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Books on the topic 'Katherine Mansfield'

Author: Grafiati

Published: 4 June 2021

Last updated: 18 May 2024

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1

Daly, Saralyn R. Katherine Mansfield. New York: Twayne Publishers, 1994.

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2

Kascakova, Janka, Gerri Kimber, and Władysław Witalisz. Katherine Mansfield. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003199526.

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3

Fullbrook, Kate. Katherine Mansfield. Bloomington: Indiana University Press, 1986.

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4

Dupuis, Michel. Katherine Mansfield. Lyon: La Manufacture, 1988.

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5

Boon, Kevin. Katherine Mansfield. Petone [N.Z.]: Nelson Price Milburn, 1991.

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6

Katherine Mansfield. Brighton, Sussex: Harvester Press, 1986.

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7

Katherine Mansfield. Vero Beach, FL: Rourke Corp., 1990.

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8

Katherine Mansfield. Tavistock, Devon, U.K: Northcote House in association with the British Council, 2004.

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9

Phillimore, Jane. Katherine Mansfield. Hove: Wayland, 1989.

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10

Nathan, Rhoda B. Katherine Mansfield. New York: Continuum, 1988.

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11

Tomalin, Claire. Katherine Mansfield. London: Penguin Group UK, 2010.

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12

Kimber, Gerri, and Janet Wilson, eds. Celebrating Katherine Mansfield. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230307223.

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13

Katherine Mansfield világa. Budapest: Európa, 1985.

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14

Katherine, Mansfield. Poems of Katherine Mansfield. Auckland: Oxford University Press, 1988.

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15

Katherine, Mansfield. Journal of Katherine Mansfield. London: Persephone Books, 2006.

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16

Norburn, Roger. A Katherine Mansfield Chronology. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583122.

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17

Katherine, Mansfield. The Katherine Mansfield notebooks. Minneapolis: University of Minnesota Press, 2002.

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18

editor, Garcerá Fran, ed. Cartas a Katherine Mansfield. Madrid: La Bella Varsovia, 2019.

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19

Katherine Mansfield in Picton. Auckland, N.Z: Cape Catley, 2000.

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20

Katherine, Mansfield. The Katherine Mansfield notebooks. Canterbury, N.Z: Lincoln University Press, 1997.

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21

Harry, Ricketts, ed. Worlds of Katherine Mansfield. Palmerston North, N.Z: Nagare Press, 1991.

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22

Katherine, Mansfield. Katherine Mansfield: Selected letters. Oxford: Clarendon, 1989.

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23

1888-1923, Mansfield Katherine, ed. Katherine Mansfield: (1888-1923). Genoa, Italy]: De Ferrari, 2008.

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24

Head, Dominic. A Katherine Mansfield bibliography. [s.l.]: typescript, 1985.

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25

Katherine, Mansfield. Katherine Mansfield: Selected letters. Oxford: Clarendon Press, 1989.

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26

Katherine Mansfield: A darker view. New York: Cooper Square Press, 2002.

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27

Kascakova, Janka, and Gerri Kimber, eds. Katherine Mansfield and Continental Europe. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137429971.

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28

Katherine Mansfield and Literary Modernism. London: Continuum, 2011.

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29

Kimber, Gerri, Isobel Maddison, and Todd Martin, eds. Katherine Mansfield and Elizabeth von Arnim. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474454438.001.0001.

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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.

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30

Diment, Galya, Gerri Kimber, and W. Todd Martin, eds. Katherine Mansfield and Russia. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474426138.001.0001.

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It is hard to overestimate how huge the “Russian influence” was on both Mansfield’s craft as a short story writer and her life choices, including, even, whom she most trusted to treat her tuberculosis. Growing up in New Zealand, young Mansfield began devouring Russian books in translation. The authors she read included Marie Bashkirtseff, Leo Tolstoy, Fyodor Dostoevsky, Ivan Turgenev, Anton Chekhov and Maxim Gorky. After she moved to England, which at the time was undergoing its own passionate affair with all things Russian, Mansfield also discovered Russian art and Russian ballet. Later she became, with S. S. Koteliansky, a co-translator of Chekhov’s and Leonid Andreyev’s letters and autobiographical writings. And yet, other than Joanna Woods’ Katerina: The Russian World of Katherine Mansfield (2001), there have not been any significant publications dealing with this extraordinary aspect of Mansfield’s evolution as an artist and a human being. This volume goes a long way to remedy that. It includes contributions by both English and Russian scholars and explores many aspects of Mansfield’s personal and artistic response to Russian literature, culture, philosophy, and art, as well as to the actual Russians she met in England and — towards the end of her life — in France.

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31

Katherine Mansfield. St. Martin's Press, 1989.

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32

Katherine Mansfield. Circe, 1991.

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33

Tomalin, Claire. Katherine Mansfield. Penguin Books Ltd, 1988.

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34

Gordon, Ian. Mansfield, Katherine. Northcote House Educational Publishers, 1996.

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35

FitzPatrick, Joanna. Katherine Mansfield. la Drome Press, 2020.

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36

Jones, Kathleen. Katherine Mansfield. Edinburgh University Press, 2019.

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37

FitzPatrick, Joanna. Katherine Mansfield. la Drome Press, 2020.

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38

Harold, Bloom. Katherine Mansfield. Chelsea House Pub (L), 1991.

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39

Tomalin, Claire. Katherine Mansfield. Viking, 1987.

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40

Kascáková, Janka, Wadysaw Witalisz, and Gerri Kimber. Katherine Mansfield. Taylor & Francis Group, 2021.

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41

Harold, Bloom. Katherine Mansfield. Chelsea House Pub (L), 1994.

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42

Katherine Mansfield. Penguin Books Ltd, 1988.

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43

FitzPatrick, Joanna. Katherine Mansfield. la Drome Press, 2014.

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44

Kimber, Gerri, and Todd Martin, eds. Katherine Mansfield and Children. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474491907.001.0001.

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Virginia Woolf once remarked that Katherine Mansfield had ‘a kind of childlikeness somewhere which has been much disfigured, but still exists’. This ‘childlikeness’ is indeed a facet of Mansfield’s personality which permeates every aspect of her personal and creative life. It is present in her mature fiction, where some of her most well-known and accomplished stories, such as ‘Prelude’ and ‘At the Bay’, have children as protagonists; it is present in her early poetry, which includes a collection of poems for children intended for publication; it is also present in her juvenilia, where many of the stories she wrote from an early age for school magazines and other publications, feature children. Even as an adult, Mansfield’s love of the miniature, her delight in children in general, her fascination with dolls, all feature in her personal writing. Her relationship with John Middleton Murry was characterised by their mutual descriptions of themselves as little children fighting against a corrupt world. This volume – either directly or indirectly -- engages each of these aspects of the child in Mansfield’s work and life.

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45

Steinbauer, Janine. Katherine Mansfield (Profiles). Creative Co (Sd), 1993.

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46

Norburn, R. Katherine Mansfield Chronology. Palgrave Macmillan Limited, 2008.

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47

Norburn, Roger. Katherine Mansfield Chronology. Palgrave Macmillan, 2008.

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48

Mourant, Chris. Katherine Mansfield and Periodical Culture. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439459.001.0001.

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Katherine Mansfield’s contemporaries knew her primarily as a contributor to magazines and periodicals. In 1922, for instance, Wyndham Lewis described her as ‘the famous New Zealand Mag.-story writer’. This book provides the first in-depth study of Mansfield’s engagement in periodical culture, examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum. Reading these writings against the editorial strategies and professional cultures of each periodical, Chris Mourant situates Mansfield’s work within networks of production and uncovers the many ways in which she engaged with the writings of others and responded to the political, aesthetic and social contexts of early twentieth-century periodical culture. By examining Mansfield’s ambivalent position as a colonial woman writer working both within and against the London literary establishment, in particular, this book provides a new perspective on Mansfield as a ‘colonial-metropolitan modernist’ and proto-postcolonial writer.

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49

Correa, Delia da Sousa, Susan Reid, Gerri Kimber, and Gina Wisker. Katherine Mansfield and the Fantastic: Katherine Mansfield Studies, Volume 4. Edinburgh University Press, 2012.

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50

Kimber, Gerri, Todd Martin, and Christine Froula, eds. Katherine Mansfield and Virginia Woolf. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474439657.001.0001.

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Katherine Mansfield’s ardent overture to Virginia Woolf launched a historic friendship of mutual admiration and fascination shot through with wary misunderstandings, rivalry, and envy. These comparative essays explore the shared terrain of these modernist women writers and shed new light on their 'curious & thrilling' literary relationship – absorbing, intimate, distant, secretly critical, competitive, sometimes foundering in ‘quicksands’ – and its profound impact on their creative imaginations. Critical essays include Katherine Mansfield Essay Prizewinner Karina Jakubowicz on Woolf’s Kew Gardens, Maud Ellmann on disgust, Maria DiBattista on these artists’ distinctive takes on ‘reality’, Sydney Janet Kaplan on the Conrad Aiken connection, and Christine Froula on Mansfield’s secrets. Creative artists include Vanessa Bell in painterly dialogue with her sister’s classic manifesto A Room of One’s Own, the celebrated novelist Ali Smith -- ‘Scotland’s Nobel-laureate-in-waiting’, says Irish playwright Sebastian Barry – whose ‘Getting Virginia Woolf’s Goat’ leads the creative section, ['and' deleted] Barbara Egel’s dramatic adaptation of Woolf’s story ‘Moments of Being: "Slater’s Pins Have No Points"’ and [deleted:original; add:] new poems by Jackie Jones and Maggie Rainey-Smith.

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