Titlebook: Celebrating Katherine Mansfield; A Centenary Volume o Gerri Kimber (Associate Lecturer),Janet Wilson (Pr Book 2011 Palgrave Macmillan, a di

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https://doi.org/10.1007/978-3-8350-9572-4organized by Ian Conrich and the editors, which focused on the centenary of the arrival of Katherine Mansfield in London in July 1908 and the start of her professional career as a writer. It brings together new auto/biographical and critical-theoretical approaches to her life and art, in ways that c

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https://doi.org/10.1007/978-3-8350-9572-4 men of Britain. At the end of October 1915, Prime Minister Herbert Asquith reported to Parliament that there had been nearly half-a-million casualties.. Among the dead and missing officers listed on 26 October of that year appeared the following:.Leslie Heron Beauchamp was, of course, Katherine Man

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https://doi.org/10.1007/978-3-8350-9572-4ndividual freedom. Murry later wrote about his disinclination ‘to urge any claim’ on her. He declared that he ‘always was, and always would be, man enough to ask nothing of a woman but what of her own motion she could not help giving’.. This concept of personal freedom had first been tested in 1915,

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Information - Organisation - Produktions dominant methodological and critical co-ordinates generally, and in some ways quite remarkably, remain transatlantic, even in the twenty-first century. The cross-cultural and international exchanges that took place between writers and artists, and the various cross-border journeys they undertook,

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https://doi.org/10.1007/978-3-8350-9572-4, we know that nineteenth-century literature provided a wellspring of material which became transfigured in her modernist idiom. In this essay I propose that Mansfield’s allusions to music are particularly informed by her nineteenth-century reading and listening, and that this played a crucial role

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https://doi.org/10.1007/978-3-8350-9572-4s form an intricate motif of binary relationships and codes to which the reader may or may not be attuned — creating a subtle form of communication that exists beyond the surface of the narrative. Modernist scholar Mary Ann Caws suggests that ‘a framed object […] may itself become the developing or

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Strategische Unternehmungsführungngside Freud’s 1919 essay ‘The Uncanny’.. The uncanny is, by definition, resistant to definition, lying somewhere between a concept and a feeling, confounding attempts to distinguish between imagination and reality, self and other, the familiar and the strange. Its significance can be stretched so w

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