Relevant bibliographies by topics / Rebecca (Du Maurier, Daphne)

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Academic literature on the topic 'Rebecca (Du Maurier, Daphne)'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 January 2023

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Journal articles on the topic "Rebecca (Du Maurier, Daphne)"

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Legiana, Suci, and Fatma Hetami. "The Obsession of Women Characters in Daphne du Maurier's 'Rebecca'." Rainbow: Journal of Literature, Linguistics and Cultural Studies 9, no. 1 (April 30, 2020): 27–39. http://dx.doi.org/10.15294/rainbow.v9i1.36565.

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The objectives of this study are to analyze how is the obsession of the women characters and to explain how the obsession of the women characters influences their behavior described in Daphne du Maurier’s Rebecca. The object of the study is a novel entitled Rebecca, written by Daphne du Maurier. This study is a descriptive qualitative study by applying Freudian psychoanalytic theory. The data of the study were collected by reading, identifying, inventorying, classifying, selecting, and reporting. By using Freudian psychoanalytic theory, the analysis focused on the women's character's obsession. The results show (1) Rebecca’s obsession in gaining power through fake appearances to get wealth and honor. Then, Mrs de Winter obsession in getting her husband’s love influenced by her father’s figure so that she has an electra complex. Further, Danvers obsession in loving Rebecca makes her have selfishness. (2) The influence of Rebecca’s obsession makes her have a narcissistic personality disorder. Then, the influence of Mrs de Winter obsession makes her envy, and finally she imitates Rebecca to increase her confidence in getting her husband’s love. Further, the influence of Danvers obsession makes her a Rebecca worshiper. Keywords: Characters, Obsession, Psychoanalytic, Rebecca, Women
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Li, Libing. "STUDIES ON PERSONA OF THE THREE PROTAGONISTS IN REBECCA." Cultural Communication and Socialization Journal 2, no. 1 (January 4, 2021): 37–42. http://dx.doi.org/10.26480/ccsj.01.2021.37.42.

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Rebecca, written by Daphne du Maurier, the well-known British female writer in 20th century, is a masterpiece suffused with suspense and mystery. Since its publication in 1938, it had caused quite a sensation among readers and became an instant best seller that had never gone out of print. In the existing studies of the novel, most scholars laid their emphasis on character analysis, feminism criticism, narratology, gothic writing and psychoanalysis. However, the analysis of the personality of the Protagonist from Carl Jung’s Archetypal theory is rarely seen, moreover, no one has yet made a comprehensive study of the persona of three protagonists under Jung’s persona theory. By analyzing the persona of both the male protagonist, Maxim, and the two female protagonists, Rebecca and “I”, and exploring reasons resulting in their imbalanced persona, hopefully this paper could render a new approach to reveal the theme of the novel and interpret Daphne du Maurier’s dilemma in her bisexuality. In this paper, three parts are presented. The first part initially makes a survey of previous studies on the novel both at home and abroad, and then introduces Carl Jung’s persona theory. The second analyzes the three protagonists’ persona in detail: Maxim’s overdeveloped person, the nameless narrator’s underdeveloped persona and Rebecca’s well-balanced person; the last part explores reasons resulting in their different personas, mainly from two perspectives: the social background and Daphne du Maurier’s ambivalence about her bisexuality.
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Ньюман Джон. "The Linguistics of Imaginary Narrative Spaces in Daphne du Maurier’s Rebecca." East European Journal of Psycholinguistics 5, no. 2 (December 28, 2018): 42–61. http://dx.doi.org/10.29038/eejpl.2018.5.2.new.

