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1
Morgan, Jane Mary Kathleen. „Like Katherine“. Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1001814.
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Vicky, a thirty something English radio journalist, has moved to Cape Town to try and work out what it is that's missing from her life and to fill the gap. At first she thinks she's found what she's looking for, but a series of unsettling events makes her realise she has simply brought her problems with her. She goes back to England, ostensibly for work, where she is contacted by her stepbrother, Mark. They hardly know each other but he has a reason for wanting to find her. They meet and, for both of them, their encounters change the way they see themselves and their relationships. Vicky comes to understand more about her past and her family and, for the first time, to find a connection with her emotional life
2
Johnstone, Vanessa. „"Divine warnings" : Katherine Mansfield“. Master's thesis, University of Cape Town, 2009. http://hdl.handle.net/11427/8944.
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Includes bibliographical references (leaves 85-87).On her death in January 1923, Katherine Mansfield bequeathed a body of work - both fictional and critical-sufficient to fill several volumes. Although she was not of English origin, she nevertheless counted many celebrated figures of the era as her consorts. Why then, does she remain peripheral to the canon? This dissertation probes the problem of Mansfield's reputation, examining the reasons that she remained (and remains) insufficiently recognised for her contribution to modernist literature. It further proposes that Mansfield's writing displays many of the hallmarks of modernism for which her peers - whose writing succeeded hers by several years - would later become famous.
3
Richardson, Rebecca J. Richardson Rebecca J. Richardson Rebecca J. „The garden party must go on : class sympathy and characterization in Katherine Mansfield's short stories & "A surprise" and other original short stories /“. Connect to online version, 2005. http://ada.mtholyoke.edu/setr/websrc/pdfs/www/2005/105.pdf.
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Poon, Yuk-kang Anita. „A discourse analysis of Katherine Mansfield's The garden party and other short stories“. [Hong Kong : University of Hong Kong], 1987. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12754250.
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Reimer, Melissa. „Katherine Mansfield: A Colonial Impressionist“. Thesis, University of Canterbury. School of Humanities, 2010. http://hdl.handle.net/10092/5289.
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This thesis considers Katherine Mansfield’s development as a writer in relation to late nineteenth and early twentieth century developments and trends in the visual arts in New Zealand, England and France. Mansfield’s notebooks, letters and stories evidence a definite response to developments in modern art and reveal that she aligned herself more closely with painters than with her literary colleagues; something Francis Carco hints at in his fictional account of her in Les Innocents (1916): he describes Mansfield as a predatory and exploitative woman with a detached manner, who “used him just the way a painter uses a model, studying character and movements” (cited in Mortelier 150). There exists in Mansfield’s stories evidence of the influence of the Impressionist and, to a lesser degree, the Post-Impressionist painters. While this influence has been noted by a selection of critics or rather her work has been described as impressionistic, it has been neither explored nor substantiated from an art historical perspective. My methodology has entailed identifying the defining characteristics of Mansfield’s stories that are also found in Impressionism, in as much as two different aesthetic forms can be compared. I then trace the exhibition history and contemporaneous criticism of modern French art in London and Paris alongside Mansfield’s trajectory in adulthood to ascertain the degree of exposure she had to Impressionism. In addition to that which she encountered in Europe, much consideration has been given to the artistic milieu of New Zealand prior to and following her schooling in London. I have sought to identify which of the modern artists and styles Mansfield most closely identified with, and to determine how precisely and extensively she applied the Impressionists’ painterly techniques and stylistic effects to her own prose. Broadly speaking, Mansfield’s preferred subjects may be grouped under three titles: Domestic Interiors, Urban Landscapes and Rural Landscapes – these were also the Impressionists’ favoured subjects. These categories, then, form the basis of my investigations.1
This thesis also explores the degree to which Mansfield’s colonial upbringing influenced, inspired and determined the themes and issues she chose to address, from the various forms of expression that were available to her to inherit and modify. My research reveals how both the cultural climate and the unique light and landscape of her own country made her susceptible to the ideas of the Impressionists and Post-Impressionists, even before she reached the more art-oriented cities of London and Paris. Mansfield’s status as a foreigner in Europe allowed her greater freedom to experiment and greater licence to borrow from other cultural forms and traditions. Though strains of Realism, Naturalism, Symbolism and
1 The consequence of choosing to structure my material around Mansfield’s three dominant subjects has resulted in some degree of repetition within this manuscript. This also means, however, that the individual chapters are strong enough to stand alone and thus this doctoral thesis should prove a valuable reservoir for future research.
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Expressionism are all evident in Mansfield’s modernist fiction, it is the impressionistic quality of her work – evident in the fleeting and evocative sketches of the everyday – that is the overriding feature. Her colonial heritage was not only a significant factor in this development, but to a degree, the enabling condition – allowing her to reconcile the lessons of Europe within a New Zealand literary context resulting in a unique brand of Colonial Impressionism.
