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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.
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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.
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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.
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Deb, Ajanta. "Katherine Mansfield: a thematic study." Thesis, University of North Bengal, 1999. http://hdl.handle.net/123456789/1157.
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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.
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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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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.
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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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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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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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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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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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Yip, Wai-shan, and 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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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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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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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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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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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.
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Gonçalves, Letícia de Souza [UNESP]. "A (des)construção da noção de gênero nos contos de Katherine Mansfield." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/124529.
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000833908.pdf: 869254 bytes, checksum: f6748d4f810680a80b85ef4c44c000f3 (MD5)O presente trabalho pretende fazer uma análise dos contos da coletânea Bliss & other stories (1920), da autora neozelandesa Katherine Mansfield (1888 - 1923). Propomos a verificação da desconstrução da noção de gênero e dos discursos historicamente categorizados nas narrativas, considerando a constituição dos personagens dos sexos masculino e feminino e suas relações. Abordamos a relação entre personagens de ambos os sexos, os distintos focos narrativos, os símbolos, e, a partir de tais apontamentos, observamos que a categorização de gênero e de sexo é resultado de desdobramentos sociais. Ao ponderarmos a representação do gênero nas narrativas mansfieldianas, estamos ampliando a questão para as instâncias sociais, uma vez que a literatura é a representação de perspectivas do real. Tomamos como base teórica a crítica feminista de Virginia Woolf, a teoria da performatividade de Judith Butler e o conceito de exotopia de Mikhail Bakhtin, a fim de avaliarmos os aspectos culturais de gênero, a tradição literária de autoria feminina, as identificações ideológicas e a constituição de personagens ficcionais
This study analyzes of the short stories from the collection Bliss & other stories (1920), by the New Zealand author Katherine Mansfield (1888 - 1923), proposing the verification of the deconstruction of gender roles and of the historically categorized discourses in the narratives, and considering the constitution of male and female characters and their relationships. Therefore, we address the relationship between characters of both sexes, the different points of view, the symbols, and, from these concepts, we observe that the categorization of gender and sex is a result of social developments. In pondering the representation of gender in Mansfield's narratives, we expand the matter to social instances, since literature is the representation of the perspective on reality. We use, as a theoretical basis, Virginia Woolf's feminist criticism, Judith Butler's gender performativity and the concept of exotopy by Mikhail Bakhtin, in order to assess the cultural aspects of the gender issue, the literary tradition of women's writing, the ideological identifications and the creation of fictional characters
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Gonçalves, Letícia de Souza. "A (des)construção da noção de gênero nos contos de Katherine Mansfield /." Assis, 2014. http://hdl.handle.net/11449/124529.
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Orientadora: Cleide Antonia RapucciBanca: Karen Benavente
Banca: Cláudia Maria Ceneviva Nigro
Banca: Ana Maria Domingues de Oliveira
Banca: Antonio Roberto Esteves
Resumo: O presente trabalho pretende fazer uma análise dos contos da coletânea Bliss & other stories (1920), da autora neozelandesa Katherine Mansfield (1888 - 1923). Propomos a verificação da desconstrução da noção de gênero e dos discursos historicamente categorizados nas narrativas, considerando a constituição dos personagens dos sexos masculino e feminino e suas relações. Abordamos a relação entre personagens de ambos os sexos, os distintos focos narrativos, os símbolos, e, a partir de tais apontamentos, observamos que a categorização de gênero e de sexo é resultado de desdobramentos sociais. Ao ponderarmos a representação do gênero nas narrativas mansfieldianas, estamos ampliando a questão para as instâncias sociais, uma vez que a literatura é a representação de perspectivas do real. Tomamos como base teórica a crítica feminista de Virginia Woolf, a teoria da performatividade de Judith Butler e o conceito de "exotopia" de Mikhail Bakhtin, a fim de avaliarmos os aspectos culturais de gênero, a tradição literária de autoria feminina, as identificações ideológicas e a constituição de personagens ficcionais
Abstract: This study analyzes of the short stories from the collection Bliss & other stories (1920), by the New Zealand author Katherine Mansfield (1888 - 1923), proposing the verification of the deconstruction of gender roles and of the historically categorized discourses in the narratives, and considering the constitution of male and female characters and their relationships. Therefore, we address the relationship between characters of both sexes, the different points of view, the symbols, and, from these concepts, we observe that the categorization of gender and sex is a result of social developments. In pondering the representation of gender in Mansfield's narratives, we expand the matter to social instances, since literature is the representation of the perspective on reality. We use, as a theoretical basis, Virginia Woolf's feminist criticism, Judith Butler's gender performativity and the concept of "exotopy" by Mikhail Bakhtin, in order to assess the cultural aspects of the gender issue, the literary tradition of women's writing, the ideological identifications and the creation of fictional characters
Doutor
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Rodrigues, Roberta Rego. "Tradução e Apresentação do Discurso: um estudo de "BLISS" de Katherine Mansfield." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/ALDR-86YHVU.