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Daphne du Maurier’s 1938 novel Rebecca provides rich opportunities for the study of imaginary narrative spaces and the language associated with such spaces. The present study explores the linguistics of the imaginary narrative spaces in Rebecca, drawing upon three lines of linguistic research consistent with a Cognitive Linguistic approach: (i) an interest in understanding and appreciating ordinary readers’ actual responses (rather than merely relying upon “expert” readers’ responses), (ii) the construction of worlds or “spaces”, and (iii) the application of ideas from Cognitive Grammar. The study reveals a surprisingly intricate interplay of linguistic devices used in the construction of imaginary narrative spaces and the maintenance of such spaces in extended discourse. References Armitt, L. (2000). Contemporary women’s fiction and the fantastic. New York: St. Martin’s Press. Beauman, S. (2003). Afterword. In Daphne du Maurier’s Rebecca (pp. 429-441). London: Virago Press. Biber, D., Johansson, S., Leech, G., Conrad, S., & Finnegan, E. (Eds.) (1999). Longman grammar of spoken and written English. Harlow, UK: Pearson Education Limited. Birch, D. (2007). Addict of fantasy. The Times Literary Supplement, 5447-5448, 17-18. Dancygier, B. (2012). The language of stories: A cognitive approach. Cambridge: Cambridge University Press. Dancygier, B. (2017a). Introduction. In B. Dancygier (Ed.), The Cambridge handbook of cognitive linguistics (pp. 1-10). Cambridge: Cambridge University Press. Dancygier, B. (2017b). Cognitive Linguistics and the study of textual meaning. In B. Dancygier (Ed.) The Cambridge handbook of cognitive linguistics (pp. 607-622). Cambridge: Cambridge University Press. Du Maurier, D. (2012). Rebecca. London: Virago Press. Emmott, C. (1997). Narrative comprehension: A discourse perspective. Oxford: Oxford University Press. Evans, V., & Green, M. (2006). Cognitive linguistics: An introduction. Edinburgh: Edinburgh University Press. Fauconnier, G. (1985). Mental spaces: Aspects of meaning construction in natural language. Cambridge: Cambridge University Press. Forster, M. (1993). Daphne Du Maurier. London: Chatto & Windus. Gavins, J. (2007). Text world theory: An introduction. Edinburgh: Edinburgh University Press. Hadiyanto, H. (2010). The Freudian psychological phenomena and complexity in Daphne Du Maurier’s “Rebecca” (A psychological study of literature). LITE: Jurnal Bahasa, Sastra, Dan Budaya 6(1), 14-25. Available at: https://publikasi.dinus.ac.id/index.php/lite/article/ view/1348/1014. Harrison, C., Nuttall, L., Stockwell, P., & Yuan, W. (Eds.) (2014). Cognitive grammar in literature. Amsterdam & New York: John Benjamins. Harrison, C., & Stockwell, P. (2014). Cognitive poetics. In J. Littlemore and J. R. Taylor (Eds.), The Bloomsbury companion to cognitive linguistics (pp. 218-233). London: Bloomsbury. Horner, A., & Zlosnik, S. (1998). Writing, identity, and the Gothic imagination. London: Macmillian. Huddleston, R. (2002). The verb. In R. Huddleston & G. K. Pullum (Eds.), The Cambridge grammar of the English language (pp. 71-212). Cambridge: Cambridge University Press. Kelly, R. (1987). Daphne du Maurier. Boston: Twayne Publishers. Lakoff, G., & Turner, M. (1989). More than cool reason: A field guide to poetic metaphor. Chicago & London: The University of Chicago Press. Langacker, R. W. (1991). Foundations of cognitive grammar. Vol. II: Descriptive application. Stanford, CA: Stanford University Press. Leech, G. N. (1969). A linguistic guide to English poetry. London: Longman Group Limited. Margawati, P. (2010). A Freudian psychological issue of women characters in Daphne Du Maurier’s novel Rebecca. LANGUAGE CIRCLE: Journal of Language and Literature IV(2), 121-126. Available at: https://journal.unnes.ac.id/nju/index.php/LC/article/viewFile/900/839 Naszkowska, K. (2012). Living mirror: The representation of doubling identities in the British and Polish women’s literature (1846–1938). Doctoral dissertation, The University of Edinburgh. Palmer, F. R. (1974). The English verb. London: Longman Group Limited. Stockwell, P. (2002). Cognitive poetics: An introduction. London & New York: Routledge. Turner, M. (1996). The literary mind. New York & Oxford: Oxford University Press. Turner, M. (2015). Blending in language and communication. In E. Dąbrowska & D. Divjak (Eds.), Handbook of cognitive linguistics (pp. 211-232). Berlin & Boston: de Gruyter Mouton. Werth, P. (1999). Text worlds: Representing conceptual space in discourse (M. Short, Ed.). Harlow, UK: Longman. Wilde, O. (1996). The picture of Dorian Gray. In The complete Oscar Wilde: The complete stories, plays and poems of Oscar Wilde (pp. 11-161). New York: Quality Paperback Book Club. Winifrith, T. J. (1979). Daphne du Maurier. In J. Vinson (Ed.), Novelists and prose writers (Great writers of the English language) (pp. 354-357). New York: St. Martin’s Press.
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Heni, Heni. "Analisis Plot Novel Rebecca oleh Daphne Du Maurier, Diceritakan Ulang oleh Margaret Tarner." Jurnal Onoma: Pendidikan, Bahasa, dan Sastra 7, no. 2 (October 30, 2021): 705–20. http://dx.doi.org/10.30605/onoma.v7i2.1384.

