Katherine Mansfield and Elizabeth von Arnim

2019 ◽  
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
The Other ◽  
Poor Health ◽  
Complex Relationship ◽  
Katherine Mansfield ◽  
Recent Scholarship ◽  
John Middleton Murry ◽  
Shed Light ◽  
Final Letter

Recent scholarship on the complex relationship between Katherine Mansfield and her best-selling author cousin, Elizabeth von Arnim, has done much to shed light on the familial, personal and literary connections between these unlikely friends. Although their lives appeared to be very different (Mansfield’s largely one of penurious poor health, von Arnim’s chiefly one of robust privilege), we know that each of these women experienced the other as an influential presence. Moreover, Mansfield’s narrator in her early collection of short stories, In a German Pension (1911), bears marked resemblances with the protagonist of Elizabeth and her German Garden (1898), and von Arnim’s most radical novel, Vera (1921), was written at the height of her friendship with Mansfield. The final letter Mansfield ever wrote was to von Arnim and, following Mansfield's death in 1923, John Middleton Murry dedicated his posthumous collection of Mansfield’s poems as follows: ‘To Elizabeth of the German Garden who loved certain of these poems and their author’. This volume brings together contributions from leading scholars including Bonnie Kime Scott, Angela Smith and Andrew Thacker, including the prize-winning essay by Juliane Römhild and creative contributions from New Zealand writers Sarah Laing and Nina Powles.

scholarly journals The Intuitive Recommencement of Metaphysics

2016 ◽  
Vol 24 (2) ◽  
pp. 62-83 ◽  
Author(s):  
Camille Riquier
Keyword(s):  
The Other ◽  
Complex Relationship ◽  
Present Essay ◽  
Intellectual Intuition ◽  
Pass Through ◽  
The One ◽  
Élan Vital ◽  
Shed Light ◽  
As If

If we are to understand the complex relationship between Bergson and Kant, we must not approach the former’s philosophy as if it could only be either pre-critical or post-Kantian. Instead, the present essay seeks to shed light on this relationship by treating Kant (after Descartes and before Spencer) as another “missing precursor of Bergson.” In Bergson’s eyes, Kant, like Descartes, contains two possible paths for philosophy, which reflect the two fundamental tendencies that are mixed together in the élan vital and continued in humankind: intuition and intelligence. Bergson breaks with Kant from the interior of his philosophy, which he divides into two Kantianisms: the one, which he rejects as ancient, and the other, which he appropriates. What the analysis of this Bergsonian appropriation of Kant reveals, however, is not the existence of a latent Bergsonism in Kant, but rather the recovery of a Kantianism that is completed in Bergson—a Kantianism that embarked down a path that Kant himself, who held himself back from following it in order to dispense with all “intellectual” intuition, had only sketched. Thus, if Bergson is to be believed, an intuitive metaphysics, which installs itself in pure duration, is neither below nor beyond Kantian critique, but can pass through it, can traverse it in its entirety, since it proposes to surpass it, to prolong it following the path that Kant himself had cleared in order to fulfill its suppressed virtualities.

scholarly journals A review of the ecology of grapevine leafroll associated virus type 3 (GLRaV3)

2006 ◽  
Vol 59 ◽  
pp. 330-337 ◽  
Author(s):  
J.G. Charles ◽  
D. Cohen ◽  
J.T.S. Walker ◽  
S.A. Forgie ◽  
V.A. Bell ◽  
...  
Keyword(s):  
New Zealand ◽  
The Other ◽  
Complex Relationship ◽  
Effective Management ◽  
Full Understanding ◽  
Wide Range ◽  
Leafroll Disease ◽  
Global Understanding ◽  
Type 3 ◽  
Over Time

Grapevine leafroll disease in New Zealand is predominantly caused by the ampelovirus GLRaV3 which is vectored between vines by up to three species of mealybugs (Pseudococcus spp) However global understanding of the transmission and spread of GLRaV3 remains limited and does not definitively show how to successfully manage the disease in New Zealand The disease is a manifestation of a complex relationship between the virus vine and vectors each component of which is interdependent on the other two The review suggests that a full understanding of the disease will require research and operational input from plant virologists entomologists vine physiologists pest controllers vineyard managers grapevine breeders/improvers and winemakers Such a wide range of expertise should ensure that the factors behind the spread of the disease over time (its epidemiology) are accurately determined and that effective management solutions are delivered over the course of decades

scholarly journals ENTREVISTA: Deconstructing Katherine Mansfield: An Interview with Vincent O’Sullivan