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This thesis reports on a research on discourse presentation (SEMINO & SHORT, 2004) developed at LETRA (Laboratory for Experimentation in Translation), Faculdade de Letras, Federal University of Minas Gerais. More specifically, it discusses a discourse presentation analysis of theshort story Bliss by Katherine Mansfield, three of its translations into Brazilian Portuguese, and three of its translations into European Spanish. Discourse presentation relates to speech, thought and writing in literary texts, though this can be present in other types of text (SEMINO & SHORT, 2004). The thesis draws on Linguistic Stylistics, which takes the investigation of literary texts from a linguistic perspective into account (HALLIDAY, 1964; HASAN, 1989; PROCHÁZKA, 1964). The configuration of discourse presentation modes is investigated in each text, by taking into account clause and minor clause (HALLIDAY & MATTHIESSEN, 2004) as unities of analysis for corpus annotation. The corpus was scanned, revised and annotated manually in XML with discoursepresentation categories. The connection of this XML file to a template format file enabled us to quantify data and visualise it in an HTML file. Results point to the recurrence of thought and mainly speech realised through parataxis in the corpus. Results show that the five most frequentcategories in Bliss are: Direct Speech, Free Indirect Thought, Free Direct Speech, Narration and Internal Narration. The three least frequent categories in this text correspond to Indirect Speech, Free Direct Thought and Indirect Thought. Translations by Érico Veríssimo, Julieta Cupertino and Ana Cristina Cesar into Brazilian Portuguese, and target texts by Lucía Graves and Elena Lambea, and by Juani Guerra into European Spanish have the most recurrent categories, much the same asBliss. Configuration of the five most recurrent categories differ on translation by Esther de Andreis into European Spanish, i.e., Direct Speech, Free Indirect Though, Narration, Internal Narration and Free Indirect Speech are the most frequent categories in this translation,demonstrating that this target text presents more occurrences of Free Indirect Discourse. Indirect Speech, Free Direct Thought and Indirect Thought are the three least recurrent categories in translations by Érico Veríssimo, Julieta Cupertino and Ana Cristina Cesar into BrazilianPortuguese, and in target texts by Lucía Graves and Elena Lambea, and by Juani Guerra into European Spanish, such as the source text (Bliss). In the translation by Esther de Andreis into European Spanish, the three least frequent categories are Free Direct Thought, Indirect Speech andIndirect Thought. Results also point out that co-text and context can motivate some of the shifts found in the target texts and the source text with regard to discourse presentation, such as, Direct Speech from source text translated into Direct Thought in the Brazilian Portuguese target text by Julieta Cupertino; and Free Direct Speech from the source text rendered into Direct Thought in the European Spanish target text by Esther de Andreis. In view of Free Indirect Speech, Free IndirectThought and Internal Narration, common noun is the category that is most repeated; specific deixis is the most recurrent deictic category; Past Simple (Pretérito Imperfeito do Indicativo in the target texts into Brazilian Portuguese, and Pretérito Imperfecto del Indicativo in the translations intoEuropean Spanish) entails the most frequent verb tense, which confirms previous studies on Free Indirect Discourse.Esta tese se vincula ao LETRA (Laboratório Experimental de Tradução) da Faculdade de Letras da Universidade Federal de Minas Gerais e investiga a apresentação do discurso (discourse presentation) (SEMINO e SHORT, 2004) em um corpus paralelo trilíngüe composto pelo conto 'Bliss', de Katherine Mansfield, por três de suas traduções para o português do Brasil e por três de suas traduções para o espanhol europeu. A apresentação do discurso diz respeito à fala, ao pensamento e à escrita, geralmente estudada em textos literários, embora este recurso possa estar presente em outros tipos de texto (SEMINO e SHORT, 2004). Nesta pesquisa, a apresentação do discurso é abordada sob a perspectiva da Estilística Lingüística, que leva em consideração a investigação de textos literários a partir dos estudos lingüísticos (HALLIDAY, 1964; PROCHÁZKA, 1964; HASAN, 1989). Examina-se a configuração de modos de apresentação do discurso em cada texto, tomando-se a oração e a oração menor (HALLIDAY e MATTHIESSEN, 2004) como unidades de análise para a anotação do corpus. O corpus de textos objeto deste trabalho foi digitalizado, revisado e anotado manualmente, em arquivo XML, com categorias de apresentação do discurso. A combinação deste arquivo XML com a folha de estilos possibilitou a quantificação de dados, visualizada em um arquivo HTML. Resultados apontam que há predileção pelo uso do pensamento e principalmente da fala mediante parataxe no corpus. Resultados mostram que as cinco categorias mais freqüentes em 'Bliss' são: Fala Direta, Pensamento Indireto Livre, Fala Direta Livre, Narração e Narração Interna. As três categorias menos freqüentes neste texto correspondem à Fala Indireta, Pensamento Direto Livre e Pensamento Indireto. As traduções para o português do Brasil de Érico Veríssimo, Julieta Cupertino e Ana Cristina Cesar e os textos alvo para o espanhol europeu de Lucía Graves e Elena Lambea e de Juani Guerra têm como categorias mais recorrentes as mesmas de 'Bliss'. A configuração das cinco categorias mais recorrentes difere na tradução para o espanhol europeu de Esther de Andreis, i.e., Fala Direta, Pensamento Indireto Livre, Narração, Narração Interna e Fala Indireta Livre são as categorias mais freqüentes nesta tradução, demonstrando que este texto alvo apresenta mais ocorrências do Discurso Indireto Livre. A Fala Indireta, o Pensamento Direto Livre e o Pensamento Indireto são as três categorias menos recorrentes nas traduções para o português do Brasil de Érico Veríssimo, Julieta Cupertino e Ana Cristina Cesar e nos textos alvo para o espanhol europeu de Lucía Graves e Elena Lambea e de Juani Guerra, conforme o texto fonte ('Bliss'). Na tradução para o espanhol europeu de Esther de Andreis, as três categorias menos freqüentes são Pensamento Direto Livre, Fala Indireta e Pensamento Indireto. Resultados também apontam que o co-texto e o contexto podem motivar algumas das mudanças encontradas entre os textos alvo e o texto fonte no tocante à apresentação do discurso, como, por exemplo, a Fala Direta do texto fonte traduzida como Pensamento Direto no texto alvo de Julieta Cupertino para o português do Brasil; e a Fala Direta Livre do texto fonte textualizada como Pensamento Direto no texto alvo de Esther de Andreis para o espanhol europeu. Nas categorias Fala Indireta Livre, Pensamento Indireto Livre e Narração Interna, os substantivos comuns se repetem em maior grau; a forma de dêixis mais recorrente é a específica; e o tempo verbal preferencialmente usado é o Pretérito Imperfeito do Indicativo (Past Simple no texto fonte e Pretérito Imperfecto del Indicativo nos textos alvo para o espanhol europeu), corroborando estudos anteriores sobre o Discurso Indireto Livre.
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Tarrant-Hoskins, Nicola Anne. "KATHERINE MANSFIELD AMONG THE MODERNS: HER IMPACT ON VIRGINIA WOOLF, D. H. LAWRENCE, AND ALDOUS HUXLEY." UKnowledge, 2014. http://uknowledge.uky.edu/english_etds/17.
