ABSTRACT This article celebrates friendship as a valid starting point for scholarly enquiry and uses conversation as a valuable methodology. While completing their doctoral research on modernist short stories and women’s art collectives, co-authors Rydstrand and Mayhew discovered New Zealand author Katherine Mansfield was a contact point between their respective projects. Around 1981, Harridan Screenprinters quoted Mansfield’s injunction to ‘Risk anything’ on a poster, invoking Mansfield as a role model—as a leading modernist author and as a risk-taker. Mayhew later gave Rydstrand a copy of the poster as a thesis submission gift. This article explores interrelations between personal, creative and professional risks, from Mansfield’s avant-garde milieu of the early twentieth century, to the dynamic scene of second-wave feminism in Australia, and finally to the precarious world of the twenty-first century academy, all brought together by the physical artefact of the Mansfield poster. In this threefold engagement, we counter the presumed masculinity of experiment and champion feminine forms of risk.

中文翻译：

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冒着个人风险：学术友谊、女权主义榜样和凯瑟琳·曼斯菲尔德

摘要 本文将友谊作为学术探究的有效起点，并将对话作为一种有价值的方法论。在完成对现代主义短篇小说和女性艺术团体的博士研究时，共同作者 Rydstrand 和 Mayhew 发现新西兰作家 Katherine Mansfield 是他们各自项目之间的联络点。1981 年左右，Harridan Screenprinters 在海报上引用了曼斯菲尔德关于“冒任何风险”的禁令，将曼斯菲尔德作为榜样——作为现代主义的主要作家和冒险者。Mayhew 后来给了 Rydstrand 一份海报作为论文提交礼物。本文探讨了个人、创意和职业风险之间的相互关系，从曼斯菲尔德 20 世纪初的前卫环境到澳大利亚第二波女权主义的动态场景，终于到了 21 世纪学院的危险世界，这一切都被曼斯菲尔德海报的物理人工制品聚集在一起。在这种三重参与中，我们反对实验中假定的男性气质，并支持女性的风险形式。