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Masyarakat sebagai pembaca akan mengidentifikasikan dirinya sebagai tokoh dalam cerita. Mereka akan cenderung merasakan apa yang karakter rasakan dan melakukan apa yang karakter lakukan. Tampaknya pembaca hidup dalam cerita dan membayangkan diri mereka sebagai aktor fiksi. Meskipun sebuah fiksi adalah karya pengarang, bukan berarti cerita hanyalah seorang penulis imajinatif individu. Ini adalah produk dari suatu masyarakat. Jadi sastra dan budaya masyarakat merupakan satu kesatuan. Penelitian ini akan menganalisa plot pada novel Rebecca. Kisah pada novel Rebecca ini diatur secara menggugah di belantara Cornwall, di sebuah rumah pedesaan besar bernama Manderley. Terdapat lima tahapan plot yang terdiri atas tahap penyituasian (situation), tahap pemunculan konflik (generating circumstances), tahap peningkatan konflik (rising action), tahap klimaks (climax) serta tahap penyelesaian (denounment). Tahap penyituasian (situation), yaitu tahapan pelukisan dan pengenalan situasi latar dan tokoh-tokoh cerita. Tahap pemunculan konflik (generating circumstances), yaitu tahap munculnya masalah-masalah dan peristiwa yang menyulut terjadinya konflik. Tahap peningkatan konflik (rising action), yaitu tahap perkembangan konflik yang ada sebelumnya serta makin mencekamnya peristiwa-peristiwa yang ada. Tahap klimaks (climax), yaitu konflik dan peristiwa yang terjadi mencapai intensitas puncak. Tahap penyelesaian (denounment), yaitu penyeleisaian konflik yang terjadi, pengendoran ketegangan, serta pemberian jalan keluar dan atau pengakhiran cerita. Penelitian ini akan membahas tentang lima tahapan plot pada novel Rebecca. Dengan adanya analisis plot pada novel Rebecca, maka akan diketahui alur cerita novel tersebut dengan terperinci. Kata kunci:
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Suharto, Ririn Pratiwi. "The Female Version in Daphne Du Maurier’s Rebecca." Briliant: Jurnal Riset dan Konseptual 5, no. 2 (May 30, 2020): 316. http://dx.doi.org/10.28926/briliant.v5i2.471.

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Rebecca is a novel which is created by Daphne Du Maurier. That novel is retold by Margaret Tarner in 1991. The main character of this novel is the narrator. This study uses A Freudian Psychological Analysis. The purpose of this study is to trace the Electra Complex (the female version of the Oedipus Complex) in Rebecca. So, the steps of this study are identify the symbolic father figure and the symbolic mother figure and trace how the main character tries to displace the symbolic mother figures in that novel. There are two results of this study. The first, Mr. De Winter is the symbolic figure father, while Mrs. Van Hooper, Rebecca, and Mrs. Danvers are the symbolic of mother figures. The second, the main character tries to displace the mother figures. The main character is marrying Mr. De Winter before Mrs. Van Hooper realizes her plan to make Mr. De Winter as the next victim. Then, the main character is trying to displace Rebecca by doing: (1) make social call with Beatrice and Giles, (2) prepare the best appearance for the Ball, and (3) cover her husband as murderer. Then, the main character is trying to displace Mrs. Danvers by convincing Mrs. Danvers to be her friend, but Mrs. Danvers decides to burn Manderley and go away from that place. Therefore, the narrator suffers Electra Complex and becomes the female version of the Oedipus Complex.
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Santos, Ana Paula. "“Fiel até a morte”: uma análise do passado gótico em A sucessora (1934) e Rebecca (1938)." Literartes 1, no. 16 (December 30, 2022): 206–22. http://dx.doi.org/10.11606/issn.2316-9826.literartes.2022.202761.