NOTE ON THE TEXT
Mansfield’s inconsistent and idiosyncratic spelling and punctuation have been retained within quotes in this thesis. In her letters she often dispensed with apostrophes and rarely used commas, instead preferring the dash. When citing, I have chosen not to follow these particular oddities with [sic] as these would be too numerous and would disrupt the flow of the text. I have instead followed the conventions of Mansfield’s editors.
6
Harland, Faye. „Katherine Mansfield and visual culture“. Thesis, University of Dundee, 2017. https://discovery.dundee.ac.uk/en/studentTheses/e2872ae4-1cb3-4efb-980f-01407629a6b1.
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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 period for the role of women in the Western world. Although studies exist that consider the relationship between Mansfield’s writing and modern art and cinema, this thesis will provide a wider context for this period of cultural history. I take a variety of technological advancements into account, examining they ways in which they collectively provided the inspiration behind modernist literature’s new subjectivity of vision. As well as film, I will discuss the arts that developed prior to or alongside it, from the magic lantern to photography, and the impact they had on literature as writers sought new forms of representation. Furthermore, I believe that I will be able to examine this shift in cultural consciousness in a unique way through my focus on Mansfield, an author whose experimental work has received far less critical attention in terms of its engagement with other media than that of her contemporaries. Through reference to the visual arts, Mansfield was able to subjectively focalise her short stories through the eyes of her characters, presenting the ways in which women see and are seen in early twentieth-century society.
7
Tolley, Rebecca. „Mary Katherine Goddard, Nancy Hart“. Digital Commons @ East Tennessee State University, 2006. https://www.amzn.com/1851094083.
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Book Summary: This definitive scholarly reference on the American Revolution―written by acclaimed researchers and military experts from around the world―covers the causes, course, and consequences of the war and the political, social, and military origins of the nation.
8
Deb, Ajanta. „Katherine Mansfield: a thematic study“. Thesis, University of North Bengal, 1999. http://hdl.handle.net/123456789/1157.
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Hamilton, Dakota L. „The household of Queen Katherine Parr“. Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332964.
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Kimber, Geraldine Maria. „Katherine Mansfield : the view from France“. Thesis, University of Exeter, 2007. http://hdl.handle.net/10036/33714.
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The aim of this thesis is to assess the reason why Katherine Mansfield’s reputation in France has always been greater than in England. The thesis examines the ways in which the French reception of Mansfield has idealised her persona to the extent of crafting a hagiography. I ask: what were the motives behind the French critics’ desire to put Mansfield on a pedestal? How did the three years she spent on French soil influence her writing? How do the translations of her work collude in the myth surrounding her personality? Although several other scholars have discussed the Katherine Mansfield myth in France, this thesis is the first sustained attempt to establish interconnections between her own French influences (literary and otherwise), and the mythmaking of the French critics and translators. I have divided my thesis into six chapters. The first places Mansfield in 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 second chapter focuses on the writer’s trips to France, demonstrating the influence of the French experience on her life and works. The third chapter highlights specific French literary influences and how these manifest themselves in her narrative art. In the fourth, I explain the workings of the writer’s narrative art, so that when in the next chapter I study the translations via close textual analysis, it will become clear whether the beliefs and principles expressed in the original texts have been diluted during the translation process. The last chapter prior to the conclusion will follow the critical appraisal of her life and work in France from her death up to the present day, by closely analysing the differing French critical responses. The division of the thesis in this way will enable me to show 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.
11
Jones, Jacqueline Clare Elaine. „Katherine Mansfield and memory : Bergsonian readings“. Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/22976.
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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.
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Subramanian, Alexandra. „Katherine Anne Porter and her publishers“. W&M ScholarWorks, 2001. https://scholarworks.wm.edu/etd/1539623389.
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This biographical dissertation focuses upon Katherine Anne Porter's relationship with her literary agent, Cyrilly Abels, and her editors and publishers, Donald Brace and Seymour Lawrence, who were associated with Harcourt, Brace and Atlantic-Little, Brown respectively. The study is based upon the thousands of pages of correspondence between Porter and her professional associates housed in the Papers of Katherine Anne Porter at the University of Maryland. Porter's professional alliances are placed within the context of nineteenth and twentieth century publishing history and within a long tradition of idiosyncratic author editor/agent dependencies that can be traced throughout American literary history.;The heart of the dissertation includes in depth analysis of the writer's intimate and complex professional friendships with Donald Brace, Seymour Lawrence, and Cyrilly Abels. Porter became dependent upon her publishers for financial and emotional support. The writer's publishers strengthened her artistic identity and offered loyalty and continuous support. at the same time, they demanded the loyalty of their valued client, and they exerted powerful control over her creative agenda. Porter sought to please her publishers for personal as well as practical reasons. For three decades, she struggled to meet their demand that she unnaturally transform herself from a brilliant short story writer into a novelist. In trying fruitlessly to fulfill their expectation, her financial indebtedness to them grew steadily; she experienced years of frustration, anxiety, and despair, contributing to an arduous creative journey marked by prolonged silences. Gradually, Porter developed an extreme resentment, even hostility, toward her publishers, especially after she discovered that she had unknowingly relinquished all of her literary rights and controls to them. She discovered the hard way that the complete trust she had put in her publishers had been misguided. She would have been wise to employ the services of an agent early on in her career, but she mistakenly believed that agents were superfluous and would only interfere with the author-publisher bonds she wished to cultivate. By the time Porter finally chose to work with an agent she trusted implicitly, Cyrilly Abels, it was too late in her career to make a practical difference.;Katherine Anne Porter experienced the publishing world as intimate, familial, and nurturing and also as competitive, results-oriented, and mercenary. The contradictions within this world made it difficult for the writer to navigate, as her inner world of imagination and creativity were profoundly at odds with the practical aspects of profits, losses, contracts, and deadlines. Ironically, the writer's inability to distance herself from her editors and publishers encouraged her complete cooperation with them, so that she participated actively in her own artistic incarceration.
