The purpose of this thesis is to isolate and examine the major technical devices of the short stories of Katherine Mansfield. Since the emphasis will be on Mansfield's technical skill, not on the development of that skill, my discussion will be limited to the stories of Mansfield's major writing period, to the completed stories of Bliss. The Garden Party, and The Dove's Nest. The introductory first chapter gives a summary of the critical attention Mansfield's work has received, attention largely commendatory but generally lacking in specific examination of the stories themselves, and of the few statements Mansfield herself made on her artistic principles. From this starting point the stories themselves are examined as evidence of Mansfield's technique. For the purpose of this paper, I limit my discussion to what I believe are the major aspects of Mansfield's art of story writing: her use of time, of point of view, of names, and of symbolism. In Chapters II - V these techniques are examined separately in relation to the stories. Chapter VI summarizes the conclusions reached in previous chapters: that Mansfield's skill is a unique blend of several largely traditional techniques. A brief discussion is given of the problem of Mansfield's unwritten work, work she hoped to do but was prevented from attempting by her early death. The report of a conversation with Mansfield a few weeks before her death is cited as evidence that Mansfield had come to recognize the emotional flaw in much of her earlier work. The conclusion reached is that, if indeed Mansfield had succeeded in widening her view of life, she would have been able to produce work of a very high literary standard since she had certainly attained a very high degree of technical skill. / Arts, Faculty of / English, Department of / Graduate

by Xiang Liping. / Thesis (M.Ph.)--Chinese University of Hong Kong, 1986 / Bibliography: leaves 172-181

A survey of the available literature on Katherine Mansfield has shown that, in the five decades which have elapsed since the author's death, critical interest has gradually, but significantly, altered its direction. Despite the workmanlike assessments of such critics as David Daiches in Britain and Andre Maurois in France, and the recognition of her mastery of the short story form by such fellow practitioners of the art as H.E. Bates and Elizabeth Bowen, the mainstream of criticism tended, in the first decades after the author's death, to centre less upon the characteristics of the work itself than upon a cult- like fascination, initiated, perhaps, by the perceptive but over-interested pen of Middleton Murry. Only more recently has this tendency been superseded by a more rigorous scrutiny of the stories themselves; thus the excellence of the author 's technique has now become a major concern. Recent recognition has been accorded, too, to the fact that the stories were in the vanguard of their time with regard to the choice of, as well as the treatment of, theme. Intro. p. 1-2.

CARNEIRO, Sarah Maria Borges. Clarice Lispector e Katherine Mansfield: relações de poder no universo infantil. 2013. 123f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2013. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-20T12:33:45Z No. of bitstreams: 1 2013_dis_smbcarneiro.pdf: 1076912 bytes, checksum: 1691f6f257955cffc6e0057eb7b4037a (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-05-20T13:44:12Z (GMT) No. of bitstreams: 1 2013_dis_smbcarneiro.pdf: 1076912 bytes, checksum: 1691f6f257955cffc6e0057eb7b4037a (MD5) / Made available in DSpace on 2014-05-20T13:44:12Z (GMT). No. of bitstreams: 1 2013_dis_smbcarneiro.pdf: 1076912 bytes, checksum: 1691f6f257955cffc6e0057eb7b4037a (MD5) Previous issue date: 2013 / The present paper aims to exam comparatively the short stories “Felicidade Clandestina”, “Preciosidade” and “Os desastres de Sofia”, from Clarice Lispector, and “A casa de bonecas”, “A pequena governanta” and “Aula de canto”, from Katherine Mansfield. The problem is concerned with the strategies developed by children and adults to move around the relations of power that are developed associated with childhood. Even though they belong to different historical and cultural contexts, the writers are similar because they point out the presence of children characters in their narratives. Working with the hypothesis that the tensions that connect the Idea of power and childhood and unstable, we intend to verify how the characters of the selected short stories move around the childhood universe, breaking up with the paradigm of child’s victimization. / O presente trabalho tem como objetivo examinar comparativamente os contos “Felicidade Clandestina”, “Preciosidade” e “Os desastres de Sofia”, de Clarice Lispector, e “A casa de bonecas”, “A pequena governanta” e “Aula de canto”, de Katherine Mansfield. O problema se coloca no que diz respeito às estratégias desenvolvidas pelas crianças e adultos para circular entre as relações de poder que se desenvolvem associadas à infância. Mesmo ocupando espaços históricos e culturais diferentes, as escritoras se assemelham por destacarem a presença de personagens crianças em suas narrativas. Partindo da hipótese de que as tensões que ligam a ideia de poder e infância são instáveis, buscaremos verificar como as personagens dos contos selecionados circulam no universo da infância, rompendo com o paradigma da vitimização da criança.