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Katherine Mansfield among the Moderns examines Katherine Mansfield’s relationship with three fellow writers: Virginia Woolf, D. H. Lawrence, and Aldous Huxley, and appraises her impact on their writing. Drawing on the literary and the personal relationships between the aforementioned, and on letters, diaries, and journals, this project traces Mansfield’s interactions with her contemporaries, providing a richer and more dynamic portrait of Mansfield’s place within modernism than usually recognized.
Hitherto, critical work has not scrutinized Mansfield in the manner I suggest: attending to representations of her as a character in other’s work, while analyzing the degree to which her influence on the aforementioned authors affected their writing and success. Albeit, her influence extends in vastly different ways, and is affected by gender and nationality. While Woolf’s early foray into Modernism is accelerated by Mansfield’s criticism of her work, several of Woolf’s texts – “Kew Gardens,” Jacob’s Room, and Mrs. Dalloway – are similar in certain respects to Mansfield’s work – “Bliss” and “The Garden Party.” A repudiation of Mansfield, personally, and a retelling of her work are seen in Lawrence’s The Lost Girl and Women in Love. Huxley’s Those Barren Leaves and Point Counter Point, contain characterizations of Mansfield that undermine her writing, and her person: both are affected by the mythical misrepresentation of Mansfield, created by Murry after her death, known as the “Cult of Mansfield.”
Using Life Writing, this study asserts that Mansfield had impact on the writing of Woolf, Lawrence, and Huxley. Taking into account the many issues that surround the recognition of this, among them: gender politics, colonialism, marginality by genre, and personal relations – these all, to varying degrees, prevented critics from acknowledging that a minor modernist author played a role in the undisputed success of three major authors of the twentieth century.
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Shieh, Wen-Shan. "Literature in masks : Katherine Mansfield, Eileen Chang and the possibilities of creative writing." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/45906/.
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The thesis proposes that the figurative and extensive use of the ‘mask'—persona, masquerade, disguise, impersonation—provides a crucial literary device for the development and liberation of the expressive potential of Katherine Mansfield and Eileen Chang (1920-1995). Chapter 1, ‘Introduction', elucidates the relationship between mask and language with respect to the writings of Mansfield and Chang by revising John Keats's idea of ‘the chameleon poet', Robert Browning's conception of dramatic monologue, Oscar Wilde's insights into truth and masks, and Ezra Pound's adoptions of ‘personae' in his poetry. The affinities between Mansfield and Chang will be explored by looking at their critical writing as well as criticism on them, revealing their shared awareness of the masks of a person in daily life as well as in fiction and drama. Chapter 2, ‘Katherine Mansfield's Art of Changing Masks', explores how Mansfield's characters switch between three types of masks—speech and the non-verbal, gender, animality—to respond to changes in their situations. Particularly important for this exploration are Joan Rivi re's ‘Womanliness as Masquerade', Michael Goldman's theory of masks in acting, and Gilles Deleuze and Félix Guattari's concept of ‘becoming-animal'. Chapter 3, ‘Prosopopoeia: Katherine Mansfield's “special prose” ', considers Mansfield's attempt ‘to bring the dead to life again' in what she calls ‘special prose' as a ‘prosopopoeia', or in Cynthia Chase' phrase, ‘giving a face to a name'. In this chapter I will also trace how Mansfield's work was first translated into Chinese in 1923 by the Chinese poet, Zhimo Xu (1897-1931), which made her one of the most widely-read foreign writers in the Chinese-speaking world. More importantly, I suggest that Xu's use of quotations from Keats and other nineteenth-century poets in portraying Mansfield in his memoir calls our attention to her decisive and still insufficiently examined relationship to poetry. Chapter 4, ‘ “Hiding behind a foreign language”: Eileen Chang's Self-Translation and Masquerade', examines Chang's penchant for translating her fiction and essays from Chinese into English or vice versa. Taking a cue from Pound's view of translations as ‘elaborate masks' and Deleuze's idea of the writer being a ‘foreigner' in their own language, I examine some of the ways in which that the mask of a foreigner / foreign language enables Chang, a bilingual fiction writer and essayist, to gain the emotional and spatial distance from which to reflect on Chinese culture and her personal life. Being inspired by Mansfield and Chang's courage to get away from the notion of writing as self-expression and Dionysus' gift of crossing boundaries through the assistance of the mask, the creative component of the thesis, Chapter 5, consists of 4 short stories. I conclude the thesis with a poem entitled ‘Gifts (for Katherine Mansfield)' and a quick fiction called ‘The Functions of Theory', considering theory and literary terms as a variety of make-up that I apply to the face of my thesis. While critical chapters contain embedded fiction, the creative component demonstrates and tests how the interior space behind the mask allows me to liberate my creative energy. In these stories, I attempt to cross the boundaries between male and female, Chinese and non-Chinese, human and animal, creative and critical writing.
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Santos, Patrícia Peter dos. "A tradução da prosa poética de Katherine Mansfield em português : um estudo comparado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/54084.
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A presente dissertação analisa comparativamente as traduções dos contos Bliss, Miss Brill e The Garden Party, da escritora neozelandesa Katherine Mansfield, disponíveis ao leitor brasileiro. Mansfield é escritora de reconhecido talento na literatura de língua inglesa, e sua escrita se caracteriza por textos formalmente bem construídos e por narrativas com pouca ação, nas quais o centro são os conflitos internos dos personagens. A comparação é realizada através da aproximação de trechos selecionados a partir de características formais, ou da tensão relativa ao momento narrado. O objetivo é verificar os procedimentos usados para a tradução da obra da escritora e, por consequência, da imagem da contista delineada e veiculada pelas diferentes traduções. Para tanto, são abordados, entre outros, os conceitos de conto moderno, de prosa poética, de tradução poética, proposto por Mario Laranjeira e de tradução como transcriação, de Haroldo de Campos. Os tradutores estudados neste trabalho são Erico Verissimo, Ana Cristina César, Edla Van Steen, Eduardo Brandão, Julieta Cupertino, Maura Sardinha, Luiza Lobo, Marcos Eugênio Marcondes de Moura e Alexandre Barbosa de Souza. Defensores de diferentes concepções de tradução, cada um dos tradutores deixou sua marca no resultado de seu trabalho, a qual contribui para a construção da leitura que se fará da autora no Brasil. Os textos são analisados à luz do referencial teórico apresentado, sendo apontadas as principais diferenças de tradução. Por fim, apresentam-se as conclusões do trabalho e propõem-se possibilidades de novas investigações.This thesis presents a comparative analysis of the translations of Bliss, Miss Brill and The Garden Party, short stories written by the New Zealander writer Katherine Mansfield. The corpus includes all the translations of the mentioned short stories available to Brazilian readers. Mansfield is a well known English writer, and her writing presents formally well-constructed texts and stories that show little action, but are full of internal conflicts. The development of this work consists on the approach of selected excerpts, chosen either by their formal characteristics or the tension related to the story. The objective is to verify the proceedures used in the translation of the author´s writing and her image conveyed by the translation selection of words and other linguistic resources. For that, many ideas are taken into account, including, among others, the concept of modern short story, poetic prose, poetic translation, developed by Mario Laranjeira and translation as an act of “transcriação”, developed by Haroldo de Campos. The translators taken into consideration in this thesis are Erico Verissimo, Ana Cristina César, Edla Van Steen, Eduardo Brandão, Julieta Cupertino, Maura Sardinha, Luiza Lobo, Marcos Eugênio Marcondes de Moura and Alexandre Barbosa de Souza. Since each of these translators understands the translation process in a different way, they also create different ways of reading and interpreting the original text. The selected short stories are considered according to the theoretical support and the most important translation differences are shown. At last, the conclusion brings the main ideas developed in the thesis and present new possible studies.
