Katherine Mansfield And Modernism

Katherine Mansfield's arrival in London in 1908 marked the start of her professional career as a writer and this study marks a revival of her reputation as one of the foremost practitioners of the short story. The international line-up of contributors attests to Mansfield's global appeal. By discussing her fiction in relation to her life, the contributors to this critical work present reinterpretations and readings. Enhanced by new transcriptions of manuscripts and access to her diaries and letters, these readings combine biographical approaches with critical-theoretical ones and focus not only on philosophy and fiction, but class and gender, biography/autobiography. The historical and aesthetic studies of Mansfield's work all take place within a framework of modernist literature, criticism and theory, thereby expanding our understanding of what it means to be a Modernist while allocating Mansfield a firm place in any current study of Modernism.

New analysis of Katherine Mansfield's contribution to modernism, above all her underexplored relationship with D.H. LawrenceKatherine Mansfield and Modernism is given a distinct focus in this volume by an emphasis on her under-explored relationship with D. H. Lawrence, to whom, both as artist and person, she felt herself uncannily alike. In addition to investigating Mansfield's literary and biographical relationship with Lawrence, the essays for this volume examine widely varied aspects of Mansfield's modernism including her modernist revision of fairy-tale motifs, and the aesthetic, psychological and political contexts for her work. Further essays place her within a broader international and cultural framework, analysing her important relationship with modernist 'little magazines' and demonstrating how Mansfield and other artists from beyond Europe formed and developed literary modernism. The volume contains a preface and new short stories and poems by internationally-esteemed writers. The relationship between Mansfield and Lawrence is also given dramatic form in an original play-script first published in this volume and based on the period during 1916 when Mansfield and Murry shared a pair of remote cottages with Frieda and D. H. Lawrence at Zennor in Cornwall.

Seminar paper from the year 2010 in the subject English - Pedagogy, Didactics, Literature Studies, grade: 1,7, University of Cologne, language: English, abstract: Modernism is widely acknowledged as probably the most important and influential artistic-cultural phenomenon of the twentieth-century, whether it is considered primarily as a movement, a period, a genre, a style or an ideology (cf. Poplawski 2003, p. 5). In order to find out what is so special about the literary period between 1901 and 1939 extra-literary developments and contexts as well as thematic and formal innovations according to modernism will be considered at first in this paper. Afterwards the modernist short story, as an important 'invention' of modernist writers, and its main characteristics and features are of interest. In this respect some writers of the modernist era, such as Joseph Conrad, James Joyce, Sherwood Anderson etc., and some of their short stories will be considered to get a completed picture of the topic. Katherine Mansfield, one of the great Modernist innovators of twentieth-century English literature, plays a central role in this regard. After a biographical overview her contribution to the 'invention' of the short story with special interest to characteristic features of her way of writing will be presented. Finally, the aim should be to explore how one of Katherine Mansfield's last short stories 'The Fly' can be used for English language teaching. At first a short plot summary and various kinds of interpretations are given to get at the real meaning of the story. Then a concrete example of classroom treatment, including a worksheet, will be dealt with. This worksheet gives attention to text gaps, which can be found within the short story, in the way that they can be seen as 'adjunctive structures' and can be used for text work in groups.

Taking on the neglected issue of the short story's relationship to literary Modernism, Claire Drewery examines works by Katherine Mansfield, Dorothy Richardson, May Sinclair, and Virginia Woolf. Drewery argues that the short story as a genre is preoccupied with transgressing boundaries, and thus offers an ideal platform from which to examine the Modernist fascination with the liminal. Embodying both liberation and restriction, liminal spaces on the one hand enable challenges to traditional cultural and personal identities, while on the other hand they entail the inevitable negative consequences of occupying the position of the outsider: marginality, psychosis, and death. Mansfield, Richardson, Sinclair, and Woolf all exploit this paradox in their short fiction, which typically explores literal and psychological borderline states that are resistant to rational analysis. Thus, their short stories offered these authors an opportunity to represent the borders of unconsciousness and to articulate meaning while also conveying a sense of that which is unsayable. Through their concern with liminality, Drewery shows, these writers contribute significantly to the Modernist aesthetic that interrogates identity, the construction of the self, and the relationship between the individual and society.

In opposition to traditional interpretations of the period, Kaplan (English, U. of Washington) asserts that women writers were at the center rather than on the margins of British modernism. She examines Mansfield's contribution to modernist fiction; her struggles as a writer during the era of modernist experimentation; and such issues as the problematics of genre, the encoding of sexuality, and the critical debate over impersonality. Annotation copyrighted by Book News, Inc., Portland, OR

Katherine Mansfield had a career-long engagement with the literary marketplace from the age of eighteen. This book examines how she developed as a writer within a range of book and periodical publishing contexts, reconsidering her writing's enactment of a commercially viable modern aesthetic in her experimentation with the short story form.

This book considers Mansfield?s ambivalent position as a colonial woman writer by examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum.