Titlebook: Katherine Mansfield and Continental Europe; Connections and Infl Janka Kascakova,Gerri Kimber Book 2015 Palgrave Macmillan, a division of M

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吹氣

ASTER

An ‘utterly concrete and yet impalpable’ Art: The Early Reception of Katherine Mansfield in Italy (1agically short and intense life story, thanks also to the large number of letters and private writings that were made available to the public. I am of course referring to John Middleton Murry’s editions of Mansfield’s . (1927), . (1928), . (1939) and . (1951),. but I am also thinking of the many bio

Counteract

Katherine Mansfield’s Early Translations and Reception in Hungaryirst short story in Hungarian translation reads: ‘French prose writers: “A Cup of Tea” written by Katherine Mansfield’, and ‘[t]ranslated from the English by L.I.’.. Sadly there is no means of tracing the story of the publication back to 1930, or of discovering why she was considered a French writer

使成核

DECRY

‘That Pole outside our door’: Floryan Sobieniowski and Katherine Mansfieldriods of Mansfield’s life. She made deliberate and sustained efforts to destroy personal papers from the years 1909–10 — a difficult and painful period — and, as a result, biographers have had very little material evidence to work on when trying to piece together her exact movements during this time

cancer

Katherine Mansfield and Stanis?aw Wyspiański — Meeting Pointsst requires no introduction. Mansfield’s discovery of Stanis?aw Wyspiański and his work seems to have been a coincidence — she could not have heard about him in New Zealand or later in London, as Wyspiański’s name and work at the time and for many years after, was more or less restricted to his Poli

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Katherine Mansfield’s Germany: ‘these pine trees provide most suitable accompaniment for a trombone!therine Mansfield conducts a satirical scrutiny of German cultural pretensions, and perhaps implicitly also of German Romanticism, through the Herr Professor’s combined account of his woodland trombone playing and bodily processes: ‘There is nothing like cherries for producing free saliva after trom

Tremor

‘Liaisons continentales’: Katherine Mansfield, S. S. Koteliansky and the Art of Modernist Translatiots artful triviality, is undercut by an essential seriousness. Her domestic musings while preparing rhubarb resonate between the lines with a dramatic sense of contingent history (‘our Allies’) and of suffering (‘Russians waiting in the snow’, ‘dreadful weapon’, ‘ces evenements si graves’), as well

fertilizer

‘There is always the other side, always’: Katherine Mansfield’s and Jean Rhys’s Travellers in Europe). My comparison of the novel with two of Mansfield’s stories set in Europe, ‘An Indiscreet Journey’ (written in 1915, first published in 1924), and ‘Miss Brill’ (1920), does not claim that Rhys was influenced by Mansfield but rather suggests correspondences between them as colonial modernists, Mans