2017 ◽  
Author(s):  
Gerardo Rodríguez Salas
Keyword(s):  
New Zealand ◽  
Short Story ◽  
Fictional Characters ◽  
Katherine Mansfield ◽  
Sexual Ambiguity ◽  
Key Issues ◽  
John Middleton Murry ◽  
E Mail

La presente entrevista1 con Vincent O’Sullivan, uno de los críticos más distinguidos en estudios sobre Katherine Mansfield y escritor reconocido, tuvo lugar en Wellington, Nueva Zealand, durante el verano de 2002, con posteriores modificaciones por e-mail. El editor de The Collected Letters of Katherine Mansfield discute aspectos centrales en la narrativa de esta autora, tales como su alcance literario, su relación con el relato corto, su ambigüedad sexual, el distanciamiento entre ella como autora y los personajes que crea, su peculiar modernismo distinto del canónico masculino, el papel de los niños y la autobiografía en su narrativa y sus principales logros y defectos como escritora. El resultado es una imagen subversiva de Mansfield que contrasta con el mito purificador cuidadosamente elaborado por su esposo John Middleton Murry tras la muerte de Mansfield en 1923.Abstract: Held in Wellington, New Zealand, during the summer of 2002 and subsequently upgraded via email, this is an interview with one of the most reputable scholars in Katherine Mansfield studies, Prof. Vincent O’Sullivan, a prolific and respectable writer himself. The editor of Mansfield’s Collected Letters discusses key issues in Mansfield’s fiction, such as her literary status, her connection with the short story genre, her sexual ambiguity, the breach between herself and the fictional characters that she creates, her distinctive modernism as detached from the male canon, the role of children and autobiography in her narrative, and her main achievements and flaws as a writer. The result is a subversive image of Mansfield, opposed to the purifying myth craftily designed by her husband John Middleton Murry after her death in 1923.

Foreign Languages and Mother Tongues: From Exoticism to Cannibalism in Katherine Mansfield’s Short Stories

2015 ◽  
Author(s):  
Elisabeth Lamy-Vialle
Keyword(s):  
Short Stories ◽  
Foreign Language ◽  
Mother Tongue ◽  
The Other ◽  
French Language ◽  
Foreign Languages ◽  
Katherine Mansfield ◽  
English Speaking ◽  
The Way

This chapter discusses the way Katherine Mansfield uses the French language in her short-stories, and specifically in the stories set in France. Mansfield does not only use the French language as a semiological tool but confronts English-speaking readers with a foreign language that constantly interacts with their mother-tongue, imposing on them the Other’s tongue – Derrida’s ‘monolingualism of the Other’. She opens up an in-between space in which the two languages are questioned and unsettled, a process echoing the ‘becoming-other of language’ described by Deleuze. This chapter examines how the tension between English and French reaches a climax in the schizophrenic process at work in ‘Je ne Parle pas français’; language becomes, between the English and the French characters, a ‘cannibal-language’, the aggressive appropriation of the Other through his/her language in order to leave him/her speechless and powerless.

Seated between ‘Geniuses’: Conrad Aiken’s Imaginative and Critical Responses to Katherine Mansfield and Virginia Woolf

2018 ◽  
pp. 42-54
Author(s):  
Sydney Janet Kaplan
Keyword(s):  
United States ◽  
Twentieth Century ◽  
Short Stories ◽  
Creative Writing ◽  
Short Story ◽  
Virginia Woolf ◽  
The United States ◽  
Katherine Mansfield ◽  
American Poet ◽  
John Middleton Murry

The writing of the American poet, fiction writer and critic, Conrad Aiken (1889-1973) significantly affected the critical receptions of Katherine Mansfield and Virginia Woolf in the United States during the first half of the twentieth century. His personal encounters with them during his time of involvement in the production of the Athenaeum is reflected not only in his incisive reviews of their fiction, but in his own creative writing as well. His short stories and experimental memoir, Ushant, (1963) reveal the two women's differing forms of influence upon him. In his memoir, he portrays the relations between Woolf and Mansfield as representative of the ‘merciless warfare’ that prevailed in the London literary world in 1920. If his creative legacy from Woolf was stylistic and psychological, from Mansfield it was inspirational. He was in love with the spontaneity and life-enhancing vitality of her prose, her ‘genius’ for making her characters ‘real.’ The sense of an intuitive connection between himself and Mansfield underpins his imaginative efforts to recreate his encounters with her, as is exemplified most powerfully in his short story: ‘Your Obituary, Well Written,’ (1928) in which he creates a thinly veiled portrait of characters uncannily similar to Katherine Mansfield and John Middleton Murry.