This is the first intensive study of Henri Bergson's influence on Katherine Mansfield's fiction. As I shall explore more fully in Chapter 1, it has frequently been mentioned that Bergson was a great influence on modernist writers and artists, and even on the public at that time. Although it has been at least acknowledged that Mansfield was also inspired by Bergson's philosophy, with the exception of Angela Smith's discussion in Katherine Mansfield: A Literary Life, no detailed account has been offered as to how much and in what ways Bergson's philosophy influenced Mansfield's writing. The lack of studies on this topic might seem surprising, given that Mansfield played some part in introducing the then new philosophy of Bergson to British literary society, with her colleagues, working on the Bergsonian magazine,Rhythm. Nevertheless, it is no wonder that the link between Mansfield and Bergson has not been dealt with in most studies in Mansfield's fiction, considering that her writing does not show what commentators at present commonly know as 'Bergsonian' as obviously as works by some of her contemporaries do. It might seem easier to link Bergson and writers whose famous works are experimental such as James Joyce and Virginia Woolf In this thesis, however, I argue that this view of the difference between Joyce and Woolf, who are 'Bergsonian', and Mansfield, who is not, results from basic misunderstandings and stereotypicali deas of Bergson's philosophy and Modernism in present literary criticism. Agreeing with other Mansfield critics, I find it worth noting that her fiction has not been appreciated as much as work of some of her contemporary writers such as Woolf, who was jealous of Mansfield's writing. Just like Bergson, who was extremely popular in his lifetime but soon lost his fame posthumously, Mansfield has failed to attract as much critical attention as might have been expected, although it is significant that her work is popular with common readers, and has never gone out of print. Scholars of her work have studied her as a modernist, woman, and colonial writer, but she is seldom discussed in detail in extensive studies on Modernism; her work has not been a major focus for feminist or postcolonial critics either despite the fact that she is a female New Zealand writer. I argue that the ambiguity, or duality, of Mansfield's writing in terms of nationality, gender, and class which often prevents us from reaching a lucid conclusion on these issues in her stories, is one of the causes of the difficulty of approaching Mansfield's apparently simple writing. Although her well planned ambiguity, like Bergson's, might cause her ideas to be wrongly interpreted as inconsistent at times, I see it as her crucial link with Bergson, or as a strong piece of evidence of her modernity. The aim of this thesis is to reassess Mansfield from multiple perspectives by closely examining her connections with Bergson.

