Katherine Mansfield And The Origins Of Modernist Fiction

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

This critical Reader is the essential companion to any course in twentieth-century literature. Drawing upon the work of a wide range of key writers and critics, the selected extracts provide: a literary-historical overview of the twentieth century insight into theoretical discussions around the purpose, value and form of literature which dominated the century closer examination of representative texts from the period, around which key critical issues might be debated. Clearly conveying the excitement generated by twentieth-century literary texts and by the provocative critical ideas and arguments that surrounded them, this reader can be used alongside the two volumes of Debating Twentieth-Century Literature or as a core text for any module on the literature of the last century. Texts examined in detail include: Chekhov's The Cherry Orchard, Mansfield's Short Stories, poetry of the 1930s, Gibbon's Sunset Song, Eliot's Prufrock, Brecht's Galileo, Woolf's Orlando, Okigbo's Selected Poems, du Maurier's Rebecca, poetry by Ginsburg and O'Hara, Dick's Do Androids Dream of Electric Sheep?, Puig's Kiss of the Spiderwoman, Beckett's Waiting for Godot, Heaney's New Selected Poems 1966-1987, Gurnah's Paradise and Barker's The Ghost Road.

This book assesses the reason why Katherine Mansfield's reputation in France has always been greater than in England. It examines the ways in which the French reception of Mansfield has idealised her persona to the extent of crafting a hagiography. Mansfield is placed within the general literary context of her era, exploring French literary tendencies at the time and juxtaposing them with the main literary trends in England. The author determines the motives behind the French critics' desire to put Mansfield on a pedestal, discusses how the three years she spent on French soil influenced her writing and whether the translations of her work collude in the myth surrounding her personality. This book is the first sustained attempt to establish interconnections between her own French influences (literary and otherwise) and the myth-making of the French critics and translators. The book also follows the critical appraisal of Mansfield's life and work in France from her death up to the present day, by closely analysing the differing French critical responses. The author reveals how these various strands combine to create a legend which has little basis in fact, thereby demonstrating how reception and translation determine the importance of an author's reputation in the literary world.

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.

A brilliant modernist classic--now available for the first time in a stand-alone edition This dreamy, formally audacious story of a summer's day in the life of one family is a small masterpiece by Katherine Mansfield, hailed as "one of the great modernist writers. Virginia Woolf said of Mansfield, hers was "the only writing I have ever been jealous of." A modernist master of cool precision and extraordinary delicacy, Mansfield wrote about family life with a sharp radicalism, and At the Bay is one of her greatest works. Told in thirteen parts, beginning early in the morning and ending at dusk, At the Bay captures both the Burnell family's intricate web of relatives and friends, and the dreamy, unassuming natural beauty of Crescent Bay. Haunting but ever understated, At the Bay is as timeless novella, and a testament to Mansfield's remarkable powers.

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.

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.

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.