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Besnault-Levita, Anne. "L'ellipse dans les nouvelles de Katherine Mansfield, de Virginia Woolf et d'Elisabeth Bowen." Paris 3, 1996. http://www.theses.fr/1997PA030003.
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Qu'elle que soit la finesse de sa maille, le texte litteraire est, a l'image du tissu, toujours ajoure, lacunaire: aussi l'inexprimable a-t-il toujours cotoye l'exprime en litterature. Il faut cependant attendre l'epoque romantique, puis moderne, pour que le non-dit, si ce n'est le silence, devienne la clef d'une formulation consciente de l'oeuvre ouverte et le signe vide d'une lutte necessaire contre l'inevitabilite du langage. En refusant de saturer l'etendue de la page blanche, les collected stories de mansfield, de woolf et de bowen temoignent d'abord de cette resistance progressive de l'ecriture a l'absorption du sens. Mais le manque est au coeur de l'esthetique de la nouvelle avant meme d'y etre deliberement integre. Se situant par definition entre la necessite de dire et la necessite de taire, associant limite et finitude, temps bref et poetique de l'ephemere, manque et disparition, les nouvelles du corpus suggerent ainsi l'adequation entre un genre elliptique et une esthetique qui tente de transmettre la vision d'un monde nouveau, interieur et fragmentaire. L'exploration des composantes strategiques des textes (commencements, univers fictif, structure, effets rhetoriques et poetiques, fins), selon un parcours conduisant de la problematique du genre a celle de l'enonciation, de l'ellipse comme signe plein a l'ellipse comme ouverture sur le vide, permet d'autre part de mettre en evidence l'essentielle "tension" sur laquelle se fondent la nouvelle en general, et la nouvelle moderniste en particulier. Faisant du manque l'une des conditions de la construction du sujet et du sens, les oeuvres etudiees oscillent ainsi entre genericite et a-genericite, contraintes de la brievete et ouverture du fragment, competence narrative et charge metaphorique, poetique de l'intensite et esthetique de la disparition. Indiquant l'indicible, l'ellipse en reserve le devoilement, reconciliant ainsi dans ses replis le tout et le rien, le discours et le silenceHowever dense and wrought out it may be, the literary text cannot but be incomplete : the unsaid has therefore always been inscribed in fiction and literature. It is only with the advent of romanticism and, later on, of modernism, though, that the unsaid, if not silence, has become one of the key figures of a conscious formulation of the open text, as well as the empty sign referring to the necessary struggle against the inevitability of language. By refusing to fill in the blanks, the collected stories of mansfield, woolf and bowen first manifest this gradual resistance of writing to the absorption of meaning. But gaps and blanks are part of the aesthetics of the short story before they are deliberately inscribed in the texts. In so far as they hesitate, by definition, between the written and the unwriteable, and associate their own limits with the idea of limitation, their concision with an ephemeral duration and the unspoken with the unspeakable, the short stories studied here emphasize the affinities existing between an elliptic genre and the modern aesthetics of fragmentation, incompleteness and indecision. Leading from the problems of genre to the issue of utterance, from the analysis of ellipsis as a rhetorical instrument to the discovery of the depths of silence, the exploration of the texts' essential components (beginnings, diegesis, structure, rhetorical and poetical effects, endings) then sets forth the fundamental "tension" on which the short story is based. The short fictions of this corpus thus vacillate between the displaying of generic and non-generic features, between their narrative function and a metaphorical dimension, between a poetics of intensity and the abyss of absence. Pinpointing the unspeakable while veiling revelation, ellipsis finally appears to reconcile silence and discourse in the text's recesses
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Rabelo, Victor Coutinho. "Prosa do coração, poesia do mundo: incorporação da lírica nos contos de Katherine Mansfield." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-14022017-100146/.