Made available in DSpace on 2015-07-13T12:10:31Z (GMT). No. of bitstreams: 0 Previous issue date: 2014-12-09. Added 1 bitstream(s) on 2015-07-13T12:24:10Z : No. of bitstreams: 1 000833908.pdf: 869254 bytes, checksum: f6748d4f810680a80b85ef4c44c000f3 (MD5) / O presente trabalho pretende fazer uma análise dos contos da coletânea Bliss & other stories (1920), da autora neozelandesa Katherine Mansfield (1888 - 1923). Propomos a verificação da desconstrução da noção de gênero e dos discursos historicamente categorizados nas narrativas, considerando a constituição dos personagens dos sexos masculino e feminino e suas relações. Abordamos a relação entre personagens de ambos os sexos, os distintos focos narrativos, os símbolos, e, a partir de tais apontamentos, observamos que a categorização de gênero e de sexo é resultado de desdobramentos sociais. Ao ponderarmos a representação do gênero nas narrativas mansfieldianas, estamos ampliando a questão para as instâncias sociais, uma vez que a literatura é a representação de perspectivas do real. Tomamos como base teórica a crítica feminista de Virginia Woolf, a teoria da performatividade de Judith Butler e o conceito de exotopia de Mikhail Bakhtin, a fim de avaliarmos os aspectos culturais de gênero, a tradição literária de autoria feminina, as identificações ideológicas e a constituição de personagens ficcionais / This study analyzes of the short stories from the collection Bliss & other stories (1920), by the New Zealand author Katherine Mansfield (1888 - 1923), proposing the verification of the deconstruction of gender roles and of the historically categorized discourses in the narratives, and considering the constitution of male and female characters and their relationships. Therefore, we address the relationship between characters of both sexes, the different points of view, the symbols, and, from these concepts, we observe that the categorization of gender and sex is a result of social developments. In pondering the representation of gender in Mansfield's narratives, we expand the matter to social instances, since literature is the representation of the perspective on reality. We use, as a theoretical basis, Virginia Woolf's feminist criticism, Judith Butler's gender performativity and the concept of exotopy by Mikhail Bakhtin, in order to assess the cultural aspects of the gender issue, the literary tradition of women's writing, the ideological identifications and the creation of fictional characters

The purpose of this study is to examine the extent of Katherine Mansfield's literary indebtedness to Anton Chekhov. Throughout the critical writing about Mansfield there are many suggestions that her work is similar to that of Chekhov, but, these allusions are, for the most part, vague in pointing out specific likenesses.

Solitude and self have been common topics for discussion and scrutiny by philosophers, scholars and writers. However, it was not until the turn of the twentieth century, with women 's enlightenment, that one notices women writers ' interest in understanding their selves in moments of solitude. Women who were conscious of drastic social changes often examined their lives and explored their selves in solitude. Katherine Mansfield and Virginia Woolf represent women writers of their time who shared a common interest in portraying women's quests for self in solitude. The present study shows how the solitary state is a significant precondition for modern women to reflect on their lives or explore their selves at a time when society was undergoing drastic changes. A close study of Katherine Mansfield 's "Frau Brechenmacher Attends a Wedding" (19 l 0), "Kezia and Tui" (1916), "Prelude" ( 1918), "At the Bay" ( 1922), and "All Serene!" (1923) shows that Mansfield always offers her women characters punitive consequences in the endings because of their compromise with their mundane conditions even though they have gained some sense of the self through contemplation and meditation. In the case of Virginia Woolf, she situates her women characters in isolation and contemplation, and often presents her women characters as active seekers of self through meditation and alienation. Autonomy, authenticity, and vision define these women's emerging self in such novels as Night and Day ( 1919), Orlando ( 1928), and To the Lighthouse ( 1927). The present study reveals Katherine Mansfield and Virginia Woolf as two exemplary women writers who examine women in moments of solitude through the interplay of social and psychological reality. Solitude is a recurrent condition and theme in their fiction that is often presented in "contrapuntal" manner (Dunbar ix). The contrast between women 's public and performative existence and their private and unmasked self characterises the fiction of Mansfield and Woolf, allowing the two writers to examine patriarchal oppression of women's acquisition of self against the backdrop of modernity. Mansfield and Woolf's treatment of solitude is particularly important as it sheds light on their shared views and friendship. Solitude is treated as a critical state, a condition, a private space, an attitude, or a refuge from performativity for women in their texts. Yet they have adopted distinct writing strategies in dealing with the subject owing to their difference in experience and literary outlook. Mansfield creates heroines who are more practical and modest in their approach to the subject of self-construction. Woolf creates women characters who often resort consciously to solitude to challenge and reflect upon gender norms, gain a better sense of their selves, and deploy various means to attain self-realisation.