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O presente artigo procura entender a conexão existente entre A sucessora (1934), de Carolina Nabuco, e Rebecca (1938), de Daphne Du Maurier, para além da suspeita de plágio e, assim, estabelecer ambas as obras como pertencentes à tradição literária do Gótico feminino. Para esse fim, serão utilizados como suporte teórico sobre Gótico literário estudos de David Punter (1996) e Júlio França (2016, 2017), e as considerações de Anne Williams (1995) no que diz respeito à vertente feminina do Gótico. No desenvolvimento deste trabalho, será demonstrado como as narrativas de Nabuco e Du Maurier exploram os efeitos do medo provenientes de um passado gótico, personificado na figura fantasmagórica de uma esposa morta, responsável por colocar em xeque a felicidade matrimonial das personagens femininas de ambas as tramas. Ao fazê-lo, essas escritoras utilizam tanto características formais próprias da ficção gótica – o retorno fantasmagórico do passado – quanto temáticas próprias do Gótico feminino – os casamentos fadados ao fracasso.
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Korkut-Nayki, Nil. "A Hauntological Reading of Daphne du Maurier’s “Rebecca”." English Studies at NBU 7, no. 1 (June 1, 2021): 21–36. http://dx.doi.org/10.33919/esnbu.21.1.2.

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This essay focuses on the way the main characters in Daphne du Maurier’s novel Rebecca (1938) cope with the haunting influence of the past and attempts to read their struggle through the theoretical approach developed by Jacques Derrida in his Specters of Marx (1993). This approach, termed “hauntology” by Derrida himself, revolves around the notion of the “specter” haunting the present and emphasizes the need to find new ways of responding to it, especially because of the existing ontological failure to do so. The essay complements this reading with the earlier comparable theory of the “phantom” and “transgenerational haunting” developed by psychoanalysts Nicolas Abraham and Maria Torok. A “hauntological” reading of Rebecca through these tools yields results that are significantly different from traditional approaches. Suggesting that the main characters in Rebecca are complete failures in dealing with the specter in a Derridean sense, the essay argues that the novel expects from the discerning reader a more insightful approach and a better potential to understand the specter. It is suggested further that a proper acknowledgement of the specter in Rebecca reaches beyond this particular novel, having subtle but significant implications concerning not only literary analysis but also social and cultural prejudices.
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Maurel, Sylvie. "Romantic ghosting in Daphne du Maurier’s Rebecca." Anglophonia/Caliban 15, no. 1 (2004): 131–40. http://dx.doi.org/10.3406/calib.2004.1511.

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Núñez de la Fuente, Sara. "Ecos de Anfitrión y tradición gótica en Manderley en venta de Patricia Esteban Erlés." Microtextualidades. Revista Internacional de microrrelato y minificción, no. 8 (October 17, 2020): 70–87. http://dx.doi.org/10.31921/microtextualidades.n8a6.

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Patricia Esteban Erlés presenta en Manderley en venta (2008) nuevas formas y significaciones del mito de Anfitrión relacionados, a su vez, con la novela Rebecca (1938) de Daphne du Maurier. Estos ecos y vínculos intertextuales se observan en el cuarto relato del volumen, “Historia de una breve alma en pena”, en el que la niña protagonista se ve forzada a suplantar la identidad de la hermana de su padre que murió cuando tenía siete años. También se observan en “Habitante”, donde la nueva inquilina de una casa adquiere la identidad de la mujer que habitó en ese mismo lugar antes de morir. Asimismo, “Línea 40” está protagonizado por un enfermo de cáncer que cambiaría su vida por la de cualquiera para evitar la muerte. Además, el afantasmamiento de los personajes recuerda a Los ingrávidos (2011), la primera novela de la escritora mexicana Valeria Luiselli, con la que se pueden establecer comparaciones.
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Ramos, Paulo Roberto De Souza. "Uma fagulha de vida: discutindo tradução, adaptação e plágio a partir de Max e os felinos, de Moacyr Scliar e A sucessora, de Carolina Nabuco." Letrônica 12, no. 1 (June 26, 2019): 33734. http://dx.doi.org/10.15448/1984-4301.2019.1.33734.