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Uma das principais peculiaridades que distinguem o conto de outras formas pertencentes ao gênero épico é o compartilhamento de certas características e procedimentos típicos da Lírica. Reflexões acerca desse hibridismo de gênero podem ser encontradas já na obra crítica de um dos mais ilustres iniciadores do conto moderno, o norte-americano Edgar Allan Poe, cuja priorização do efeito incutido pela narrativa e a preocupação em obter um tom e/ou um acontecimento singular que o transmitam ao leitor de forma contundente submetem o conto a diversas exigências internas que são mais comumente encontradas na Lírica, entre elas: a brevidade e intensidade da narrativa, a condensação tanto linguística quanto temática e uma perspectiva que se atém exclusivamente às próprias imediações. O lirismo na obra de Katherine Mansfield se manifesta principalmente através de meticulosos recortes temáticos que demonstram seu olhar atento aos detalhes mais ínfimos, do emprego de imagens e símbolos significativos e da posição cambiante de um narrador que frequentemente procura fundir sua perspectiva e seu próprio discurso ao das personagens principais. Para tanto, a autora recorre largamente à técnica do discurso indireto livre, que permite ao narrador se apropriar da voz de diversas personagens sem se limitar à perspectiva unitária da narrativa em primeira pessoa, o que confere à sua obra um grau ainda maior de subjetividade e, ao mesmo tempo, uma multiplicidade caleidoscópica dentro dos limites estritos do conto.One of the main singularities that distinguish the short story from other forms that belong to the Epic genre is the sharing of certain characteristics and procedures with Lyric poetry. Considerations on this genre hybridism can already be found in the critical work of one of the most renowned founders of the modern short story, Edgar Allen Poe, whose priorization of the effect created by the narrative, as well as the aim to obtain a tone and/or a singular episode capable of conveying said effect to the reader, subject the short story to various internal requirements which are more commonly found in Lyric poetry, such as: the brevity and the intensity of the narrative, its linguistic and thematic condensation, and a point of view that focuses exclusively on its own immediacies. The lyrism found in the work of Katherine Mansfield is achieved mostly through a careful selection of theme that reveals her attention to detail, the use of meaningful images and symbols, and the shifting point of view of the narrator, who often attempts to combine his perspective and his speech to those of the main characters. In order to do that, the author frequently employs indirect free speech, which allows the voices of different characters to be incorporated without being limited by the one-sided perspective of a first-person narrator. Her stories are thus enriched by an even higher degree of subjectivity and, at the same time, by a kaleidoscopic diversity within the strict limits of the short story.
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Schmidt, Alexandra. "Katherine Mansfield im Spiegel Neuseelands eine Reflexion zur schriftstellerischen Nationalität im Kontext literarischer Resonanzen." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2009. http://d-nb.info/1002957400/04.
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Almqvist, Simon Adam. "An Englishman in Paris : A Study of Katherine Mansfield's Construction of Englishness in Je Ne Parle Pas Français." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49484.
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The author discusses the construction of Englishness in Katherine Mansfield’s short story Je Ne Parle Pas Français using previous accounts for Englishness, Otherness and the context of modernism –primarily featuring imperialism. The author concludes that there is an English identity portrayed in Je Ne Parle Pas Français, but that it is to a greater extent associated with imperialism than other identifiable cultural traits.
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Mizerkowski, Camila Damian. "A literatura crítica e confessional de Katherine Mansfield na genese do romance da Nova Zelândia." reponame:Repositório Institucional da UFPR, 2009. http://hdl.handle.net/1884/19070.
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Jackson, Lisa Marie. "Ocean views: women's transnational modernism in fiction by Elizabeth Bowen, Hagar Olsson, and Katherine Mansfield." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6595.
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This study examines the modernist fiction by three transnational women writers who turned to the ocean in their writing during the first half of the twentieth century to navigate their divided or hyphenated national identities. The Anglo-Irish writer Elizabeth Bowen (1899-1973), the Finland-Swedish author Hagar Olsson (1893-1978), and the New Zealand short story writer of English descent, Katherine Mansfield (1888-1923), use ocean space in their fiction, in the form of both sea imagery and material seascape settings, to unsettle ideologically limiting and culturally anchored categories of identity, gender, class, place and time. The modernist aesthetics and marginal ethics of these white colonial women who existed at a slant to the geographical and cultural center of the British, masculine metropolis pivot on two competing ocean views. First, the sea features in their work as a historically compliant, smooth surface in the service of the establishment, enabling and justifying imperial expansion and colonial settlement, as well as defining and patrolling the uncompromising borders of the land-based modern nation state. Alternately, the ocean comes to disrupt progressive imperial models of history, to inspire fluid and transgressive ideologies, to bear witness to violent histories submerged by official records, and to confound our sense of scale and chronological time through outsized subterranean ecologies that blur the line between land and water, and, as a consequence, throw into question larger fundamental, ontological distinctions, such as that between the ‘human’ and the ‘non-human,’ or ‘more-than-human.’ By bringing postcolonial and ecocritical perspectives to bear on Bowen, Mansfield and Olsson’s literary representations of the ocean, my study contributes to the current expanding reach of modernist studies, ushering into the critical spotlight global regions previously overlooked and misfit writers traditionally dismissed, to locate that which modernity originally defined itself against at the vibrant heart of that construction.
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Vialle, Elisabeth. "L'objet dans la littérature britannique de l'entre-deux-guerres : Virginia Woolf, Katherine Mansfield et Elisabeth Bowen." Paris 3, 1995. http://www.theses.fr/1995PA030073.
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Yeung, Siu Yin. "Modernist fiction and self: representing women and solitude in selected works by Virginia Woolf and Katherine Mansfield." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/180.
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Solitude and self have been common topics for discussion and scrutiny by philosophers, scholars and writers. However, it was not until the turn of the twentieth century, with women 's enlightenment, that one notices women writers ' interest in understanding their selves in moments of solitude. Women who were conscious of drastic social changes often examined their lives and explored their selves in solitude. Katherine Mansfield and Virginia Woolf represent women writers of their time who shared a common interest in portraying women's quests for self in solitude. The present study shows how the solitary state is a significant precondition for modern women to reflect on their lives or explore their selves at a time when society was undergoing drastic changes. A close study of Katherine Mansfield 's "Frau Brechenmacher Attends a Wedding" (19 l 0), "Kezia and Tui" (1916), "Prelude" ( 1918), "At the Bay" ( 1922), and "All Serene!" (1923) shows that Mansfield always offers her women characters punitive consequences in the endings because of their compromise with their mundane conditions even though they have gained some sense of the self through contemplation and meditation. In the case of Virginia Woolf, she situates her women characters in isolation and contemplation, and often presents her women characters as active seekers of self through meditation and alienation. Autonomy, authenticity, and vision define these women's emerging self in such novels as Night and Day ( 1919), Orlando ( 1928), and To the Lighthouse ( 1927). The present study reveals Katherine Mansfield and Virginia Woolf as two exemplary women writers who examine women in moments of solitude through the interplay of social and psychological reality. Solitude is a recurrent condition and theme in their fiction that is often presented in "contrapuntal" manner (Dunbar ix). The contrast between women 's public and performative existence and their private and unmasked self characterises the fiction of Mansfield and Woolf, allowing the two writers to examine patriarchal oppression of women's acquisition of self against the backdrop of modernity. Mansfield and Woolf's treatment of solitude is particularly important as it sheds light on their shared views and friendship. Solitude is treated as a critical state, a condition, a private space, an attitude, or a refuge from performativity for women in their texts. Yet they have adopted distinct writing strategies in dealing with the subject owing to their difference in experience and literary outlook. Mansfield creates heroines who are more practical and modest in their approach to the subject of self-construction. Woolf creates women characters who often resort consciously to solitude to challenge and reflect upon gender norms, gain a better sense of their selves, and deploy various means to attain self-realisation.
