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

Author: Grafiati

Published: 4 June 2021

Last updated: 25 January 2023

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1

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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3

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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4

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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7

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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Bertrandias, Bernadette. "Daphne Du Maurier’s Transformation of Jane Eyre in Rebecca." Revue LISA / LISA e-journal, Vol. IV - n°4 (December 1, 2006): 22–31. http://dx.doi.org/10.4000/lisa.1774.

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Labuznaya, V. Yu. "Comparative Study of Daphne du Maurier’s Rebecca Film Adaptations. Chronotope of a “Castle”." Art & Culture Studies, no. 4 (December 2021): 332–61. http://dx.doi.org/10.51678/2226-0072-2021-4-332-361.

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The article performs the comparative study of Daphne du Maurier’s Rebecca film adaptations. It investigates motion pictures by A. Hitchcock (1940), R. Milani (2008) and B. Wheatley (2020). The analysis of the narrative-discursive techniques used by these authors aims to consider the problem of screen representation of the Rebecca’s specific spacetime model. The main investigated subject is the screen image of Manderley estate, its impact on diegesis, plot and symbolism in these movies. Manderley as an aesthetic complex corresponds to the chronotope of the “castle” in the interpretation of M. Bakhtin. Accordingly, the comparative study of the operations performed with it reveals the most important characteristics and traits of this spacetime model and shows how it applies with the detective genre or plots with a detective component. The “castle” as a spacetime structure that outlines the external boundaries and sets the internal laws of diegesis; its role in the “mystery” logics and the development of detective intrigue; “castle” as a plot-forming principle and metacharacter — all these questions concerned in terms of screen arts.

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Ibrahim Ismael, Zaid I., and Sabah Atallah Khalifa Ali. "Lilith’s Dark Legacy: Daphne du Maurier’s "Rebecca" and the Myth of the Genesis." International Journal of Literary Humanities 18, no. 1 (2020): 39–46. http://dx.doi.org/10.18848/2327-7912/cgp/v18i01/39-46.

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Wright, H. "Character as Creative Citation: Daphne Du Maurier's Rebecca and Elizabeth von Arnim's Vera." Notes and Queries 60, no. 2 (April 15, 2013): 288–91. http://dx.doi.org/10.1093/notesj/gjt057.

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Ogneva, Elena Anatol'evna, and Evgeniya Igorevna Buzina. "ALGORITHM TO INTERPRET THE ARTISTIC CONCEPT TIME (BY THE MATERIAL OF DAPHNE DU MAURIER’S NOVEL “REBECCA”)." Philological Sciences. Issues of Theory and Practice, no. 4 (April 2019): 275–79. http://dx.doi.org/10.30853/filnauki.2019.4.57.

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Fedorova, Natalia Vladimirovna, and Egor Vladimirovich Dudukalov. "Translation of the realias of state-administrative structure and public life from English language into the Russian language." Litera, no. 7 (July 2021): 22–36. http://dx.doi.org/10.25136/2409-8698.2021.7.29704.

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This article provides an overview of the Russian and foreign classifications of realias, and the results of research conducted by the authors on the ways of conveying the realias of state-administrative structure and public life from the English language into the Russian language (based on the novel "Rebecca" by Daphne Du Maurier and its translation into the Russian language by G. Ostrovskaya). The goal of this is to determine the peculiarities and most effective ways of conveying the realias in the literary work, considering the specificity of literary translation, which requires preserving the flair, imagery, and aesthetic impact the original. The article employs the method of continuous sampling, quantitative estimation, linguistic observation and description, and comparative method. The conducted research contributes to studying the effectiveness of different ways of translating the realias in a literary text from the English language into the Russian language. The novelty of consist in the fact that this article is first to examine the language material and translation solutions from two perspectives – the theory of linguistic translation and the theory of interpretative translation. The conclusion is made that in conveying the realias, in some instances, the translator shifts away from the standard ways in order to make the text comprehensible for the Russian-speaking recipient. At the same time, this is the why the methods justified from the standpoint of linguistic theory of translation leads to a loss of flair and semantic nuances. The acquired materials and results can be valuable for pedagogical and educational purposes, as well as in professional English – Russian translations that contain non-equivalent vocabulary.

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Mandibaye, Sioudina. "Marriage as a Private Hell in Daphne Du Maurier’s Novels: Rebecca and My Cousin Rachel." Open Journal of Social Sciences 09, no. 01 (2021): 510–22. http://dx.doi.org/10.4236/jss.2021.91036.

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Hallett, Nicky. "Did Mrs Danvers Warm Rebecca's Pearls? Significant Exchanges and the Extension of Lesbian Space and Time in Literature." Feminist Review 74, no. 1 (July 2003): 35–49. http://dx.doi.org/10.1057/palgrave.fr.9400109.