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Este artigo visa discutir dois casos envolvendo um suposto plágio de obras escritas por autores brasileiros por parte de escritores de língua inglesa. As obras nacionais são o romance A Sucessora (1934), de Carolina Nabuco, e a novela Max e os Felinos (1981), de Moacyr Scliar. A primeira traz semelhanças com Rebecca (1938), de Daphne du Maurier e a segunda compartilha a premissa de um de seus capítulos com A Vida de Pi (2001), de Yann Martel. Primeiramente, apresenta-se um pequeno resumo dessas quatro obras para situar os leitores, no qual semelhanças e diferenças são discutidas. Na sequência, a fim de compreender se houve, de fato, violação de direitos autorais, há uma seção dedicada ao conceito de plágio. Após essa, uma outra apresenta o que se entende por adaptação e como essa se diferencia e se relaciona com tradução. Em linhas gerais, conclui-se que o uso original de uma ideia anterior não exime obviamente um autor de referir suas fontes, ainda mais quando se toma algo emprestado de uma obra e/ou um autor menos conhecido.
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Dissertations / Theses on the topic "Rebecca (Du Maurier, Daphne)"

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Ehn, Svensson Mikaela. "Det spökar på Manderley : En queerteoretisk närläsning av Daphne du Mauriers gotiska roman Rebecca." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-34303.

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This essay is a reading of Daphne du Maurier’s 1938 novel Rebecca from a queer theoretical perspective. The analysis discusses the fluidity of the character Rebecca, who despite being dead haunts almost every page. She embodies both masculine and feminine traits and is suggested to have had a sexual relationship with her housekeeper. Furthermore, this same-sex desire plays an important part in the sexual awakening of the novel’s young protagonist, who develops an obsession with Rebecca. The essay also looks at Manderley, the gothic estate where most of the plot takes place. Manderley is a place for both heteronormative oppression and transgression. Rebecca is a modern gothic novel and the gothic will therefore be an important part of the analysis.
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Westberg, Nathalie. "Ett multipelt auteurskap? : En fallstudie av Rebecca (1940)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-77983.

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Den här uppsatsen behandlar huruvida det finns ett multipelt auteurskap och om termen auteur kan appliceras på andra filmskapare än regissören. Utifrån syftet ställdes sedan två frågor: Vilken roll har manusförfattaren jämfört med regissören när det kommer till auteurskap över en film? Samt frågan om på vilket sätt ett multipelt auteurskap skulle kunna formuleras? För att undersöka dessa frågor användes sedan en komparativ metod där romanen Rebecca jämförs med dess filmiska adaptation samt filmens manus. Baserat i fallstudien av Rebecca (1940) diskuteras sedan regissörens roll gentemot filmmanusförfattarens och författarens, samt vad dessa roller får för konsekvenser i termer av auteurskap.
This essay examines whether there is a multiple auteurship and if the term auteur can be applied to other filmmakers than the director. Based on this purpose, two questions where formulated: What is the role of the screenplay-writer compared to the director’s when it comes to auteurship over a film? The paper also examines the question of how a possible multiple auteurship could be formulated. To examine these questions, a comparative method was used in which the novel Rebecca was compared with its cinematic adaptation, as well as the film's screenplay. Based on the case study of Rebecca (1940), the director’s role is thereafter discussed compared to the screenplay-writers and the authors roles, as well as what the consequences of these roles have in terms of auteurship.
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Abi-Ezzi, Nathalie. "An analysis of the treatment of the double in the work of Robert Louis Stevenson, Wilkie Collins, and Daphne du Maurier." Thesis, King's College London (University of London), 2000. https://kclpure.kcl.ac.uk/portal/en/theses/an-analysis-of-the-treatment-of-the-double-in-the-work-of-robert-louis-stevenson-wilkie-collins-and-daphne-du-maurier(71e5f3ea-1e55-459e-838d-60278574be1c).html.

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Swift, Lindley N. "Lesbian Texts and Subtexts: [De] Constructing the Lesbian Subject in Charlotte Brontё?s Villette and Daphne Du Maurier?s Rebecca." NCSU, 2006. http://www.lib.ncsu.edu/theses/available/etd-08062006-165710/.