13
Sundlöf, Sten-Ove. „Stilstudie - Katherine Mansfield och Stephen King“. Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160257.
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In this essay I will present a stylestudy of he New Zeeland born author Katherine Mansfield, 1888 - 1923 and american master of horror, Stephen King, born 1947. The main focus is to analyze how they use the literary tools of time, place and focalisation and to make a literary experiment where I practise the learnings I have made. I will try to answer how the authors use time, place and focalisation in the novels? In my literary experiment, can I find the differences and similarities? I have studied two shortstorys: Katherine Mansfields The Garden Party and from Stephen King, 1922.I read my first short story from Mansfield and King more than twenty years ago and over the years they have stayed in my memory as strong and positive experiences of reading. My aim is to learn more about the author's style with special attention to time, place and focalisation. The tools for this is studies of their works in connection to these three concepts and a literary experiment where I try to mimic the authors. In this my work I have found similarities and differencies between the two authors. Differencies coming from the different times when they write: Mansfield from early 1900 modernism and romanticism and King contemporary literature and horror. I have deepened my understanding of place and time and captured new knowledge about focalization, a term that was new to me as I started the course. Both authors write chronologically over different timespace (one day and a decade). They use dialogue, both internal and external. They switch between external nd internal/varied internal focalization wich makes the novels fascinating and intriguing. I have found that is is possible to cross the style of the tho authors and create a credible story.
14
Bohse-Ziganke, Thea. „Generalkonsulin Katherine Brucker unterwegs in sächsischen Bibliotheken“. Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2009. http://nbn-resolving.de/urn:nbn:de:bsz:14-ds-1237558937907-91805.
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Im August 2008 kam Katherine Brucker nach Leipzig, um ihre neue Aufgabe als Generalkonsulin des Leipziger US-Generalkonsulats in der Wilhelm-Seyfferth-Straße zu übernehmen. Von Beginn an hat Katherine Brucker das Engagement des Konsulats für Bibliotheken vielfältig unterstützt. Sie ist selber schon von Kindesbeinen an eine leidenschaftliche Leserin, deshalb ist ihr die Bedeutung von früher Lese- und Lernförderung sehr bewusst. Bibliotheken sind für sie Zentren für Bildung und Forschung und mit ihren historischen Beständen auch für die Archivierung. Gleichzeitig haben sie eine wichtige kommunale Funktion.
15
Byrne, Tracy J. „Katherine Philips and the discourse of virtue“. Thesis, University of Glasgow, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.248191.
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Schmitt, Katherine. „Un Éxito de Miércoles con Katherine Schmitt“. Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657596.
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"""Un Éxito de Miércoles"" es un espacio dirigido a la comunidad UPCina en el que compartiremos historias, experiencias y trayectoria laboral de nuestros egresados de diversas carreras durante y después de su paso por la universidad.
Nos acompaña Katherine Schmitt, Licenciada en Administración y Marketing por la UPC con más de 8 años de experiencia laboral en áreas de Marketing en empresas líderes de consumo masivo como The Coca Cola Company, Alicorp y Grupo Gloria.
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Santos, Camila Carmo dos. „Os espaços na ficção de Katherine Mansfield“. Master's thesis, Porto : [Edição do Autor], 2010. http://hdl.handle.net/10216/55959.
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Wiedeman, Megan. „A Queer and Crip Grotesque: Katherine Dunn's“. Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7244.
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The grotesque has long been utilized in literature as a means for subverting societal constraints and inverting constructions of normalcy. Unfortunately, in many instances, it has been constructed at the expense of disabled characters using their embodiment as metaphorical plot devices rather than social and political agents. Criticism of the grotesque’s use of bodily difference has prompted this analytical project in order to rethink disability as socially and politically positioned within texts, rather than simply aesthetics for symbolic means. The aim of this paper is to explore the ways the literary grotesque can be reread using queer theory and crip theory as frameworks for constructing agential disabled embodiments in Katherine Dunn’s Geek Love. Ultimately, the potential of queer and crip interventions necessitates an examination of the systems of power disabled subjects operate within in these narratives.
