Queer theory, literary diaspora studies and the law

The article examines the well attested intersections between queer studies and the state of being in diaspora. This is a metaphorical alignment and comparability based on notions of being cast out and alienated from 'home'. But when it comes to living in the diaspora or living as gay, the analogy breaks down somewhat. The article suggests that queer theory underpins the successful politicisation of gay communities to gain greater rights such as gay marriage; whereas migrant communities which live in diaspora struggle with having their own cultural practices recognised legally, especially in England where alternative marriage customs do not have the binding force of law and British Asians, for example, often have two forms of solemnisatio

Mansfield, France and childhood

Mansfield’s ambivalent love affair with France, which flowered after 1912, also saw her tackling her great theme of childhood as she moved away from the style of the raw, outback New Zealand stories written in 1912/13 into a more impressionistic mode. Her recreation of her early life through the figure of Kezia in the first draft of ‘The Aloe’, written in Paris (March to May 1915), has its origin in stories published in Rhythm (October 1912): ‘New Dresses’, ‘Elena’, and ‘The Little Girl’; but interestingly this semi-biographical point of departure is contextualized by stories written around the same time in which childhood is represented as a state that overlaps and is even confused with puberty, adolescence, adulthood, as in ‘Something Childish But Very Natural’, her first story written in France (Paris, December 1913), and ‘The Little Governess’ (Paris, May 1915). This paper examines these transitions in her work to argue that Mansfield explored liminal states in her characters, who combine elements of childhood, youth, and maturity, so dramatising her own psychological criss-crossing between these phases in her recreation of the family drama of ‘The Aloe

Veiling and unveiling: Mansfield's modernist aesthetics

The wearing of a veil like other fashionable items of attire in Mansfield’s fiction ‒ parasols, hats, gloves, muffs, and hair ribbons ‒ usually serves more than mere decoration, protection or fashion. Such accessories often represent symbolically an intangible emotion or feeling, and can be read as a form of disguise. Diaphonous veils that create a filmic layer between viewer and external world, hint at a disturbance in the field of vision and the need for a different mode of seeing. Often this layering signals the necessary artifice of fiction-making and when associated with illusion, deceit and storytelling, points to Mansfield’s shaping of her art. In stories and sketches like “Die Einsame”, “The Dark Hollow”, “The Escape” and “Taking the Veil”, she reworks the veil motif as an emblem of self-impersonation, artifice and impersonality. Metaphorically lifting or lowering the veil can be associated with the aesthetic principle of “the glimpse” and the author’s ability to veil and unveil, as in Middleton Murry’s view of her art as offering “those glimpses of reality that in themselves possess a peculiar vividness”, and as stated in her own wish “to lift that mist from my people and let them be seen and then hide them again”. This paper examines veil imagery in several of Mansfield’s stories as a significant motif in her modernist aesthetics with which she registers problems of sight and vision in relation to representation

Katherine Mansfield as (post)colonial modernist

This talk covers the different ways in which Mansfield's life and work can be read through the double lens of post colonialism and modernism, representing two different positions that inform and intersect with each other in her work. The first half examines her early life and work in which she destabilises the dualities of gender, national identity and ethnicity in an encounter with the 'other' that includes the self as 'other', at a time when she was rejecting her origins. The second half covers the search Mansfield made in her later years to reemplace herself through memory and imagination within her homeland by reconstructing the world of her childhood as a form of life intercepted by death thus transcending the material dimension of her recreation

Effects of patient death on nursing staff: a literature review

There were 509,090 deaths recorded in England and Wales for 2008 (Office for National Statistics, 2010); of these, over 56% (260 000) occurred in NHS hospitals. The death of a patient is an event that most, if not all, nursing staff will encounter during their work. This experience can elicit physical, cognitive, behavioural, spiritual and emotional responses (Parkes, 1998). Aim: The aim of this literature review is to explore how the death of patients in a hospital setting impact on nursing staff. Method: A review of the literature was undertaken using the online databases CINAHL, Medline and PsychInfo. The search was limited to articles in the English language and those from peer-reviewed journals. Results: Themes arising from the literature review included: the theoretical context; the emotional impact; the culture of the healthcare setting; staff’s previous life experiences; and support available for healthcare staff. Conclusions: The death of patients does have an impact on nurses. This can affect them both in their work environment and outside of work. Education around grief theory and support from others are helpful for staff in developing strategies for coping with patient deaths.</p

Future directions of postcolonial studies

A discussion of new directions in postcolonial studies mainly with reference to essays in the co-edited volume, Rerouting the Postcolonial ed. Janet Wilson, Sarah Lawson Welsh and Cristine Sandru (Routledge, 2010), which covers terror and the postcolonial (with reference to The Reluctant Fudnamentalist by Mohsin Hamid), the Arab Spring, the turn to the utopian, and global imaginaries. The talk also takes some directions from the expanded categories of the postcolonial found in the second edition of the Postcolonial Studies Reader, ed. Bill Ashcroft et al (Routledge, 2006

Representation of women in Australian parliaments 2014

This updated paper draws on recent data and research to discuss trends and issues relating to women in Australian parliaments within an international context. It includes data on women in leadership and ministry positions, on committees and as candidates in Commonwealth elections. Executive summary Across Australia women continue to be significantly under-represented in parliament and executive government, comprising less than one-third of all parliamentarians and one-fifth of all ministers. Internationally, Australia’s ranking for women in national government continues to decline when compared with other countries. The representation of women in Australia’s parliaments hovers around the ‘critical mass’ of 30 per cent regarded by the United Nations as the minimum level necessary for women to influence decision-making in parliament. There is no consensus amongst researchers in the field as to why women continue to be under-represented in Australia’s system of parliamentary democracy, although a number of factors contribute to the gender imbalance. This paper includes discussion of some of the structural, social and cultural factors influencing women’s representation including the type of electoral system, the culture of political parties, and the nature of politics and the parliamentary environment in Australia. This updated paper draws on recent data and research to discuss trends and issues relating to women in Australian parliaments within an international context. It includes data on women in leadership and ministry positions, on committees and as candidates in Commonwealth elections. Whilst the focus is on the Commonwealth Parliament, the paper includes comparative information about women in state and territory parliaments.&nbsp; The issue of gender diversity is also discussed within the broader context of women in leadership and executive decision-making roles in Australia including local government, government boards and in the corporate sector

The 'Burden' of the feminine: Frank Sargeson's encounter with Katherine Mansfield

This 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

Reconfiguring the national canon: The Edinburgh edition of the Collected Works of Katherine Mansfield

This 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