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The conflict between essentialist and constructionist standpoints constitute the primary division between proponents of lesbian literary theory and queer theorists. While essentialists view identity as fixed and innate, constructionists consider identity to be the unstable effect of social conditioning. Lesbian theorists argue that the destabilization of all identity categories, accomplished by queer theory, serves to undermine the importance of ?lesbian? as a political identity. However, the success of queer theorists, such as Judith Butler and Eve Kosofsky Sedgwick, in challenging the hegemonic power structures that reinforce compulsory heterosexuality should not be underestimated. For the purpose of this thesis, I intend to bridge lesbian studies and queer theory by focusing on what I perceive as their similar aims, primarily the act of reading between the lines of heterosexual narratives. In order to do so, I have chosen to explore Villette by Charlotte Brontë and Rebecca by Daphne Du Maurier from these two competing perspectives. I first examine Villette through the lens of lesbian theory in order to rethink binary oppositions, such as private/public and secrecy/disclosure, as they appear in the text to reveal the forbidden and thus transgressive expression of female same-sex desire or lesbianism and its subsequent repression to the metaphorical realm of the closet. I then use queer theory to deconstruct gender and sexuality in Rebecca in the hopes of demonstrating how representations of lesbian desire may serve to subvert naturalized, hegemonic definitions of both.
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Säfström, Elin. "Bok blir till film : En lingvistisk jämförande studie i hur dialogerna från romanen Rebecca skiljer sig från filmatiseringen." Thesis, Mälardalens högskola, Akademin för utbildning, kultur och kommunikation, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-56040.

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Syftet med denna studie är att studera hur Du Mauriers roman Rebecca och filmatiseringen baserad på denna skiljer sig åt med inriktning på dialogerna. Genom att tillämpa en stilanalys från Hellspong kommer stildragen från respektive dialog påvisas och kompareras. Analysen visar att dialogerna är väldigt lika vad gäller stildrag och att dialogernas funktion skiljer sig åt. Resultatet antyder dels att det krävs olika stilar för att förmedla olika teman, dels att stil inte är bunden till innehållet samt att medierna påverkar dialogernas funktion. Slutsatsen är att stilen inte går att ändra på om rätt historia ska förmedlas, oavsett vilket medium det rör sig om, det handlar rättare sagt om att anpassa stilen till sammanhanget utan att ta bort det essentiella. Vidare kan denna studie påvisa möjliga kännetecken för dialogformen där bland annat stildragen verbal och dynamisk ingår.
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Holmestrand, Wilma. "Kvinnlig vänskap i Gotisk Litteratur : En komperativ studie av Gillian Flynns Gone Girl och Daphne du Mauriers Rebecca." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101019.

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The aim of this essay is to investigate the meaning and importance of the female friendship within Ellen Moers tradition and theory regarding the female gothic. In this essay, I argue that the female friendship has played an important role in the portrayal of the Gothic fiction as socially critical of women’s position in the society, mainly by examining the two works Rebecca by Daphne du Maurier and Gone Girl by Gillian Flynn. The essay is also interested in how the female gothic has developed over time and whether the notion can be applied while analysing more contemporary gothic, and thus, considers the works’ different time periods.
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Heeley, Melanie J. "Resurrection, renaissance, rebirth : religion, psychology and politics in the life and works of Daphne du Maurier." Thesis, Loughborough University, 2007. https://dspace.lboro.ac.uk/2134/4434.