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Santos, Camila Carmo dos. „Os espaços na ficção de Katherine Mansfield“. Dissertação, Porto : [Edição do Autor], 2010. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000207090.
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Gödden, Vinah. „Katherine Allfrey (1910 - 2001) Portrait einer deutsch-englischen Jugendbuchautorin“. Bielefeld Aisthesis-Verl, 2006. http://d-nb.info/99054284X/04.
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Cross, Roland R. „Edwardian Mansfield : the forgotten career of an early modernist /“. free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9901230.
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Eriksson, Charlotte. „Katherine Mansfield och Virginia Woolf : Masker och självidentiteter“. Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-44885.
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This paper investigates the relationship between the two modernist writers Katherine Mansfield and Virginia Woolf. The two authors had a frail and complicated friendship that influenced their fiction and fictional characters more than the general public knows. My paper investigates how Woolf can have found her fictional story ideas direct from their friendship. With a comparative theory I’m finding and giving examples of how their friendship is reflected in their fictional stories, and I’m backing up my examples with citations from their own diaries, letters and notebooks. Another important part in my paper is the theme of masks and multiple identities. The two authors both expressed the need to hide behind different masks in order to please the society and their surroundings. This feeling, and this theme of multi pleidentities, also shines through in their fiction, and I will exemplify it with parts from their novels and short stories, and also develop my own thoughts on why they felt the need to use these false masks.
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Castineira, Rita de Cassia Pastorin. „Instâncias enunciativas sujeitudinais na obra de Katherine Mansfield“. Universidade Federal de Uberlândia, 2006. https://repositorio.ufu.br/handle/123456789/15470.
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Our research has as corpus fragments of letters, journals and short stories of the
English writer Katherine Mansfield. We approach the meta-discursiveness of letters and
journals and the esthetics-literary discursiveness of short stories of the writer in order to
verify the intercrossing of speeches between the Author-Subject Enunciative Position
(ASEP) and Writer-Subject Enunciative Position (WSEP) and the moving of meaning
that is established in the thematic enunciative regularities from the letters and journals
to the short stories. Thereby, we search the understanding of a continuous in enunciative
alteration between different speeches enunciated between the real of language and
history, in sieve of an Author-Subject Enunciative Position (ASEP) that enunciates the
letters and journals, and the one Writer-Subject Enunciative Position (WSEP) that
enunciates the narrative of the short stories in the intercrossing polyphonic-interdiscourse
from a Narrator-Subject Position (NSP) and from a Character-Subject
Position (CSP). The way that unravels the literary esthetic discursiveness of meaning in
the gender of short stories has its theoretical support in the French Discourse Analysis;
in Pêcheux (1995; 2006) in the notions of subject, discourse and significance; a
theoretical-linguistic referential support in Authier-Revuz (2001; 2004) in the
heterogeneous enunciateveness of the speeches and, finally, two theoretical
complementary bases. The first in Mikhail Bakhtin (1997; 2004) accosting notions of
dialogism, polyphony and genders of discourse, and the second in Foucault (1995) e Le
Goff (1990; 2003) dealing with the letters and the journals as monument document.
With this theoretical support, we verify the constitutive meta-discursiveness of the
Author-Subject Enunciative Position that implies in an esthetic discursiveness
enunciated by the Writer-Subject Enunciative Position, forming, in this way, the
speeches of an enunciative literary-esthetics manifestation in the meaning of the gender
short stories.Nossa pesquisa tem como corpus fragmentos de cartas, diários íntimos e contos da escritora inglesa Katherine Mansfield. Abordamos a metadiscursividade das cartas e diários íntimos e a discursividade estético-literária dos contos da escritora com interesse em verificar os entrecruzamentos de dizeres entre a Instância Enunciativa Sujeito-autor (IESA) e a Instância Enunciativa Sujeito-Escritor (IESE) a partir da movência dos sentidos que se estabelece nas regularidades enunciativas temáticas das cartas e diários íntimos para os contos. Desse modo, buscamos o entendimento de uma alteridade enunciativa contínua presente entre os diferentes dizeres enunciados entre um real da língua e da história, no crivo de uma Instância Enunciativa Sujeito-Autor (IESA), enunciada por meio das cartas e diários íntimos e de uma Instância Enunciativa Sujeito- Escritor (IESE) que enuncia a narrativa dos contos no atravessamento polifônicointerdiscursivo de uma Posição Sujeito-Narrador (PSN) e de Posições Sujeito- Personagem (PSP). Assim, o caminho que desvenda a discursividade estético-literária do sentido do gênero conto tem embasamento teórico na Análise do Discurso Francesa, em Pêcheux (1995; 2006) nas noções de sujeito, discurso e sentido. Encontramos, ainda, um suporte referencial teórico-lingüístico em Authier-Revuz (2001; 2004) nos estudos sobre as heterogeneidades enunciativas do dizer e, por fim, duas bases teóricas complementares: a primeira em Mikhail Bakhtin (1997; 2004) com as noções de dialogismo, polifonia e gêneros do discurso e a segunda em Foucault (1995) e Le Goff (1990; 2003), tratando a carta e diário íntimo como documento monumento. Com esse embasamento teórico, verificamos a metadiscursividade constitutiva da Instância Enunciativa Sujeito-Autor (IESA) que implica uma discursividade estética enunciada pela Instância Enunciativa Sujeito-Escritor (IESE), constituindo, dessa maneira, os dizeres de uma manifestação enunciativa estético-literária sentidural do gênero conto.