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McDaniels, Ivy. ""Beautiful external life to watch and ponder" : Katherine Mansfield confronting the material : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Arts in English /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1295.
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Fotouhi, Sanaz. ""That other world that was the world": a study of the short fiction of Katherine Mansfield and NadineGordimer." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B29529645.
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Teixeira, Deliane Leite. "A TRADUÇÃO DO CONTO BLISS, DE KATHERINE MANSFIELD, POR ANA CRISTINA CESAR: UM EXERCÍCIO DE CRÍTICA E (RE)INVENÇÃO." Pontifícia Universidade Católica de Goiás, 2015. http://localhost:8080/tede/handle/tede/3238.
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Previous issue date: 2015-03-19This paper aims to bring the translation of Bliss tale written by Katherine Mansfield, the theory of translation transcriativa Haroldo de Campos. Therefore, we seek the translation of Ana Cristina Cesar brands that refer to this translation model, which has its main assumptions in the work with the metalanguage. We propose initially a study that captures the function and task of the translator as well as draw a kind of translation archeology (VENUTI, 2000) in order to understand how the evolution of the translation method "sense of direction" contributed so much to creation of a Theory of Translation, as positively contaminated the work of German Romantic poets, in addition to translation studies Benjamin, Paz and Campos. The research is also about the translated version of Bliss tale, performed by Erico Verissimo, which shows up as an important cultural apparatus, given its time of production. As well as to make the necessary counterpoint to translation by Cesar. Thus the thesis presented here, appreciates the work done by translators studied in order to understand how the seizure of the poetic object, from an ideological point of view, acts on translation projects Cesar and Verissimo. It is possible, at this meeting versions, highlight speech marks, gender and Interpretation granting the translation by Cesar, the construction that meets the principles transcriativos fields and reveal the genius of the poet, critic and translator stylistic brevity at the expense of language poetic.
O presente trabalho tem como objetivo aproximar a tradução do conto Bliss da escritora Katherine Mansfield, da teoria da tradução transcriativa de Haroldo de Campos. Para tanto, buscamos na tradução realizada por Ana Cristina Cesar, as marcas que dão conta do modelo transcriativo e seus pressupostos principais o trabalho com a metalinguagem. Propomos incialmente um estudo que resgata a função e tarefa do tradutor, bem como traçamos uma espécie de arqueologia da tradução (VENUTI, 2000), a fim de compreendermos de que forma a evolução do método de tradutório ―sentido por sentido‖ contribuiu tanto para a criação de uma Teoria da Tradução, bem como contaminou positivamente o trabalho dos poetas Românticos Alemães, além dos estudos de tradução de Benjamin, Paz e Campos. A pesquisa vale-se, também, da versão traduzida do conto Bliss, realizada pelo escritor Érico Veríssimo, que se mostra como importante aparato cultural, dada sua época de produção, destarte, para fazer o contraponto necessário à tradução realizada por Cesar. A dissertação aqui apresentada, valoriza o trabalho realizado pelos tradutores estudados, a fim de compreender de que forma a apreensão do objeto poético, sob o ponto de vista ideológico, age nos projetos tradutórios tanto de Cesar, como de Veríssimo. É possível, nesse encontro de versões, evidenciar marcas de discurso, gênero e interpretação que concedem a tradução realizada por Cesar, a construção que atende aos princípios transcriativos de Campos e revelam a genialidade da poetisa, crítica e tradutora na concisão estilística em detrimento da linguagem poética.
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Correia, Alda Maria. ""A quarta dimensão do instante" : estudo comparativo da epifania nos contos de Virginia Woolf, Katherine Mansfield e Clarice Lispector." Doctoral thesis, Universidade Nova de Lisboa, Faculdade de Ciências Sociais e Humanas, 1998. http://hdl.handle.net/10362/5922.
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Dissertação de Doutoramento em Literatura ComparadaO objectivo do trabalho é comparar e aproximar os contos de Virginia Woolf, Katherine Mansfield e Clarice Lispector em que a epifania é utilizada como elemento, de um modo ou de outro, determinante na estrutura da narrativa. Este confronto de textos procura provar, tendo em conta a epifania como conteúdo temático e como técnica formal, que esta é um elemento polarizador das ambiguidades modernistas, do conflito de vozes e da dissonância, concretizadas de formas semelhantes e diferentes nos contos de cada uma das escritoras. Depois de uma breve introdução (capítulo I) que explica os objectivos, os critérios usados e faz um ponto da situação bibliográfica em relação às autoras, o segundo capítulo contextualiza e enquadra a problemática da epifania tendo como ponto de partida o debate sobre a definição e caracterização do conto e o enraízamento da técnica da epifania na complexidade da estética modernista. O terceiro capítulo mostra a evolução do conceito de epifania no seu sentido secular e particularmente no sentido literário, enfatizado a partir das afirmações de James Joyce, que chama a atenção para os seus tipos e para a sua utilização pelo escritor. Recorda-se também as formas de que o conceito se revestiu nos autores que o utilizaram de modo mais significativo. O quarto capítulo contextualiza a epifania biográfica e literariamente na obra de cada escritora, tendo em conta as respectivas influências e a relação de cada uma delas com o acto de escrever. Este constitui uma busca constante num percurso individual e próprio em que o momento epifânico surge como o vislumbre fugaz, o sinal da existência de uma verdade mais abrangente a que se aspira. Assinala também as reacções de cada escritora ao contacto pessoal e/ou com a obra das outras duas. O quinto capítulo estuda os contos seleccionados, partindo dos princípios construtivos que emergem da organização de cada um deles e tendo sempre por centro focal a epifania. O sexto capítulo constitui a teorização conclusiva da análise anterior, procurando-se encontrar um equilíbrio entre o conceito estudado tanto no aspecto de conteúdo temático como no de técnica formal, o método comparativo, os textos já analisados e as características das obras como um todo. Chama-se a atenção para os muitos traços comuns presentes na diversidade de cada conto e cada epifania: a ambiguidade, a indefinição e mesmo a dualidade, o privilegiar de um discurso que reflecte as tensões interiores das personagens, a utilização, sob formas diferentes, do simbolismo, a concentração num fragmento de tempo e de espaço que, a partir do exterior, pode abrir caminhos novos nos universos de cada “eu”.