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This thesis looks at the life and works of Daphne du Maurier in the context of the inter-related ideas of religion, psychology and politics. Throughout, I use a methodology based on the concept of the palimpsest. But I also use theory provided by Jung, Plato and Nietzsche – all of which were known to du Maurier to a greater or lesser degree. Other theory is used occasionally, but only as it suggests itself in the context under consideration. The ideas of ‘Resurrection, Renaissance and Rebirth' give the thesis a structure and a theme. The interaction of Christianity and Paganism is also examined. Section One, ‘Introduction – Resurrecting Texts/Lives', introduces the idea of the palimpsest. In reality, this is a twice-written document frequently containing a Christian text which is written over a Pagan one, with the Pagan text resurrecting itself over time. In theory, the palimpsest is a textual space where disparate texts collide and collude in an involuted manner. Section Two, ‘Life and Text – Renaissance Inspired Men', looks at two men who drew their inspiration from the Renaissance as either age or idea - the socialist Victor Gollancz and the conservative Frank Buchman - and to what degree du Maurier interacted with both the people and their conceptual framework. Section Three, ‘Life into Text – Renaissance Men', concerns itself with du Maurier's biographies of two Renaissance brothers, Anthony and Francis Bacon, and how their lives have been read, gnostically, by herself and others, notably The Francis Bacon Society and Nietzsche. Section Four, ‘Spectralised Lives in Text - Rebirthing', examines how the foregoing discussion plays itself out in two of du Maurier's novels, Jamaica Inn (1936) and The Flight of the Falcon (1965). The chapter on Jamaica Inn looks at Celtic Revivalism and how the Celtic gods spectralise the characters of the novel leading to a rebirthing experience for the protagonist Mary Yellan – implicit in this is the concept of the Renaissance-as-idea. The chapter on The Flight of the Falcon shows how the Renaissance-as-age daimonises characters of the twentieth-century. The palimpsest as either a document or a theoretical perspective weaves itself in and out of all my chapters. Section Five, ‘Concluding Remarks', leads to two related conclusions, firstly that du Maurier has been spectralised by the Renaissance, and secondly that du Maurier's life and works, taken together, can be read as an involuted palimpsest.
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Duncan, Rebecca. "Dark mirrors and disembodied spirits : gender, sexuality and incest in selected fiction by Daphne du Maurier." Master's thesis, University of Cape Town, 2010. http://hdl.handle.net/11427/14269.

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Includes bibliographical references (leaves 69-70).
Daphne du Maurier has long been considered chiefly as a writer of popular fiction. She is celebrated as a masterful constructor of plot and acclaimed for her ability to infuse novelistic narrative with a nameless and pervasive frisson of unease, but it is only recently that critics have begun seriously to investigate the shadowy complexities of her widely-read novels. In this thesis, three of du Maurier's best-known works 'Jamaica Inn', 'Rebecca' and 'My Cousin Rachel' are examined using psychoanalytic theory and close textual analysis together with autobiographical information. Each novel reveals an informing concern with the stability of identity, and the psychological perils by which the self is both shaped and haunted. In my discussion of Jamaica Inn, Julia Kristeva's theory of abjection elucidates Mary Yellan's confinement within the rigid boundaries of a violently imposed gender role, and her dangerous quest to transgress these limits. In the case of Rebecca, Nancy Chodorow's version of the female Oedipus complex illuminates the bisexual triangle in which du Maurier's nameless heroine finds herself trapped at Manderley, and brings into focus the anxiety which haunts her in her pursuit of maturity. Finally, in the chapter on My Cousin Rachel Jean Baudrillard's work on seduction and Gilles Deleuze's account of masochism help to explain Philip's compulsion to rid himself of his wealth, his land and the house in which he grew up, so that he might live like a servant with his cousin's maternal and alluring widow. In my reading of each of these novels, analysis uncovers a preoccupation with varying combinations of gender, sexuality and incest, a trinity of issues which beset the author in her own life, and which, in her fiction, inflect the protagonists' quest towards or away from a coherent identity. In conclusion it will be suggested that du Maurier's narratives are written with a double-edged pen: at once widely read, popular fiction, and darkly psychological, subvertive literature, in which deep-rooted social and cultural boundaries are destabilized.
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9

Bass, Thomas William. "Alfred Hitchcock : the master of adaptation." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/12773.

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My research explores Alfred Hitchcock’s use of adaptation and the impact that this has on his status as an ‘auteur’. The aim, through looking at a cross section of his work, is to produce the basis for an adaptation model that could be used to examine his entire body of work, accounting for all influences, extratextual references, intertextualities, sequels, remakes and most importantly, other authors. By exploring Hitchcock’s use of the theatrical (a subject that is often ignored) and his lesser earlier films, we can begin to form the foundations for this model. By looking at his adaptation of a particular author and the textual evolution of one of his most iconic films, we are able to put this model to the test. Chapter one is the introduction, which looks at Hitchcock’s status within cinematic history, while also examining the current state of Hitchcock scholarship, auteur theory and adaptations studies. Chapter two examines the theatrical adaptations of Hitchcock’s British period, specifically shining light upon texts that are often ignored or maligned by theoretical study. Chapter three discusses the American theatrical adaptations, specifically looking at the role of the ‘meta-text’ and Hitchcock’s fascination with recreating the theatrical. Chapter four explores Hitchcock’s relationship with Daphne du Maurier, examining his adaptation of her work, overall themes, characters and ideologies. This chapter also presents an original reading of The Birds, which examines how Hitchcock’s film is more indebted to Du Maurier’s novels than her shot story of avian horror. Chapter five examines the evolution of Psycho. Hitchcock’s adaptation of, amongst others, Robert Bloch and Henri-Georges Clouzot will be discussed, as will the multiple sequels, remakes and exploitations that, in turn, adapt his own film. It will be argued that these texts are in fact adapting Psycho’s influences and origins as much as the film itself. Chapter six is the conclusion where the findings are analysed and the model of adaptation, which positions Hitchcock at the centre as a collector of texts is discussed. In occupying this position the notion of him as an ‘auteur’ is erased and instead he becomes the ‘Master of Adaptation’.
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10

