33,390 research outputs found
John Mansfield talks with Michael Latham
No full textJohn Mansfield talks with Michael Latham about various easily-learned techniques which underlie successful documentaries.Cameramen, Colin Cooper, Peter Rimington ; editor, Gareth Watkins
Reconfiguring the national canon: The Edinburgh edition of the Collected Works of Katherine Mansfield
No full textThis paper looks at how the new two volume edition of the Collected Works of Katherine Mansfield, edited by Gerri Kimber and Vincent O'Sullivan, helps us to reassess the creativity of Katherine Mansfield. Gerri Kimber and Janet Wilson’s essay on the four-volume Edinburgh Edition of the Collected Works of Katherine Mansfield makes clear how in recent years Mansfield has been ‘brought home’ to New Zealand by way of establishing her reputation as a writer of world significance. Those mid twentieth-century years of cultural nationalism, when Frank Sargeson could write that ‘Mansfield imposed this feminine thing on New Zealand’, and Allen Curnow in the Introduction to his milestone Penguin Book of New Zealand Verse could suggest that Mansfield has ‘something like shame for her country’, have long gone. Mansfield has been (re)instated as the country’s foremost writer; her proto-feminism is seen as one of her many qualities, and her in-between location as both a New Zealand writer and an Anglo-European modernist as a defining strength. Mansfield was a diasporic writer; so too for a number of years was Janet Frame. Both Mansfield and Frame are the most innovative and experimental writers New Zealand has produced. And both, of course, were women. The relation between these elements common to both writers, and their significance for New Zealand literary history, is something that still remains to be fully explored
Remarks of Senator Mansfield at Testimonial Dinner for Senator Aiken - St. Michael\u27s College
Get PDFRemarks of Senator Mansfield at Testimonial Dinner for Senator Aiken - St. Michael\u27s Colleg
The 'Burden' of the feminine: Frank Sargeson's encounter with Katherine Mansfield
No full textThis essay is situated in relation to the critical commonplace that the contrasting literary modes and prose styles of Frank Sargeson and Katherine Mansfield -- of hard-edged realist writing and the miniaturist ‘subjectivist’ writing of impressionism -- laid the foundation for the two traditions in New Zealand prose. I suggest that significant similarities can be found in the writers' artistic orientation, traceable to their critique of colonial culture and society: namely, an aesthetics of fragmentation, resistance to normative gender constructions of colonial society and their use of symbolic modes of representation. Furthermore, I argue that Mansfield can be traced as an intertextual presence in Sargeson’s work, alongside an implied gendered critique of her female voice, values and attitudes, and that he developed his repertoire by adapting her techniques of impressionism and impersonation to his ambivalently gendered viewpoint in order to nuance masculine vulnerability and unrequited love. This specific influence of Mansfield upon Sargeson will be illustrated with reference to his story, ‘A Man and his Wife’ (1939), in which I suggest he surreptitiously draws on Mansfield’s last story, ‘The Canary’ (1923), ‘writing back’ in a rural colonial context and voice to her metropolitan discourse
Mike Mansfield Interview, October 29, 1998
Get PDFMike Mansfield talks about his time in Japan and tells stories of his attempts to influence the culture by pouring tea in place of the women who did so in Japan. They also discuss some of the artwork that Mansfield acquired during his life, including a map of East Asia that Mansfield used as a reference while he tracked current affairs in the region. Mansfield talks about his personal life briefly, about how his parents ended up in Great Falls and about financial struggles during strained economic times. He also talks about his close relationship with Illinois Republican Senator and Minority Leader Everett Dirksen. Mansfield worked closely with Dirksen to pass the Civil Rights bill and lots of other notable legislation. Mansfield also talks about a former Senate aide named Michael Pillsbury, who Mansfield remembers as a trouble maker.https://scholarworks.umt.edu/mansfield_interviews/1003/thumbnail.jp
M89-085: 1987 Mansfield Conference Poster
No full text1987 Mansfield Conference poster. Signed by presenters. Depicts The United States and Japanese Flags against a blue background with Mike Mansfield in the lower right corner.
The 1987 Mansfield Conference: The Japanese- United States Relationship
Challenges and Opportunities for the Future May 27-29, 1987
Presenters: Tommy T.B. Koh, Robert Christopher, Michael Armacost, Akio Morita, William K. Cummings, Saburo Okitahttps://scholarworks.umt.edu/mansfieldartifacts/1539/thumbnail.jp
00543 Top of chapel with Mount Mansfield
No full textTop of Chapel of Saint Michael the Archangel with Mount Mansfield in the background, during winter
Arrival Statement by Ambassador Michael Mansfield
Get PDFArrival Statement by Ambassador Michael Mansfiel
John Mansfield talks with Michael Latham
No full textExplains how to conduct an interview, prepare the questions, select the interviewees, and put them at ease in front of a camara.Cameraman, Karoline Elbogen, Simon Livingstone ; editor, Gareth Watkins
Art and society: a consideration of the relations between aesthetic theories and social commitment with reference to Katherine Mansfield and Oscar Wilde
No full textPhDThe chief purpose of this project is to discuss Katherine Mansfield's
aesthetic ideas in connection with those of Oscar Wilde and fin de siècle Aestheticism.
The proposed study will also analyse her Modernist technique in Symbolist terms, and
consider her major themes from aesthetic and political points of view.
The primary, underlying concern of this study is to negotiate two, often opposing
critical values: the aesthetic and the political. The artist's negotiation of the conflict
between aesthetics (art) and politics (society) is a controversial 'modern' critical issue: the
issue all serious artists and critics have been facing and consciously dealing with since
the late nineteenth century. Fin de siècle Aestheticism and Symbolism form a dominant
stream of Modernism because of this intensified shared concern over the delicate
relationship between art, life and society.
Wilde's stress on the autonomy of art is related to his notion of an ideal relationship
between art, life and society: he shows a keen awareness that the autonomy of art and
the aesthetic self-realization of the artist could be realized only in a society without any
social, cultural or moral hegemony, that is, in a society without moral, social or political
oppression. The Wildean 'poeticization' of society lies in his politicization of art; and this
aesthetic influences Mansfield's.
French Symbolism suggested to Wilde and Mansfield an aesthetic which enabled
them to realize their Aestheticism. Wildean and Mansfieldian Symbolism attempt to
'shock' the reader: they aim at breaking the reader's reading habit, and his or her
stereotypic point of view and fixed sense of values. Here lie not only the political
potential of Symbolism as a Modernist aesthetic but also the aesthetic and political link
between their Symbolism and avant-garde Modernism
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