Thesis--Wisconsin. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 344-350).

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

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

The author discusses the construction of Englishness in Katherine Mansfield’s short story Je Ne Parle Pas Français using previous accounts for Englishness, Otherness and the context of modernism –primarily featuring imperialism. The author concludes that there is an English identity portrayed in Je Ne Parle Pas Français, but that it is to a greater extent associated with imperialism than other identifiable cultural traits.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1967. / Typescript. Vita. Includes bibliographical references.

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Thesis (Ph.D.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / The aim of this dissertation is to examine Katherine Mansfield's achievement from a new perspective, the final phase of her life, the period of Fontainebleau. This period provides us with a framework for understanding her short stories because it serves to integrate her ideas and her fiction. By bringing her life and work much closer together than critics had previously done, I have shown that her decision to go to Fontainebleau is a natural evolution of her thought and not an abdication of reason. My interpretation has been substantiated with references to Katherine Mansfield's writing, with oral and written reports of people who knew her at the Prieure in Fontainebleau, and with all available scholarship. Since it was not possible to work with the original manuscripts and journals, the central focus of the dissertation is on the short stories, which Katherine Mansfield had the opportunity to edit before publication. Chapters One and Two deal with the major forces which influenced the author's life and the period of time she actually spent at the Prieure. The next four chapters trace her ideas prior to her decision to go to Fontainebleau. The material in the stories, journals, and letters is organized around four crucial experiences in Katherine Mansfield's life: expatriation, love fore John Middleton Murry, the death of her brother and her loss of health, the constant search for understanding. Chapter Three, "To Be a Stranger," considers the experience of isolation as it first appears in her early work, In a German Pension, and as it is treated in her later stories. In Chapter Four, "To Love and Marry," Katherine Mansfield's attitude toward love is studied in relationship to her life with John Middleton Murry. Chapter Five, "To Live and Be Well," traces the significance of the author's understanding of herself as the loss of her health results in a revaluation of her effort to live exclusively as a writer. Chapter Six, "'To Find the Snail Under the Leaf,'" explores the major motif of "the search" in the author's life and fiction. The final chapter of this book, "'To Laugh with the Heroes,'" measures the significance of Fontainebleau in terms of Katherine Mansfield's ideas about her future as an artist. This dissertation corrects two prevalent misapprehensions about Katherine Mansfield: the first, that the desperate state of her health reduced her grasp on reality to a condition bordering on absolute despair, and the second, that her significance as a writer should be based primarily upon her technical innovations. "The Way to Fontainebleau" demonstrates that a proper assessment of Katherine Mansfield's literary achievement cannot be made without understanding the significance of the period of Fontainebleau. / 2999-01-01

This thesis is the first full-length study to investigate memory discourse in Katherine Mansfield’s short stories. It presents multiple close readings of the ways in which memory is inscribed in Mansfield’s stories, taking an approach to memory drawn from the philosophy of the French philosopher Henri Bergson. What Mansfield and Bergson share in common is an idea of the insistence of memory – its survival, determination, assertion and resistance – during a period of multiple social and historical change when memory was variously seen to be in crisis. Bergson’s distinctive theory of memory which opposes temporalism (or ‘time in the mind’) with measured (or ‘spatialised’) time provides a rich interpretive tool for analysing memory in Mansfield’s fiction. Following phases of Bergson’s developing thinking, each of the four chapters introduces a different dimension of memory – the generative, the topological, the degenerative and the cosmic – through which I analyse The Aloe and Prelude, ‘At the Bay’, ‘The Garden Party’, ‘The Daughters of the Late Colonel’, ‘Bliss’ and ‘The Canary’ as well as other less well-known examples of Mansfield’s fictional and personal writings. What emerges from this process is a new Mansfield acutely sensitive to the insistent power of memory and the attenuation of time past into the present, concurrent with some of her modernist contemporaries, yet especially attuned to the signal and significant thought of Bergson.

Th. doct.--Lettres. / Notes bibliogr. Bibliogr. p. 266-280. Index.