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Gonçalves, Letícia de Souza [UNESP]. "A reescritura de Katherine Mansfield por Érico Veríssimo: análise descritiva da tradução para o português da obra Bliss and other stories." Universidade Estadual Paulista (UNESP), 2008. http://hdl.handle.net/11449/94119.
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O presente trabalho pretende fazer uma análise da tradução para o português de alguns contos da obra Bliss & other stories, de Katherine Mansfield, feita pelo escritor Érico Veríssimo. Propomos uma comparação da tradução com o texto de partida a fim de avaliar as soluções tradutórias encontradas na transmissão dos efeitos de sentido propostos pela autora e, por conseguinte, abordar o caráter tradutório do escritor, já que é um ramo de sua atividade profissional não difundido amiúde, embora tenha sido de extrema relevância para seus trabalhos literários posteriores. Assim, verificamos se o tradutor em questão teve o que Ohmann denomina “intuição estilística”. Em uma primeira instância, apresentamos um levantamento das principais teorias acerca da tradução e da vertente desconstrutivista, de Jacques Derrida, na qual nos baseamos para a realização da apreciação das traduções. O estudo da relação entre Katherine Mansfield e Érico Veríssimo por meio da tradução aprimora a tradutologia, já que nos permite analisar a postura de um escritor/tradutor perante uma prosa poética. E, por fim, os contos representativos do estilo da escritora neozelandesa e as traduções destes, feitas por Érico Veríssimo, foram analisados a fim de formularmos as devidas conclusões. Para tanto, tomamos como base teórica a teoria desconstrutivista, bem como considerações realizadas por estudiosos da tradução, como Francis Henrik Aubert, José Paulo Paes, Haroldo de Campos, entre outros.
The present work intends to analyze the translation into Portuguese of some of the short stories of Bliss & other stories, by Katherine Mansfield, done by the writer Érico Veríssimo. We propose a comparison of the translation with the source text in order to evaluate the solutions of translation found in the transmission of the sense effects proposed by the author and, consequently, to approach the writer's translator character , because it is a branch of his professional activity that isn’t spread frequently, although it has been of extreme relevance to his subsequent literary works. So, we verified if the translator presents what Ohmann denominates stylistic intuition. In a first instance, we presented a survey of the main theories concerning translation and the deconstructionist theory of Jacques Derrida, on which we were based for the accomplishment of the appreciation of the translations. The study of the relationship between Katherine Mansfield and Érico Veríssimo through the translation perfects translation studies, since it allows analyzing the posture of a writer/translator before a poetic prose. And, finally, the New Zealand writer's short stories and their translations, done by Érico Veríssimo, were analyzed in order to formulate the due conclusions. We took as theoretical base the deconstructionist theory, as well as considerations from specialists in translation studies, such as Francis Henrik Aubert, José Paulo Paes, Haroldo of Campos, and others.
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Olsson, Felicia. "The Flourishing Epiphany of “The Garden Party” : A Narratological Investigation of the Concept Epiphany in Katherine Mansfield’s Short Story “The Garden Party”." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49208.
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This essay examines the protagonist of Katherine Mansfield’s “The Garden Party” (1922), Laura, and her experiences of events that are made insignificant by the rest of the narrative. Gérard Genette’s narratological theory and the concept of epiphany is put forward in the theroertical framework in order to preform this investigation. Morris Beja’s and Liesl Olson’s studies of the epiphany in modernist literature assists the investigation. Thus, with the support of Genette’s narratological theory and the concept of epiphany, this essay examines epiphanic moments in “The Garden Party”. It will also study how these moments transfer on to the reader through multimodal techniques. This argument is supported by Joseph Conrad’s preface to The Nigger of the ‘Narcissus’.
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Menadue, Fiona Jane. ""Absence of any scars? " : a comparative study of the critical writing and short fiction of Virginia Woolf and Katherine Mansfield /." Title page, contents and conclusion only, 2000. http://web4.library.adelaide.edu.au/theses/09AR/09arm534.pdf.
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Drewery, Claire. "Liminal entities : transition and the 'space between' in the short fiction of Katherine Mansfield, Dorothy Richardson, May Sinclair, and Virginia Woolf." Thesis, University of Hull, 2006. http://hydra.hull.ac.uk/resources/hull:5672.
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The relationship between literary Modernism and the short story is a neglected area, particularly in terms of women's writing. Traditionally, critical interest in Virginia Woolf's novels and essays has tended to eclipse her short fiction, whilst the stories of Dorothy Richardson and May Sinclair are virtually absent from serious critical discussion. Only Katherine Mansfield has received due attention, though rarely in relation to her women contemporaries. Since the early 1990s, however, there has been a renaissance of interest in the Modernist short story. This draws attention to a recurring preoccupation in the genre: that of transgressing boundaries. A connection between the short story and liminality (deriving from the Latin word limen meaning boundary or threshold) has, however, rarely been explicitly made in literary criticism. This thesis redresses this critical neglect, exploring the literary, contextual and theoretical implications of the Modernist fascination with liminality through the experimental genre of the short story. Liminality is ambiguous and paradoxical, encapsulating a simultaneous capacity for liberation and restriction. This paradox forms the central focus of attention in this thesis, which explores how Mansfield, Richardson, Sinclair and Woolf use liminality to explore the shifting, fragmented identity of the Modernist subject. My chapters examine various liminal entities - the pilgrimage, war, the inner life, the `moment of being', mysticism, mortality and immortality - relating to the form, context or content of the Modernist short story. This discussion ultimately demonstrates that it is through the intrinsically liminal genre of the short story, more than any other form, that these four writers use the liminal trope to discard their Victorian heritage through experimental writing styles which offer a unique contribution to the development of literary Modernism.