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This article is concerned with the ways in which literary spaces can become sexualized by the transfer of objects between women, as well as by the ways in which bodies themselves touch. It discusses how lesbian desire changes both spatial and temporal structures, via a consideration of the use of pearl imagery. In particular, it analyses the link between sexual, class and bodily construction in two texts: Daphne du Maurier's novel Rebecca (1938) and Carol Ann Duffy's poem ‘Warming Her Pearls’ (1987). These texts encode contrasting ideas about the lesbian body, ideas that are discursively textured by the periods in which they were written and by the relative ideological resistance of their writers. While du Maurier's novel establishes a concept of spatial and temporal enclosure, Duffy's poem creates an unconfined and unstable lesbian body-text. Within this, the pearl can be seen as a subversive device, destructuring and stretching the parameters of lesbian desire.

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Sivinski, Stacy. "‘An invention…that bottled up a memory, like scent’: phantom fragrances in Daphne du Maurier’s Rebecca." Journal of Gender Studies 29, no. 8 (March 9, 2020): 860–69. http://dx.doi.org/10.1080/09589236.2020.1737512.

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Kędra-Kardela, Anna. "“You have a lovely and unusual name.” Mrs de Winter from Daphne du Maurier’s ”Rebecca” – a Gothic Heroine in Search of Identity." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 75. http://dx.doi.org/10.17951/lsmll.2019.43.2.75-85.

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<p>The paper is devoted to the analysis of Mrs de Winter, one of the main characters from Daphne du Maurier’s <em>Rebecca</em>, as<em> </em>an example of a Gothic figure. The analysis traces the stages in the development of the heroine by demonstrating how she first becomes, through the process of <em>gothicisation</em>, “the Gothic damsel in distress.” Vulnerable and easily threatened, she is defined solely in relation to Mr de Winter, her aristocratic husband, whose status she is unable to match. As a result of her growth as an individual, Mrs de Winter is <em>degothicised.</em>We witness a change in her attitude toward her tormentors: she no longer feels intimidated; she starts developing in what we view as an identity-building process her public and personal sense of a mature and independent individual.</p>

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Wisker, Gina. "Dangerous Borders: Daphne du Maurier's Rebecca: Shaking the foundations of the romance of privilege, partying and place." Journal of Gender Studies 12, no. 2 (July 2003): 83–97. http://dx.doi.org/10.1080/0958923032000088292.

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Jagose, Annamarie. "Thinkiest." PMLA/Publications of the Modern Language Association of America 125, no. 2 (March 2010): 378–81. http://dx.doi.org/10.1632/pmla.2010.125.2.378.

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All my feeling for Eve Kosofsky Sedgwick comes from her writing. I wasn't a friend. I never met her or even heard her give a public lecture or present a paper. The closest we came was being bound together, one after the other, in the same edited anthology, my essay on sequence and precedence in Daphne du Maurier's Rebecca and its various adaptations following an extract from her A Dialogue on Love. If Sedgwick's essay and mine can be said to speak to each other, to strike a conversational pose, as though the breadth of a page might be mistaken for the more sociable span of a bar or table, it is only to point up the spuriousness of this effect. For whatever weight of significance the closing section of Sedgwick's essay might seem to license my finding in this happenstance—“I don't resist … secretly fingering this enigmatic pebble. I can't quite figure out what makes its meaning for me” (“Dialogue” 351)—is made implausible with the page's turn by the brutalist facade of my first sentence: “Sequence is its own alibi” (352).

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Giles, Judy. "‘A Little Strain with Servants’: Gender, Modernity and Domesticity in Daphne Du Maurier's Rebecca and Celia Fremlin's the Seven Chars of Chelsea." Literature & History 12, no. 2 (November 2003): 36–50. http://dx.doi.org/10.7227/lh.12.2.3.

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Hodges, Sheila. "Editing daphne du maurier." Women's History Review 11, no. 2 (June 1, 2002): 293–308. http://dx.doi.org/10.1080/09612020200200322.

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Mikołajczyk, Maja. "Rachel, i moja udręka. Obrazy kobiecości w powieści "Moja kuzynka Rachela" Daphne du Maurier." Annales Universitatis Paedagogicae Cracoviensis | Studia de Cultura 13, no. 3 (September 30, 2021): 102–13. http://dx.doi.org/10.24917/20837275.13.3.8.

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Celem niniejszej pracy jest analiza i interpretacja obrazów kobiecości w powieści Daphne du Maurier Moja kuzynka Rachela, które odzwierciedlają reprezentacje psychiczne narratora-protagonisty. Analiza dotyczy wybranych czynników potencjalnie mających wpływ jego percepcję głównej postaci kobiecej, takich jak: 1) mizoginia bohatera, 2) stany emocjonalne i somatyczne protagonisty, 3) wyobrażenia na temat kobiet funkcjonujące w wiktoriańskiej Anglii.