Sargeson, Frank (1903–1982)

2018 ◽  
Author(s):  
Margot Schwass
Keyword(s):  
Short Stories ◽  
New Zealand ◽  
Sexual Morality ◽  
Katherine Mansfield ◽  
Social Vision ◽  
The Usa ◽  
Janet Frame

Along with Katherine Mansfield and Janet Frame, Frank Sargeson is one of New Zealand’s most widely recognized writers. In a career spanning nearly sixty years, he wrote short stories, novels, plays, autobiography, and criticism, and was published in Britain, Australia, Europe, and the USA as well as in his own country. He is popularly viewed as founder and sentinel of the terse, masculine, and essentially realist prose tradition that dominated New Zealand literature for much of his lifetime. However, particularly since the 1980s, readers and critics have attended to qualities other than the apparently authentic ‘New Zealandness’ of Sargeson’s fiction: the narrative subtlety and stylistic sophistication that lies beneath the deceptively plain stories of the 1930s and 1940s, the savagery and compassion of his social vision, his heavily-encoded critique of conventional sexual morality, and the artistic reinvention that enabled his late-career flourishing.

François-Xavier Fauvelle, The Golden Rhinoceros: Histories of the African Middle Ages, trans. Troy Tice. Princeton, NJ: Princeton University Press, 2018 (orig. 2013), ix, 264 pp., b/w drawings, 7 color photos, 2 maps, 1 b/w facsimile.

Mediaevistik ◽  
2020 ◽  
Vol 32 (1) ◽  
pp. 251-252
Author(s):  
Albrecht Classen
Keyword(s):  
New Zealand ◽  
Middle Ages ◽  
Direct Contact ◽  
Mediterranean Coast ◽  
The Other ◽  
Asian Continent ◽  
Medieval Studies ◽  
Princeton University ◽  
Recent Scholarship ◽  
Traditional Research

Recent scholarship has increasingly demanded that we translate our traditional research into Global Medieval Studies. The challenges are daunting, of course, and it might not be practically possible to pursue that goal because most scholars are working in their specific areas and can handle not more than two or three medieval languages. Reaching out to the Asian continent and its medieval past is a very promising, though also highly difficult effort, especially because it seems that if there were any contacts, then those were organized mostly by Europeans exploring the Orient, and hardly the other way around. The connections between Europe and Africa were tenuous and seem to have been limited to trade, primarily with representatives in northern Africa. Nevertheless, gold, ivory, and slaves coming from the kingdom of Mali, for instance, reached the Mediterranean coast. The Americas also experienced a medieval past, but we all know that the first direct contact was established only in 1492, here disregarding the efforts by the Vikings under Eric the Red around 1000. Australia or New Zealand constitute very different and highly distant players in that global spectrum.

scholarly journals “Always Trembling on the Brink of Poetry”: Katherine Mansfield, Poet

Humanities ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 169
Author(s):  
Kimber
Keyword(s):  
Short Stories ◽  
Short Story ◽  
Cutting Edge ◽  
Katherine Mansfield ◽  
Annotated Edition ◽  
The Earth ◽  
Critical Attention ◽  
John Middleton Murry ◽  
Story Writer ◽  
A Minor

