By Gerri Kimber
This quantity deals new interpretations of Katherine Mansfield's paintings through bringing jointly fresh biographical and critical-theoretical ways to her lifestyles and paintings within the context of Continental Europe. It beneficial properties chapters on Mansfield's reception in numerous ecu international locations with her personal translations of alternative ecu writers.
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Additional resources for Katherine Mansfield and Continental Europe: Connections and Influences
3. Sydney Janet Kaplan, Katherine Mansfield and the Origins of Modernist Fiction (Cornell: Cornell University Press, 1991), pp. 169–87. 22 Katherine Mansfield and Continental Europe 4. , The Critical Response to Katherine Mansfield (Westport, CT: Greenwood Press, 1996), p. xxvi. 5. In her study of the reception of Mansfield and Woolf in Italian literary journals in the interwar period, Elisa Bolchi discusses four essays on Mansfield, but she claims that around twenty were published. , Chi stramalediva gli inglesi: la diffusione della letteratura inglese e americana in Italia tra le due guerre (Milano: Vita e Pensiero, 2007), p.
254. 49. Katherine Mansfield, La lezione di canto e altri racconti, trans. and intro. Emilio Ceretti (Milano: Mondadori, 1935). 50. Salvatore Rosati, La Nuova Antologia, 303, 16 October 1935, pp. 553–7. 51. Pietro Bardi, Antologia della letteratura inglese: Da Burns a Mansfield, 2 vols (Bari: Laterza, 1936), vol. 2, pp. 287–8. 52. Gilberto Altichieri, ‘Introduzione’, in Katherine Mansfield, Poemetti, trans. and intro. Gilberto Altichieri (Modena: Guanda, 1940), pp. 9–20. 53. it/enciclopedia/milly-dandolo_(Dizionario-Biografico)/ (accessed 30 March 2014).
Szép Szó was a short-lived journal, appearing with random frequency between 1936 and 1939; its focus was rather on social issues (which does not seem to correspond with the title of the journal), but also published literature, both from Hungary and abroad (though primarily from neighbouring countries). From this perspective, publishing Mansfield’s ‘The Doll’s House’ (‘Babaház’) must have had a political edge to it from the perspective of class, which was a major concern of the journal; Attila József aligned himself with socialist concerns, for a short while even joining the – at that time – illegal Communist Party.