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Aguirre, Mercedes. "The Mythical Underworlds of Francis Stevens and Daphne du Maurier." Collectanea Philologica, no. 24 (December 28, 2021): 185–95. http://dx.doi.org/10.18778/1733-0319.24.12.

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This article analyses two stories by women writers (The Heads of Cerberus by Francis Stevens (1952) and The Breakthrough by Daphne du Maurier (1964)), which could both be considered as belonging to the genre of science fiction. These stories do not follow the ‘canonical’ or more popular type of underworld narrative, especially the idea of the katabasis or descent to the underworld and the encounter with the dead, a motif which has often been present in Western culture since classical antiquity and has generated numerous narratives. Rather, they evoke the classical myth of the underworld through the use of certain names (such as Charon and Cerberus) as well as exploring other concepts which coincide with ancient Greek accounts of the topography and inhabitants of the world of the dead, the realm ruled over by Hades.

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Youngjoo Kim. "Romance with Daphne du Maurier: Revisiting the Ruins of Englishness in." Feminist Studies in English Literature 19, no. 3 (December 2011): 5–44. http://dx.doi.org/10.15796/fsel.2011.19.3.001.

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Horner, Avril, and Sue Zlosnik. "A “disembodied spirit”: The letters and fiction of Daphne du Maurier." Prose Studies 19, no. 2 (August 1996): 186–99. http://dx.doi.org/10.1080/01440359608586586.

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Zlosnik, Sue, and Avril Horner. "Myself When Others: Daphne du Maurier and the Double Dialogue with ‘D’." Women: A Cultural Review 20, no. 1 (April 2009): 9–24. http://dx.doi.org/10.1080/09574040802684780.

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Faunch, Christine. "ARCHIVES OF WRITTEN LIVES: A CASE STUDY OF DAPHNE DU MAURIER AND HER BIOGRAPHER, MARGARET FORSTER." Archives: The Journal of the British Records Association 35, no. 122 (April 2010): 28–34. http://dx.doi.org/10.3828/archives.2010.4.

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Toti, Carolina Natale. "Ensino de literatura e multimodalidade." Letras & Letras 37, no. 1 (June 30, 2021): 169–90. http://dx.doi.org/10.14393/ll63-v37n1-2021-10.

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Este artigo analisa a relação entre o conto Don’t Look Now (2008), da escritora Daphne du Maurier, e a transposição cinematográfica homônima (1973), dirigida por Nicolas Roeg. O objetivo é observar quais implicações o letramento multimodal pode ter no ensino de literatura. A noção de letramentos aqui utilizada considera que cada contexto social possui modos próprios e múltiplos de ensino e aprendizagem (Street, 2001); e que o letramento contemporâneo implica em ensino multimodal (Kress, 2003). Já a ideia de multimodalidade é entendida como recursos de representação que constroem sentido (Kress e Jewitt, 2010). Para a leitura do filme, utilizamos as ferramentas de análise fílmica propostas por Jullier e Marie (2009). Consideramos que a associação entre diferentes modos de letramento pode contribuir para a formação leitores aptos a agir de maneira informada e crítica no mundo multimídia.

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Bunting, Kirsty. "‘‘The imprint of what-has-been’: Arthur Quiller-Couch, Daphne du Maurier and the writing of Castle Dor.’." Cornish Studies 21, no. 1 (May 1, 2013): 260–75. http://dx.doi.org/10.1386/corn.21.1.260_1.

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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.

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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.

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Henning, Michelle. "ANTHROPOMORPHIC TAXIDERMY AND THE DEATH OF NATURE: THE CURIOUS ART OF HERMANN PLOUCQUET, WALTER POTTER, AND CHARLES WATERTON." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 663–78. http://dx.doi.org/10.1017/s1060150307051704.

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MR. POTTER'S MUSEUM OF CURIOSITIESwas a small Victorian museum that contained unique anthropomorphic tableaux made by the taxidermist Walter Potter (1835–1918). Its glass cases were crammed with small “stuffed” or “mounted” animals, such as birds, squirrels, rats, weasels, and rabbits, wearing miniature clothes and placed in models of the human settings of Potter's time. They play sports, get married, fill schoolrooms and clubs, but they also illustrate well known sayings, rhymes, and rural myths. From the 1860s the tableaux were displayed in Bramber, Sussex, in the southeast of England. In 1972 the Museum was sold and relocated to Brighton and two years later to Arundel, in Sussex. In 1985 it was sold again and moved to the Jamaica Inn – a Daphne du Maurier inspired tourist attraction on the edge of the bleak Bodmin Moor in Cornwall. The collection was finally dispersed in an auction sale in 2003. This sale attracted some media attention and several campaigns attempted to preserve the museum intact. The artist Damien Hirst claimed he had offered to buy the entire collection, but the auction went ahead (Hirst). Hirst was perhaps only the most high profile of those campaigning to keep Potter's collection together. Nevertheless, at the time it seemed hardly surprising that this unusual museum stood more chance of being rescued by an artist whose work often uses animal corpses to speak of mortality and the processes of preservation and decay, than it did of being bought by any public museum.