Langenfeld, Elizabeth Irene. "Hitchcock's "Rebecca": A rhetorical study of female stereotyping." CSUSB ScholarWorks, 1999. https://scholarworks.lib.csusb.edu/etd-project/1718.

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Books on the topic "Rebecca (Du Maurier, Daphne)"

1

Daphne, Du Maurier. The Rebecca notebook and other memories. London: Arrow, 1993.

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Du Maurier, Daphne, Dame, 1907-, ed. Rebecca: A play adapted from Daphne du Maurier's play. London: Samuel French, 1994.

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Josephs, Wilfred. Rebecca: An opera in three acts /4cby Wilfred Josephs ; libretto by Edward Marsh ; based on the novel "Rebecca" by Daphne du Maurier. London: Novello, 1988.

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Daphne, Du Maurier. The Rebecca notebook and other memories. Oxford: ISIS Large Print Bks., 1993.

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Tibballs, Geoff. Rebecca: Starring Charles Dance, Diana Rigg, Emilia Fox and Faye Dunaway : the official story behind ITV's making of Daphne du Maurier's classic tale of love and jealousy. London: Chameleon, 1996.

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Daphne du Maurier. London: Arrow, 1994.

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Kelly, Richard. Daphne Du Maurier. Boston: Twayne, 1987.

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Bungaro, Monica. Daphne Du Maurier. Firenze: Firenze Atheneum, 1996.

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Horner, Avril, and Sue Zlosnik. Daphne du Maurier. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773.

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Daphne du Maurier. Boston: Twayne Publishers, 1987.

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Book chapters on the topic "Rebecca (Du Maurier, Daphne)"

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Horner, Avril, and Sue Zlosnik. "The Secrets of Manderley: Rebecca." In Daphne du Maurier, 99–127. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773_4.

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Baruch, Gertrud, and Renate Brosch. "Du Maurier, Daphne: Rebecca." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8417-1.

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Teahan, Sheila. "Untimely Returns: Shoring Fragments Against Ruins in Daphne du Maurier’s Rebecca." In Ruins in the Literary and Cultural Imagination, 93–110. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-26905-0_6.

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Radović, Stanka. "Outside Within: Natural Environment and Social Place in Daphne du Maurier’s Rebecca." In Ecocriticism and Geocriticism, 137–53. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137542625_8.

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Brosch, Renate. "Du Maurier, Daphne." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8415-1.

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Horner, Avril, and Sue Zlosnik. "A ‘Disembodied Spirit’: Writing, Identity and the Gothic Imagination." In Daphne du Maurier, 1–30. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773_1.

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Horner, Avril, and Sue Zlosnik. "Family Gothic." In Daphne du Maurier, 31–63. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773_2.

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Horner, Avril, and Sue Zlosnik. "Cornish Gothic." In Daphne du Maurier, 64–98. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773_3.

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Horner, Avril, and Sue Zlosnik. "Foreign Affairs." In Daphne du Maurier, 128–58. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773_5.

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Horner, Avril, and Sue Zlosnik. "Murdering (M)others." In Daphne du Maurier, 159–86. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230378773_6.

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Conference papers on the topic "Rebecca (Du Maurier, Daphne)"

1

Xinyue, Wang. "Gothic Madwomen: A Comparative Study of Emily Brontë’s Wuthering Heights (1847) and Daphne du Maurier’s Rebecca." In 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.211020.169.

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