Mestre em Lingüística
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Nakano, Eiko. „One or many : Bergsonian readings of Katherine Mansfield's modernism“. Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/1781.
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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.
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Lewison, Janet. „A mind at bay : a study of Katherine Mansfield“. Thesis, University of Liverpool, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303139.
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Danjoux, Chantal. „La femme seule à travers Colette et Katherine Mansfield“. Paris 4, 1985. http://www.theses.fr/1985PA040107.
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Joubert, Claire. „Lire le féminin : Dorothy Richardson, Katherine Mansfield, Jean Rhys /“. Paris : Éd. Messene, 1997. http://catalogue.bnf.fr/ark:/12148/cb36187766k.
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Jaskunas, Paul Richard. „Faith and Banishment : the Artistic Credo of Katherine Anne Porter“. Oberlin College Honors Theses / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1406035076.
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Jaross, Nandor. „Diabetic retinopathy in the Katherine region of the Northern Territory“. Title page, contents and abstract only, 2003. http://web4.library.adelaide.edu.au/theses/09PH/09phj376.pdf.
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"January 2003." Bibliography: 10.1-10.11 leaves. This thesis presents results from the Katherine Region Diabetic Retinopathy Study (1993-1996). These results provide the first detailed information on the basic epidemiology of diabetic retinopathy and impaired vision in an Aboriginal diabetic population.
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Jones, S. Hester E. „Some literary treatments of friendship : Katherine Philips to Alexander Pope“. Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308236.
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Mendes, Sara Raquel Silva. „Tradução e análise de alguns contos inacabados de Katherine Mansfield“. Master's thesis, Porto : [Edição do Autor], 2013. http://hdl.handle.net/10216/72465.
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Esta dissertação de mestrado tem como objeto de estudo alguns contos inacabados da escritora neozelandeza Katherine Mansfield. O presente trabalho divide-se em duas partes principais. A primeira inclui quatro secções distintas: a primeira secção é constituída por uma breve análise da vida e obra de Katherine Mansfield; na segunda secção apresenta-se uma síntese da história do conto enquanto género literário; na terceira, procede-se a uma breve análise das características mais relevantes da ficção de Mansfield; por último, oferece-se uma revisão das principais teorias da tradução e dos princípios que presidiram à realização da tradução que se apresenta na segunda parte da dissertação. A segunda parte, para além de apresentar uma proposta de tradução de alguns dos contos inacabados de Katherine Mansfield, expõe as principais dificuldades sentidas ao longo do processo translatório.
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Soulhat, Delphine. „Poétique de la rencontre dans les nouvelles de Katherine Mansfield“. Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100129/document.
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S’intégrant dans une époque moderne souvent définie par la déstabilisation des institutions et du rapport intersubjectif, les nouvelles de Katherine Mansfield présentent de nombreux exemples d’échecs intersubjectifs. Il s’agit donc d’effectuer un retour aux sources de la relation pour trouver les formes et modes de rencontre possibles et interroger leur potentiel fondateur. Telle que l’envisage Mansfield, la rencontre en tant que problématique de l’altérité – trouvée en soi ou en l’autre – s’organise selon trois espaces, symboliques ou réels : dans l’espace intime et intersubjectif, la rencontre déploie des enjeux ontologiques et existentiels ; dans l’espace géographique, elle invite à adopter une perspective qui interroge la place du politique dans les mouvements coloniaux et internationaux ; dans l’espace artistique, les déclinaisons infinies de la rencontre laissent envisager la possibilité d’une poétique originale façonnée par la convergence des arts, des genres et styles. La poétique de la rencontre se manifeste dans une logique qui n’est pas aristotélicienne au sens strict et où la création artistique est en jeuModernity has been defined as a destabilizing time for both the institution and the subject. Katherine Mansfield’s short stories fit in this definition as they provide many examples of inter-subjective failure. It is thus fundamental to go back to the origins of the relationship in order to uncover the various types and modes of encounter and to interrogate their constructive potential. The encounter as Mansfield conceives of it addresses the question of otherness within three different spaces. The encounter displays ontological and existential stakes in the intimate space; it invites the reader to displace the critical perspective on colonial and global movements from the political to the cultural in the geographic space; and it unveils its countless variants in an artistic space, thus generating an original poetics shaped by the convergence of arts, genres, and styles. The poetics of the encounter manifests itself according to a definition that goes beyond the Aristotelian frame. What is at stake is artistic creation itself
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Fontenele, Rocicler Saraiva. „Kezia's stories : a reading of four tales by Katherine Mansfield“. reponame:Repositório Institucional da UFSC, 1991. https://repositorio.ufsc.br/xmlui/handle/123456789/157684.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina. Centro de Comunicação e ExpressãoMade available in DSpace on 2016-01-08T17:04:50Z (GMT). No. of bitstreams: 1 83638.pdf: 2668272 bytes, checksum: 3462f3860fbbd9524555a9e754126b1a (MD5) Previous issue date: 1991
A conclusão mostra que as histórias de Kesia são na verdade, uma importante amostra da obra de Katherine Mansfield. Além de servir a escritora como catarse, aliviando-lhe o peito de emoções longamente escondidas e, quem sabe, de um certo remorso, as estórias em si - por sua riqueza de recursos literários - elevaram grandemente o valor da produção da escritora. Para o leitor, por seu turno, como rico banquete de finas e raras iguarias, a leitura destes quatro contos de Katherine Mansfield proporciona momentos de grande prazer.
