Chapter 4: ‘Dissolving Views’: Mansfield and Pre-Cinematic Visual Technologies…………………………94 I. ‘The conjunction of movement and vision’: The Cinematicity of the Modernist Short Story………………………………………………………………………………………………………………………….98 II. Visual Transformations and Mental Health in ‘The Yellow Wall-Paper’ and ‘Prelude’……………………………………………………………………………………………………………………………102 III. Fear, Desire and Colonial Guilt: Phantasmagoric Representations………………………………..108 IV. ‘Successions of pictorial surprises’: The Cinema of Attractions and ‘A Married Man’s Story’………………………………………………………………………………………………………………………110 V. Multimedia Mansfield: ‘Miss Brill’ and the Theatrical Féerie…………………………………………116 Chapter 5: ‘A Certain Spontaneous Magic’: Mansfield and the Moving Panorama……………………..126 I. The Panorama as Topos: Mansfield’s Travel Narratives and the Cautionary Tale……………130 II. The Panorama in Australia and New Zealand: Changing Cultural Perceptions of ‘Homeland’……………………………………………………………………………………………………………………….135 III. The Virtual Voyage and Ghostly Transformations………………………………………………………..140 IV. ‘One IS the spectacle for a time’: The Cyclorama and Visual Transportation……………….147 Chapter 6: ‘Streaming by like a movie picture’: Mansfield and the Cinema……………………………….152 I. ‘A form of entertainment which was peculiarly their own’: Women’s Engagement with Early Cinema…………………………………………………………………………………………………………………….155 II. Artistic Exchange Between Women’s Fiction and the Cinema……………………………………….161 III. ‘Each possession of mine seems to stir into life’: Surreal Transformations, Object Animation and Time Lapse in Mansfield’s Fiction………………………………………………………………163 IV. Cinematicity and the Male Gaze in ‘The Little Governess’…………………………………………….172 V. Cinematic Windows and the Flâneur of the Twentieth Century…………………………………….180 VI. ‘That creature in the glass’: Mirrors and the Beauty Myth in ‘Bliss’ and ‘Pictures’………..186 Conclusion: ‘The impression was that you enjoyed the story, saw it as I did’……………………………..201 Bibliography………………………………………………………………………………………………………………………………209 I. Primary Texts………………………………………………………………………………………………………………….209 II. Secondary Texts…………………………………………………………………………………………………………….210 III. Filmography………………………………………………………………………………………………………………….218 v Acknowledgements It would not have been possible to write this thesis without the advice and support of so many wonderful people. I must begin by thanking my supervisor, Keith Williams, for sparking my interest in modernist literature back in 2010 when I took his ‘Modernism and Modernity’ module, and for his unwavering encouragement since then throughout my Masters and PhD. Keith’s work has been a great inspiration to me and he has introduced me to so many of the authors whom I refer to in this thesis, as well as always helping me to believe that my own work was worthwhile. Thanks are also due to my second supervisor Mary Modeen – although she joined my supervisory team partway through my project, she immediately became a great help to me both academically and emotionally. I have always admired Mary’s energy and passion for her subject, and she and her MFA students have made my time at the University of Dundee far more enjoyable. Special thanks must also go to Jim Stewart, who always made me push harder with my writing and challenged my beliefs – thanks Jim for making me a better feminist, you will be truly missed. Without a doubt, the most enjoyable experiences of my academic career so far have been the Katherine Mansfield Society conferences. I have attended two of these so far, in Chicago in 2015 and Bandol in 2016, and I hope that this will continue to be an annual tradition whatever my future may bring post-PhD. Special thanks are due to Gerri Kimber and Janet Wilson for organising these events; I can say without exaggeration that the KMS always helps to remind me why I do what I do, and it’s always a delight to hear about everyone’s work. I would also like to offer thanks to the Scottish Graduate School for Arts and Humanities, who funded the second and third years of my project. After a year of self-funding I was truly able to appreciate the value of having time and money to focus on my work, and I am also grateful for all of the opportunities that being a SGSAH-funded student brought my way, from training courses to my internship at the Scottish Parliament. Finally, I’d like to offer endless appreciation to all of my friends and family for putting up with me over the course of these three years. Special thanks go to Tetley – you’ve been my rock throughout all of this, thanks for always knowing the right thing to say and helping me to believe in myself, I love you. To my parents, for your support and continued interest in my work, and for putting a roof over our heads in that difficult first year. To Ruaridh, Laura, Laura and Lizzie for being my best friends and listening to all of my rants on a daily basis. Finally, to Joan Fraser, for starting all of this in the first place – I hope you and Kenny are well. I’ve been so fortunate to have been surrounded by such kind, loving and intelligent people, and I’m excited to see what’s going to come next for us all. Dedicated to the memory of Jim Stewart (1952-2016) vi Abstract The relationship between modernist fiction and visual culture has received substantial critical attention in recent years. However, many of the studies on this intermediality focus primarily on the drama, poetry, and novels of male authors, with Virginia Woolf being the only significant exception to this rule. I propose that this engagement with the visual in modernist fiction has a different social and cultural significance in the works of women writers. With reference to the short stories of Katherine Mansfield, I will explore the attempt to establish a female literary voice in what was perhaps the greatest transitory
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