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Gonçalves, Letícia de Souza. "A reescritura de Katherine Mansfield por Érico Veríssimo : análise descritiva da tradução para o português da obra "Bliss and other stories" /." Assis : [s.n.], 2008. http://hdl.handle.net/11449/94119.
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Orientador: Cleide Antonia RapucciBanca: John Milton
Banca: Antonio Roberto Esteves
Resumo: O presente trabalho pretende fazer uma análise da tradução para o português de alguns contos da obra Bliss & other stories, de Katherine Mansfield, feita pelo escritor Érico Veríssimo. Propomos uma comparação da tradução com o texto de partida a fim de avaliar as soluções tradutórias encontradas na transmissão dos efeitos de sentido propostos pela autora e, por conseguinte, abordar o caráter tradutório do escritor, já que é um ramo de sua atividade profissional não difundido amiúde, embora tenha sido de extrema relevância para seus trabalhos literários posteriores. Assim, verificamos se o tradutor em questão teve o que Ohmann denomina "intuição estilística". Em uma primeira instância, apresentamos um levantamento das principais teorias acerca da tradução e da vertente desconstrutivista, de Jacques Derrida, na qual nos baseamos para a realização da apreciação das traduções. O estudo da relação entre Katherine Mansfield e Érico Veríssimo por meio da tradução aprimora a tradutologia, já que nos permite analisar a postura de um escritor/tradutor perante uma prosa poética. E, por fim, os contos representativos do estilo da escritora neozelandesa e as traduções destes, feitas por Érico Veríssimo, foram analisados a fim de formularmos as devidas conclusões. Para tanto, tomamos como base teórica a teoria desconstrutivista, bem como considerações realizadas por estudiosos da tradução, como Francis Henrik Aubert, José Paulo Paes, Haroldo de Campos, entre outros.
Abstract: The present work intends to analyze the translation into Portuguese of some of the short stories of Bliss & other stories, by Katherine Mansfield, done by the writer Érico Veríssimo. We propose a comparison of the translation with the source text in order to evaluate the solutions of translation found in the transmission of the sense effects proposed by the author and, consequently, to approach the writer's translator character , because it is a branch of his professional activity that isn't spread frequently, although it has been of extreme relevance to his subsequent literary works. So, we verified if the translator presents what Ohmann denominates "stylistic intuition". In a first instance, we presented a survey of the main theories concerning translation and the deconstructionist theory of Jacques Derrida, on which we were based for the accomplishment of the appreciation of the translations. The study of the relationship between Katherine Mansfield and Érico Veríssimo through the translation perfects translation studies, since it allows analyzing the posture of a writer/translator before a poetic prose. And, finally, the New Zealand writer's short stories and their translations, done by Érico Veríssimo, were analyzed in order to formulate the due conclusions. We took as theoretical base the deconstructionist theory, as well as considerations from specialists in translation studies, such as Francis Henrik Aubert, José Paulo Paes, Haroldo of Campos, and others.
Mestre
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Pfister, Alice. "De l’impression d'enfance à l’expression adulte : l’enfance poétique comme modèle implicite d’une esthétique narrative moderne chez Pierre Loti, Marcel Proust, Colette, Virginia Woolf et Katherine Mansfield." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040188.
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Cette thèse se propose d’explorer les rapports entre enfance et sentiment poétique pour considérer la manière dont l’impression enfantine peut se faire le modèle, en filigrane, d’une esthétique narrative moderne. Un corpus composé de récits de Pierre Loti, Marcel Proust, Colette, Virginia Woolf et Katherine Mansfield permet d’analyser l’inscription fictionnelle de personnages enfants pour montrer la similitude de caractéristiques supposément enfantines et de traits relevant d’une certaine conception du récit moderne, au tournant des XIXe et XXe siècles : le primat de la subjectivité, une pénétration du texte par le sentiment poétique et une esthétique de la discontinuité cristallisant le récit sur des moments privilégiés. L’analyse convoque également des représentations de l’enfant, tant scientifiques que littéraires, du XVIIIe au XXe siècle. Les écrits des premiers psychologues de l’enfance, les textes romantiques mettant en scène des enfants poètes, et l’affirmation baudelairienne qui fait du génie une « enfance retrouvée » sont interrogés pour mettre au jour les conceptions fantasmatiques de l’enfant implicitement activées par les auteurs de ces récits. La croyance et l’imagination proverbiales de l’enfant, la supposée authenticité d’un âge proche des origines, sont autant de projections utopiques que charrie la littérature, et que cautionnent, dans une certaine mesure, les pensées philosophiques et scientifiques jusqu’au premier tiers du XXe siècle. Cette étude sonde les sources et les enjeux de ces représentations pour comprendre ce qui les motive et explorer leurs résonances avec certaines modalités d’écriture, entre poésie, mysticisme et impressionnismeThis thesis explores the relationship between childhood and poetical feeling to consider how childhood impressions can implicitly model a modern narrative aesthetics. A corpus of narratives by Pierre Loti, Marcel Proust, Colette, Virginia Woolf and Katherine Mansfield serves to analyse the fictional inscription of child characters and show the likeness between allegedly childish characteristics and traits related to a certain conception of the modern narrative, at the corner of the 19th and 20th centuries. Among these characteristics : the predominance of subjectivity, a poetical feeling pervading the text, and a discontinuous narrative focusing on moments of being. The analysis summons both literary and scientific representations of the child, from 18th to 20th century. It convokes the theories of the first child-psychologists along with Romantic texts figuring child poets and questions the premise, according to Baudelaire, that genius is based on « childhood recovered ». In doing so it means to shed light on the phantasmatic conceptions of the child implicitly activated by the authors of these narratives. The child’s proverbial imagination and credulity, the presumed authenticity of an age closer to origins are as many utopic projections conveyed by literature and cautioned, to a certain point, by philosophic and scientific thoughts until the first third of the 20th century. This study examines their sources and their stakes to understand what accounts for them and to investigate their resonance with certain writing dimensions, such as poetry, mysticism and impressionism