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Mendes, Sara Raquel Silva. „Tradução e análise de alguns contos inacabados de Katherine Mansfield“. Dissertação, Porto : [Edição do Autor], 2013. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000228806.
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Esta dissertação de mestrado tem como objeto de estudo alguns contos inacabados da escritora neozelandeza Katherine Mansfield. O presente trabalho divide-se em duas partes principais. A primeira inclui quatro secções distintas: a primeira secção é constituída por uma breve análise da vida e obra de Katherine Mansfield; na segunda secção apresenta-se uma síntese da história do conto enquanto género literário; na terceira, procede-se a uma breve análise das características mais relevantes da ficção de Mansfield; por último, oferece-se uma revisão das principais teorias da tradução e dos princípios que presidiram à realização da tradução que se apresenta na segunda parte da dissertação. A segunda parte, para além de apresentar uma proposta de tradução de alguns dos contos inacabados de Katherine Mansfield, expõe as principais dificuldades sentidas ao longo do processo translatório.
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Mayer, Katherine [Verfasser]. „Methodische Untersuchung zur Standardisierung der exfoliativen Vaginalzytologie der Hündin / Katherine Mayer“. Gießen : Universitätsbibliothek, 2018. http://d-nb.info/1154681068/34.
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Yip, Wai-shan, und 葉慧珊. „Oscar Wilde in the mirror of the work of Katherine Mansfield“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46701527.
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Gudmundsson, Maria. „The Oceanic Feeling : A Freudian Reading of Katherine Chopin's The Awakening“. Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-32906.
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Abstract Kate Chopin’s The Awakening is a book about women’s position in late 19th century, showing a woman’s attempt to find liberation and emancipation in a restricting, male-dominated society. Much is revealed already in the title. We understand that the text is about someone who will awaken, and the heart is in fact a story about Edna Pontellier’s gradual awakening to her own sexual and individual being, what it is and what she has to do. She is a woman living in a society where a wife is expected to be rather weak and dependable on her husband. Step by step she discovers why she does not feel pleased with doing what is expected of her by her husband and by society. The acts of Edna Pontellier, the protagonist in Kate Chopin’s novel The Awakening, is in this essay analysed with help of the Freudian terms oceanic feeling, the unconscious, and the pair Eros and Thanatos. Edna’s different swims gradually help her to find what is hidden in her unconscious. At the start of the novel, she is not conscious of the fact that there is another, deeper set of feelings, but the essay shows how through her minor swims she is driven by the Eros drive towards an overwhelming awakening which leads her to Thanatos and her final oceanic swim.
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Dahn, J. K. L. „Women and taste; a case study of Katherine Plymley (1758-1829)“. Thesis, Aberystwyth University, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518409.
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This thesis interrogates a particular construction of taste, or aesthetic consumption. The principal source material is the archive appertaining to Katherine Plymley (1758- 1829) which consists mainly of diaries, travel journals and study notebooks, and is held in the Shropshire Research and Records Office in Shrewsbury. The published correspondence of Mrs Delany (1700-1788) is used for the evidence it provides of a contrasting lifestyle. Katherine Plymley's stance was informed by various theoretical approaches, including those of Thomas Pennant (1726-1798), Archibald Alison (1757-1839), and Richard Payne Knight (1751-1824) all of whom were personally known to her. She was also influenced by the views of James Beattie (1735-1803), William Shenstone (1714-1772) and the Reverend William Gilpin (1724-1804). Her social milieu included the families Wedgwood and Darwin, and the Quaker industrialists of the Coalbrookdale valley. The first chapter gives an overview of Katherine Plymley's writing and establishes a social and cultural context. The second situates her in terms of theoretical developments, and shows how her view of visual culture was conditioned by theoretical views. The following three chapters discuss the influence of dissenting Christianity in the visual field, the impact of industry on visual culture, and the effect of Picturesque discourse. Women's relationship(s) with material culture and the significance of ceramics as key components of material culture are considered in chapters six to eight. The final chapter examines case studies of portraiture. Issues of class and gender are central to the argument throughout.
