By Maurizio Ascari (auth.)
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Additional resources for Cinema and the Imagination in Katherine Mansfield’s Writing
144. For a discussion of the popular character of early cinema and the first attempts to enhance its status – either by adapting drama and treating more elevated subjects or by developing technological innovations that refined its language – see P. Younger (2011) ‘Film as Art’, in The Routledge Companion to Film History, ed. W. Guynn (New York: Routledge), pp. 27–38. 0004 2 Beyond Impressionist Subjectivity Abstract: While Mansfield’s youthful vignettes are marked by a recurring Impressionist technique – the presence of an observer behind a window – this chapter argues that Mansfield needed to do away with this intrusively ego-centric gaze to develop a transparent medium.
1, p. 32. The same technique marks the opening line of a ‘Vignette’ dated 11 December 1908: ‘I look out through the window. ’ Mansfield, Notebooks, vol. 1, p. 200. Mansfield, ‘Vignettes’, vol. 1, pp. 80–81. C. Hankin (1983) Katherine Mansfield and Her Confessional Stories (New York: St. Martin’s P), p. 224. Mansfield, ‘Vignettes’, vol. 1, p. 78. , p. 79. Ibid. Kaplan, Katherine Mansfield and the Origins of Modernist Fiction, p. 68. See S. Freud (1962 ) Civilization and Its Discontents, trans.
147. The connection between IT and night fears becomes apparent when we read Mansfield’s rendering of this scene in The Aloe. See Mansfield (2013) The Aloe, in The Collected Fiction of Katherine Mansfield, 2 vols, eds G. Kimber and V. O’ Sullivan (Edinburgh: Edinburgh UP), vol. 1, p. 473. Mansfield, ‘Prelude’, in The Collected Fiction, vol. 2, p. 58. Pater, The Child in the House, pp. 9–10. , pp. 10–11. , p. 13. W. Pater, (1910 ) Plato and Platonism: A Series of Lectures (London: Macmillan), p.
Cinema and the Imagination in Katherine Mansfield’s Writing by Maurizio Ascari (auth.)