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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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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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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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McQueen, Anna. "A class apart : the servant question in English fiction, 1920-1950." Thesis, University of Stirling, 2016. http://hdl.handle.net/1893/24485.
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In the reading of the servants in examples from the period 1920-1950, the servant question is invoked to expose the workings of class. The servants in these narratives of Bowen, Green, Taylor, Waugh, Mansfield and Panter-Downes, lady’s maids, housekeepers, nannies, a butler and a chauffeur, are in thrall to the collective structures of societal ordering, and reluctant with respect to social mobility. Class was not fully being negotiated in this period, in fact little change was visible. Fer example intimacy, such as that between the lady’s maid and her mistress, meant that class confrontation was unlikely. The nanny showed that culturally constructed mechanisms such as nostalgia could be employed to discourage the desire for change. In terms of the socio-historical context any transformation in the make-up of domestic life – that is, the move towards homes without servants - was a fairly gradual business. But, there was a widespread belief in a change that had not really taken place – and that certainly had not taken place within domestic service. Any transformation of society was superficial; the governing ranks would not permit their disempowerment through genuine class change. I contend that the literature supports this perspective. Servants desire subservience; they find comfort in the familiarity of the system of household ranking-by-status. In the process, authority itself is portrayed as being less immutable, more malleable and thereby equipped for the future. In this sense the narratives read in this thesis go to make up a literature of resistance, in refutation of the overwhelming narrative of the time, progressing instead the notion that class must persist with its boundaries intact, as its hegemony is desirable and necessary for the smooth, successful operation of society.
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Watson, Anna Elizabeth. "Music lessons and the construction of womanhood in English fiction, 1870-1914." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.
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This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).
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Light, Alison. "Forever England : femininity, literature, and conservatism between the wars /." London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/91000587-d.html.
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Tsai-LingTsai and 蔡采齡. "Domestic Ideology and Sexual Transgressions in Daphne du Maurier’s Rebecca." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/ruh92k.
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碩士國立成功大學
外國語文學系
105
Regarding the social context of the novel as the domain where ethos, class, and sexuality interrelate and conflict with one another, this thesis aims to define the positioning of each character in the community under the influences of the above three factors in Daphne du Maurier’s gothic romance, Rebecca (1938). Most characters express profound nostalgia toward the past of the English civilization. However, with the feudal domestic customs and arrangements going obsolete in the modern society, the boundaries between classes are gradually blurred. And this further triggers sexual transgressions among the characters to emancipate their pent-up doubles. Chapter One analyzes the Manderley community as a relic of the conventional Victorian values in the modern English society, as it still promotes the ideology of domesticity to shape the conducts of the individual characters. The domestic ideology imposes the stereotypes of masculinity and femininity to regulate individual manners and consolidate the patriarchal structure. Chapter Two examines how the aristocratic class confronts the decline of its power and influences under the invasion of American capitalist consumerism. They recognize that the established domestic ideology is no longer capable of guaranteeing men’s dominant position. The female protagonists can appropriate the hegemonic position of the patriarchal structure to exert matriarchal power by means of their rise of the class hierarchy through their heterosexual marriages or through their trans-class identification with the upper class beyond the conjugal relationships. The scenarios of excessive sexual transgressions and uxoricidal sanction in the story plot betray the pretension of domesticity and the moral hypocrisy of the upper class. This chapter starts from Sigmund Freud’s theory of Oedipal complex, and inspects how characters constrained by their distinctive gender roles still display the propensity of sexual sadomasochism as well as the inclination to homosexual desire under the oppressions of the domestic ideology and class prejudice. Through sexual deviations, they challenge heteronormativity and overturn the power relations in heterosexual marriages. With the complicated multilateral relationships, every character performs trans-class sexual aberrations, and acquires personal identification with a suitable gender position and form of sexuality eventually. In the story, the narrator’s lifetime experiences are likened to the vicissitudes of the modern British community. The seemingly ideal trans-class marriage and the domestic life of material abundance are like a mirage, reflecting the imminent breakdown of the domestic ideology and fall of the privileged class behind the façade of prosperity. However, the transgressive sexualities facilitate individual and communal reconstruction after the disillusionment. This thesis claims that Daphne du Maurier parades the sexual aberrance of the characters as an attack against the outmoded domestic ideology and the corrupt upper class. Yet she problematizes the decadent sexual transgressions as good counteractions against the degenerate society.
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Li, Min-Ying, and 李旻盈. "Love, Identification and Feminine Subjectivity: A Lacanian Psychoanalytic Reading of Daphne du Maurier’s Rebecca." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/93616457367012969090.
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碩士國立臺灣大學
外國語文學研究所
103
This thesis aims to propose a new interpretation to Daphne du Maurier’s Rebecca (1938) by means of Lacanian psychoanalysis. Contrary to traditional patriarchal reading, which tends to read Rebecca as a negative symbol of ‘bad woman’, based on Lacanian psychoanalysis, this thesis argues that Rebecca in fact plays an important helping role in the formation of the narrator I’s feminine subjectivity. Chapter One attempts to reanalyze the relationship between the two Mmes. de Winters, Rebecca and I. By resorting to Lacan’s Mirror Stage theory, which delineates the process of ego formation through identifying with the mirror image and the traverse from the Imaginary Order to the Symbolic Order, this chapter explains how I is transformed from an unsophisticated young girl to a feminine subject by identifying with the gestalt figure, Rebecca. Subsequently, Chapter Two further investigates the relationship between the two Mmes. de Winters and their husband, Maxim de Winter. This chapter not only intends to reconsider the relationship between these three characters via Lacan’s sexuation diagram and sexuation theory proposed in his Seminar XX, but also simultaneously subverts the traditional reading of their relation as a love triangle. Through identifying with Rebecca, I is able to form her feminine subjectivity, and from this, the author du Maurier suggests the possibility of a rising new feminine subjectivity in the 20th century.
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Pan, Hui-Chun, and 潘慧純. "Discussion on English-Chinese Translation of Daphne Du Maurier's Rebecca: Theoretical Application and Translation Practice." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/57977692313023062032.
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碩士長榮大學
翻譯學系碩士班
97
The thesis presents the author’s translation of the book Rebecca written by Daphne Du Maurier, and further discussion of the translation, strategies and techniques applied, along with a comparative study of the author’s translation and the texts of the two published Chinese versions. The thesis is divided into five chapters. Chapter 1 provides the purpose, motive and method of the study. Chapter 2 introduces the author, content of the book and the book’s published Chinese versions. Chapter 3 is the translation process, principles, strategies and difficulties encountered during translation. Chapter 4, the main body of the thesis, compares author’s translation with those of the other two versions, discussing the problems and techniques that can be applied to producing a better translation. Chapter 5 is the conclusion of this thesis. Within the theoretical framework of translation strategies and contrastive linguistics, this thesis provides an appropriate method to evaluating the translation of words, sentences and paragraphs. Keywords: Daphne Du Maurier, Rebecca, translation strategies, contrastive linguistics
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Swift, Lindley Nolan. "Lesbian texts and subtexts [de] constructing the lesbian subject in Charlotte Bronte's Villette and Daphne Du Maurier's Rebecca /." 2006. http://www.lib.ncsu.edu/theses/available/etd-08062006-165710/unrestricted/etd.pdf.
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