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Carneiro, Sarah Maria Borges. „Clarice Lispector e Katherine Mansfield: relaÃÃes de poder no universo infantil“. Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10859.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorO presente trabalho tem como objetivo examinar comparativamente os contos âFelicidade Clandestinaâ, âPreciosidadeâ e âOs desastres de Sofiaâ, de Clarice Lispector, e âA casa de bonecasâ, âA pequena governantaâ e âAula de cantoâ, de Katherine Mansfield. O problema se coloca no que diz respeito Ãs estratÃgias desenvolvidas pelas crianÃas e adultos para circular entre as relaÃÃes de poder que se desenvolvem associadas à infÃncia. Mesmo ocupando espaÃos histÃricos e culturais diferentes, as escritoras se assemelham por destacarem a presenÃa de personagens crianÃas em suas narrativas. Partindo da hipÃtese de que as tensÃes que ligam a ideia de poder e infÃncia sÃo instÃveis, buscaremos verificar como as personagens dos contos selecionados circulam no universo da infÃncia, rompendo com o paradigma da vitimizaÃÃo da crianÃa.
The present paper aims to exam comparatively the short stories âFelicidade Clandestinaâ, âPreciosidadeâ and âOs desastres de Sofiaâ, from Clarice Lispector, and âA casa de bonecasâ, âA pequena governantaâ and âAula de cantoâ, 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 childâs victimization.
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Punzel, Andreas 1955. „Patriarchal voices and female authority in Katherine Anne Porter's Miranda stories“. Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/282343.
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This study offers a feminist reading of Katherine Anne Porter's Miranda stories and includes in its discussion "Old Morality," "Pale Horse, Pale Rider," and the stories of The Old Order as well as the "implicit" Miranda stories "Flowering Judas" and "Holiday." Focusing on questions of gender politics, the study traces the ways the representatives of patriarchal culture within Porter's texts attempt to circumscribe Miranda in traditional gender roles and examines the extent to which Miranda succeeds in asserting her independence. Central to the analysis is the argument that gender politics do not rely on methods of subjection and repression but instead employ strategies of subversion to effect Miranda's self-subjugation to and self-containment within the social order. The theoretical basis for this argument lies in the discourse theory of Mikhail Bakhtin and Michel Foucault's concept of power. Following Miranda's life chronologically, the study explores its main stages: her upbringing in the confining context of the family, which attempts to insert her into the prevailing sexual economy and traditional gender roles; her flight into the world and into a life of social and intellectual independence but also sexual self-abnegation; her escape from language into silence as a result of her marginalization; and her subsequent return to the world as a more assertive woman.
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Carneiro, Sarah Maria Borges. „Clarice Lispector e Katherine Mansfield: relações de poder no universo infantil“. www.teses.ufc.br, 2013. http://www.repositorio.ufc.br/handle/riufc/8116.
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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)
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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.
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Nelson, Katherine Snow. „Influenza, Heritage, and Magical Realism in Katherine Anne Porter's Miranda Stories“. BYU ScholarsArchive, 2015. https://scholarsarchive.byu.edu/etd/4416.
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Despite the devastating scope of the Spanish Influenza Pandemic of 1918, curiously few references to the flu exist in literature. Katherine Anne Porter offered one of modernism's only extensive fictional treatments of the pandemic in her short novel “Pale Horse, Pale Rider,” decades after her own near-death encounter with the flu. Porter was able to give voice to an experience that had traumatized others into silence by drawing on an early form of magical realism. Magical realism's ghosts—everyday presences rather than otherworldly beings to be feared—are of particular relevance to “Pale Horse, Pale Rider” since ghosts “haunt” Porter's semi-autobiographical Miranda throughout the story, acting as correctives to Miranda's (and Porter's) desire to isolate herself from the familial and regional heritage that burdens her with unwanted and often conflicting ideologies. Ultimately, in using magical realism to explore her sense of self and to articulate the alienating effects of her near-death experience, Porter is able to embrace her complicated heritage and her fractured past, reclaiming interconnectedness while maintaining her individuality.
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Coolahan, Marie-Louise. „Gender and occasional poetry in seventeenth-century manuscript culture“. Thesis, Nottingham Trent University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324593.
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Ryder, Katherine Ann. „Alternate forms of knowledge in polysubstance use subgroups /“. Oklahoma City : [s.n.], 1999. http://library.ouhsc.edu/epub/theses/Ryder-Katherine-Ann.pdf.
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Muller, Silvia Marianne. „O símbolo folclórico e cristão nos contos mexicanos de Katherine Anne Porter“. reponame:Repositório Institucional da UFPR, 2010. http://hdl.handle.net/1884/22527.
