![]() ![]() It increase incrementally until you either get the card, or until the drop rate eventually reaches 100% and you *will* get the card. There is a "bad luck" system where after every hundred kills or so (it's different depending on the mob), the drop rate for the card will increase. ![]() ![]() So for example, if it was a 1% chance to drop, it would now be a 1.36% chance to drop. ![]() Jesse Matz’s theory of the ‘double impression’ is used as a key to understanding the dichotomy between perception and definition, life and writing, glimpses and recording in Mansfield’s fiction and journals, but ultimately I will argue that through her use of the symbol, Mansfield progresses beyond the bounds of literary impressionism and creates her own unity.Originally posted by Sairek Ceareste:It's a 36% increase of that normal drop rate. Her review of Dorothy Richardson’s Pilgrimage in the Athenaeum is set against the letters in an attempt to delineate her attitude toward the visual and the primary impression in fiction. Mansfield’s letters, particularly to the painter Dorothy Brett, are analysed for what they reveal about Mansfield’s ideas about ‘life’ and the purely perceptual in art, and one can see her begin to formulate views on what painting should encompass, and what fiction can take from painting. ‘The Meaning of Rhythm’, that manifesto for the privileging of ‘life’ in art, is read as a manifesto for the primary impression. It emphasises doubleness both in Mansfield’s selves and in her aesthetics, a doubleness which led her to experiment with the literary impression. This article examines Katherine Mansfield’s aesthetics and attitude to the relation between what she called ‘life’ and work, the visual and the intellectual. Close textual analysis of stories from Mansfield’s entire oeuvre, using narratological theory as a guide, informs this study to show how she learns to harness literary techniques such as focalisation and free indirect discourse to represent the ‘hundreds of selves’ experienced by her characters. Whilst there are some studies of Mansfield’s writing addressing aspects of her stories and the self, particularly those by Clare Hanson (1981), Kate Fullbrook (1986) and Sydney Janet Kaplan (1991), there is no full length study that coordinates notebook entries, letters and Mansfield’s fiction across her writing career to show how her obsession with the self can be viewed as a key influencing factor in her creation of a unique aesthetic. By examining these theories, this thesis attaches a framework to the analysis of Mansfield’s writing creating a coherent structure that relates prevalent ideas, Mansfield’s personal thoughts and her experimental fiction. These theories added to a discourse on how modernity caused a crisis of self: how identity is called into question in the new, mechanised society. There is no doubt that the beginning of the twentieth century, when Mansfield was writing, saw many advancements in science and technology and these included new psychological theories popularised by William James and Sigmund Freud. By examining this and many other scattered references to the self throughout Mansfield’s letters and notebooks, this thesis aims to uncover the relationship between Mansfield’s personal comments and questions on the self and the development of her literary aesthetic. True to oneself! Which self? Which of my many – well, really, that’s what it looks like coming to – hundreds of selves’ (CW4, 349). In one notebook entry she exclaims, ‘if one was true to oneself. Katherine Mansfield’s letters and notebooks betray an obsession with issues of the self. ![]()
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