In this study I analyse the role of the heroine in the work of four New Zealand writers, Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme, starting from the assumption that such a role is influenced by the notion of the fall and by the perception of the vertigo entailed in it. In order to prove this I turn to the texts of four New Zealand writers dedicating one chapter to each. In the first chapter a few of Katherine Mansfield's short stories are analysed from the vantage point of the fall, investigated both in the construction of the character's subjectivity and in the construction of the narration. In the second chapter a link is established between Katherine Mansfield and Robin Hyde. A particular emphasis is put on the notion of subjectivity in relationship developed by the two writers, highlighting the link between this kind of subjectivity and the notion of the fall. In the third chapter the focus is subsequently shifted to Robin Hyde's work, in particular one of her novels, Wednesday's Children, which is read in the context of Mikhail Bakhtin's theory of the carnivalistic. In the fourth chapter the notion of the fall is analysed in the fiction of Janet Frame, which is related to the treatment of the notion of the fall present in Keri Hulme's The Bone People. The fifth chapter is dedicated to the analysis of The Bone People as in the novel the notion of the fall and the vertigo perception find their fullest expression, whilst in the sixth chapter a significant parallel is drawn between Janet Frame's Scented Gardens for the Blind and Keri Hulme's The Bone People and links are established with their predecessors. Finally in the seventh chapter the critical perspective is broadened to comprise those common elements in the writing of Katherine Mansfield, Robin Hyde, Janet Frame and Keri Hulme that have been neglected by focusing uniquely on the notion of the fall, and thus to contribute to a more complete overall picture of the comparison presented in this study.

Made available in DSpace on 2014-06-11T19:26:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-06-20Bitstream added on 2014-06-13T20:35:06Z : No. of bitstreams: 1 goncalves_ls_me_assis.pdf: 433423 bytes, checksum: d0b316992a223d7da8ec5962939a02e3 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Secretaria da Educação / O presente trabalho pretende fazer uma análise da tradução para o português de alguns contos da obra Bliss & other stories, de Katherine Mansfield, feita pelo escritor Érico Veríssimo. Propomos uma comparação da tradução com o texto de partida a fim de avaliar as soluções tradutórias encontradas na transmissão dos efeitos de sentido propostos pela autora e, por conseguinte, abordar o caráter tradutório do escritor, já que é um ramo de sua atividade profissional não difundido amiúde, embora tenha sido de extrema relevância para seus trabalhos literários posteriores. Assim, verificamos se o tradutor em questão teve o que Ohmann denomina “intuição estilística”. Em uma primeira instância, apresentamos um levantamento das principais teorias acerca da tradução e da vertente desconstrutivista, de Jacques Derrida, na qual nos baseamos para a realização da apreciação das traduções. O estudo da relação entre Katherine Mansfield e Érico Veríssimo por meio da tradução aprimora a tradutologia, já que nos permite analisar a postura de um escritor/tradutor perante uma prosa poética. E, por fim, os contos representativos do estilo da escritora neozelandesa e as traduções destes, feitas por Érico Veríssimo, foram analisados a fim de formularmos as devidas conclusões. Para tanto, tomamos como base teórica a teoria desconstrutivista, bem como considerações realizadas por estudiosos da tradução, como Francis Henrik Aubert, José Paulo Paes, Haroldo de Campos, entre outros. / The present work intends to analyze the translation into Portuguese of some of the short stories of Bliss & other stories, by Katherine Mansfield, done by the writer Érico Veríssimo. We propose a comparison of the translation with the source text in order to evaluate the solutions of translation found in the transmission of the sense effects proposed by the author and, consequently, to approach the writer's translator character , because it is a branch of his professional activity that isn’t spread frequently, although it has been of extreme relevance to his subsequent literary works. So, we verified if the translator presents what Ohmann denominates stylistic intuition. In a first instance, we presented a survey of the main theories concerning translation and the deconstructionist theory of Jacques Derrida, on which we were based for the accomplishment of the appreciation of the translations. The study of the relationship between Katherine Mansfield and Érico Veríssimo through the translation perfects translation studies, since it allows analyzing the posture of a writer/translator before a poetic prose. And, finally, the New Zealand writer's short stories and their translations, done by Érico Veríssimo, were analyzed in order to formulate the due conclusions. We took as theoretical base the deconstructionist theory, as well as considerations from specialists in translation studies, such as Francis Henrik Aubert, José Paulo Paes, Haroldo of Campos, and others.