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Resumo: O símbolo folclórico e cristão nos contos mexicanos de Katherine Anne Porter limita-se a: Maria Concepción, The Martyr, Virgin Violeta, Flowering Judas, Hacienda e That Tree. Katherine Anne Porter insiste em dois fatos importantes em sua obra: que o simbolismo nasce da consciência do autor, juntamente com suas experiências, e ; que a procura da verdade foi uma de suas constantes ao escrever os contos. Daí a necessidade de investigar a verdade histórica, e nela descobrir o sentido mais profundo expresso através da simbologia da autora. Sob um clima de pós-revolução, (Revolução Mexicana de 1910) encontra-se um povo à procura da identidade por meio de reações antitéticas de amor e violência, fidelidade e traição. É um povo rebelde. Sua intransigência é individual e também social. Luta entre a solidão e a transcendência, aceitando a morte, e dela fazendo uso em suas explosões de protesto, desespero e ódio. Ao mesmo tempo, apresenta-se um povo que aspira à comunhão, ao amor, à tranqüilidade, ao contentamento e ao equilíbrio; uma comunidade que reconhece o valor da mulher e o seu desempenho social. Apesar de o homem aparecer em situações antagônicas, ele tem um ideal, e com este, uma grande esperança e uma perspectiva de salvação. A grande preocupação da autora é apresentar o indivíduo dentro da família e da sociedade. Esta sociedade é primitiva e se encontra dentro de um mundo agitado, em constante mudança. Apesar das dificuldades, entretanto, encara a situação com vigor e sem medo, como um desafio. A gênese da simbologia de Katherine Anne Porter foi procurada na verdade histórica com que ela se familiarizou, a ponto de identificar-se com a consciência primitiva das personagens e interpretar-lhes o universo de sua alma sofrida. Esse estado de espírito surge tanto nos títulos como na contextura dos contos, caracterizando esse universo.
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St-Laurent, Suzanne. „Pour une approche narratologique du journal intime : le Journal de Katherine Mansfield“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0019/NQ46690.pdf.
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Waggoner, Marsha Frakes. „Dismembered Virgins and Incarcerated Brides: Embodiment and Sanctity in the Katherine Group“. Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1373%5F1%5Fm.pdf&type=application/pdf.
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Armstrong, Katherine [Verfasser], und Daniel [Akademischer Betreuer] Frost. „Redox Evolution of the Early Earth’s Mantle / Katherine Armstrong ; Betreuer: Daniel Frost“. Bayreuth : Universität Bayreuth, 2018. http://d-nb.info/1182424686/34.
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Erlich, Katherine [Verfasser], und Hermann [Akademischer Betreuer] Gaub. „Single-molecule directed assembly and enzyme investigation / Katherine Erlich ; Betreuer: Hermann Gaub“. München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2018. http://d-nb.info/1198111771/34.
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St-Laurent, Suzanne. „Pour une approche narratologique du journal intime le Journal de Katherine Mansfield“. Thèse, Université de Sherbrooke, 1998. http://savoirs.usherbrooke.ca/handle/11143/2701.
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Peu de chercheurs ont entrepris d'étudier en profondeur le journal intime. Pourtant la dynamique inhérente à ce genre littéraire offre un terrain propice à une variété d'explorations. Cet ouvrage s'attache à l'aspect narratif du journal intime. Nous prenons pour acquis que ce dernier raconte une histoire prise en charge par un discours. Dans une perspective temporelle, nous abordons les diverses manifestations du récit dans le genre étudié. La thèse se divise en deux principales parties. Dans un premier temps, nous élaborons une théorie du récit du journal en s'inspirant de celle proposée par Gérard Genette dans Figures III . À l'instar de Genette, nous explorons la temporalité du récit selon trois volets: l'ordre, la durée et la fréquence. Chaque volet est étudié à partir d'un corpus de journaux québécois et français. Nous retrouvons, entre autres, le Journal en miettes de Ionesco, le Journal de Colette et de Benjamin Constant ainsi que ceux de Saint-Denis Garneau, d'Henriette Dessaulles et de Michèle Mailhot. En marge de ces journaux, figure le Journal de Katherine Mansfield, une oeuvre donc l'étude sera reprise dans la deuxième partie de cet ouvrage. De ce corpus il a été possible de dégager quelques consensus quand [i.e. quant] au fonctionnement du récit. Mais la théorie proposée servira avant tout d'instrument par sa capacité à s'ajuster à une oeuvre donnée. La deuxième partie de cette thèse porte sur l'étude approfondie du Journal de Katherine Mansfield. Des concepts développés dans la partie précédente sont mis à contribution afin d'analyser et d'interpréter cette oeuvre majeure de la littérature intime. Les études de l'ordre, de la durée et de la fréquence sont reprises en fonctions du ou plutôt des récits du Journal . Les diverses manifestations temporelles du discours narratif deviennent ainsi des indices forts utiles à la saisit [i.e. saisie] de l'oeuvre. Elles permettent d'appréhender l'évolution et les transformations de la diariste aux [i.e. au] cours des années inscrites dans son Journal.