Today, Katherine Mansfield is well known as one of the most exciting and cutting-edge exponents of the modernist short story. Little critical attention, however, has been paid to her poetry, which seems a strange omission, given how much verse she wrote during the course of her life, starting as a very young schoolgirl, right up until the last months prior to her death in 1923. Even Mansfield devotees are not really familiar with any poems beyond the five or six that have most frequently been anthologised since her death, and few editions of her poetry have ever been published. Mansfield’s husband, John Middleton Murry, edited a slim volume, Poems, in 1923, within a few months of her death, followed by a slightly extended edition in 1930, and Vincent O’Sullivan edited another small selection, also titled Poems, in 1988. Unsurprisingly, therefore, critics and biographers have paid little attention to her poetry, tending to imply that it is a minor feature of her art, both in quantity and, more damagingly, in quality. This situation was addressed in 2016, when EUP published a complete and fully annotated edition of Mansfield’s poems, edited by myself and Claire Davison, incorporating all my recent manuscript discoveries, including a collection of 36 poems—The Earth Child—sent unsuccessfully by Mansfield to a London publisher in 1910. This discovery in 2015 revealed how, at the very moment when Mansfield was starting to have stories accepted for commercial publication, she was also taking herself seriously as a poet. Indeed, had the collection been published, perhaps Mansfield might now be celebrated as much for her poetry as for her short stories. Therefore, this article explores the development of Mansfield’s poetic writing throughout her life and makes the case for her reassessment as an innovative poet and not just as a ground-breaking short story writer.

scholarly journals THE VOICE PHENOMENON IN BECKETT’S FRENCH-LANGUAGE SHORT STORIES

2020 ◽  
Vol 12 (4) ◽  
pp. 128-135
Author(s):  
Iurii I. Semenchenko ◽  
Keyword(s):  
Short Stories ◽  
Human Existence ◽  
The Other ◽  
French Language ◽  
Feminine Voice ◽  
The One ◽  
Television Plays ◽  
The Voice ◽  
Shed Light ◽  
The Ideal

The article deals with the specific features of the voice phenomenon representation and the peculiarities of its functioning in French-language short stories written by Beckett, namely in Premier amour (First Love), Le calmant (The Calmative) and Au loin un oiseau. The abovementioned texts allow us, on the one hand, to demonstrate the genesis of the writer’s artistic and aesthetic principles of representing the studied phenomenon, which were later reflected in theatrical, radio and television plays, and, on the other hand, – to shed light on the specificity of the literary world of these texts. The research conducted allows us to conclude that in all the analyzed texts the voice is captured in different forms of representation and has a varying (from text to text) functionality. In Premier amour, there is a feminine voice asking to restore the corporeality and individuality of its origin. However, the stamp of convulsiveness in the heroine’s voice paradoxically has its source not in the corporeal but in the ideal. In Le calmant, the protagonist’s feebleness, expressed by the signs of his corporeal conditions, is doubled by his aphony, which thus transcends one of the most important motifs for Beckett’s writing – that of human weakness. This motif also reveals here another shade of meaning – weakness as a ‘respite’ from the suffering which human existence bears. Finally, in Au loin un oiseau we see a ventriloquist character. Due to the ‘I’ living inside, the ‘He’ is becoming similar to ventriloquists. Unlike them, however, his speaking capacity is under control of the narrator.

A Politics of Intensity: Some Aspects of Acceleration in Simondon and Deleuze

2017 ◽  
Vol 11 (4) ◽  
pp. 498-517
Author(s):  
Yuk Hui ◽  
Louis Morelle
Keyword(s):  
Conceptual Framework ◽  
The Other ◽  
Generic Concept ◽  
Philosophical Thought ◽  
Ontological Ground ◽  
Shed Light

This article aims to clarify the question of speed and intensity in the thoughts of Simondon and Deleuze, in order to shed light on the recent debates regarding accelerationism and its politics. Instead of starting with speed, we propose to look into the notion of intensity and how it serves as a new ontological ground in Simondon's and Deleuze's philosophy and politics. Simondon mobilises the concept of intensity to criticise hylomorphism and substantialism; Deleuze, taking up Simondon's conceptual framework, repurposes it for his ontology of difference, elevating intensity to the rank of generic concept of being, thus bypassing notions of negativity and individuals as base, in favour of the productive and universal character of difference. In Deleuze, the correlation between intensity and speed is fraught with ambiguities, with each term threatening to subsume the other; this rampant tension becomes explicitly antagonistic when taken up by the diverse strands of contemporary accelerationism, resulting in two extreme cases in the posthuman discourse: either a pure becoming, achieved through destruction, or through abstraction that does away with intensity altogether; or an intensity without movement or speed, that remains a pure jouissance. Both cases appear to stumble over the problem of individuation, if not disindividuation. Hence, we wish to raise the following question: in what way can one think of an accelerationist politics with intensity, or an intensive politics without the fetishisation of speed? We consider this question central to the interrogation of the limits of acceleration and posthuman discourse, thus requiring a new philosophical thought on intensity and speed.

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