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DeKoven, Marianne. "Book ReviewVirginia Woolf Icon. By Brenda R. Silver. Chicago: University of Chicago Press, 1999.Daphne du Maurier, Haunted Heiress. By Nina Auerbach. Philadelphia: University of Pennsylvania Press, 2000." Signs: Journal of Women in Culture and Society 27, no. 3 (March 2002): 901–5. http://dx.doi.org/10.1086/337976.

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Berger, Norbert. "Das Motiv der Zeitreise in zeitgenössischen Romanen." Literatur für Leser 39, no. 2 (January 1, 2017): 123–36. http://dx.doi.org/10.3726/3373_123.

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Trotz der Relativitätstheorie Einsteins, der nachwies, ,,dass für Systeme, die sich mit hoher Geschwindigkeit bewegen, die Zeit langsamer als auf der Erde vergeht“1, was Reisen in die Zukunft als prinzipiell möglich erscheinen lässt, ist es ein bislang unerfüllt gebliebener und nach dem derzeitigen Stand der Wissenschaft auch unerfüllt bleibender Menschheitstraum, in die Vergangenheit oder in die Zukunft zu reisen, dadurch das Leben vergangener oder kommender Epochen hautnah nachzuvollziehen, unter Umständen sogar einen verhängnisvollen Verlauf der Historie oder der eigenen Biographie zu verändern beziehungsweise einen neugierigen Blick auf vor einem liegende private Ereignisse oder gar auf die Existenz zukünftiger Generationen zu werfen. Eine reizvolle Möglichkeit der Literatur und des Films ist es jedoch, die Gesetze und Grenzen der Realität zu überschreiten und so Leser und Zuschauer an Erlebnissen und Erfahrungen teilhaben zu lassen, die ihnen ansonsten verwehrt bleiben. Folglich hat auch das Motiv der Zeitreise die Phantasie der Schriftsteller und Filmemacher beflügelt und zur künstlerischen Verarbeitung des bloßen Wunschdenkens motiviert. So verwundert es nicht, dass Zeitreisen neben Weltraumflügen, außerirdischen Wesen, intelligenten Robotern, alternativen Universen und Katastrophen apokalyptischen Ausmaßes zu einem wesentlichen Gegenstand der englischsprachigen und russischen Science-Fiction-Literatur wurden, wobei in der Regel der Eingriff in den linearen Verlauf der Zeit als bereits vollzogene Errungenschaft der Technik vorausgesetzt und von den Menschen, die – dem Genre gemäß – in zukünftigen Epochen leben, fast als Selbstverständlichkeit genutzt wird. Zu den namhaftesten Autoren der frühen Zeitreiseromane zählen Isaac Asimov (Das Ende der Ewigkeit; Originaltitel: The end of eternity, London 1955), Poul Anderson (Hüter der Zeiten, München 1961; Originaltitel: Guardiens of Time, New York 1960), Stanislaw Lem (Sterntagebücher, 1961), Daphne du Maurier (Ein Tropfen Zeit, Hamburg 1970; Originaltitel: The house on the strand, London 1969) und Michael Moorcock (I.N.R.I. oder die Reise mit der Zeitmaschine, München 1972; Originaltitel: Behold the man, 1969). Es entstand eine nahezu unüberschaubare Zahl von Romanen, Erzählungen und Kurzgeschichten, die sich dieses Motivs annahmen, wobei fast ausschließlich Reisen in die Vergangenheit erzählt werden. Meist sind die Protagonisten vom Ziel geleitet, eine Veränderung in der Vergangenheit zu bewirken. Die Helden sehen sich dabei

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Parey, Armelle. "“Susan Hill's Mrs de Winter and Sally Beauman'sRebecca's Tale: “re-visions” of Daphne du Maurier’sRebecca?”." ODISEA. Revista de estudios ingleses, no. 17 (June 22, 2017). http://dx.doi.org/10.25115/odisea.v0i17.350.

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Abstract: This paper examines two types of transfictional texts that appear little challenging to the ending and, consequently, to the discourse of their source-texts. After attempting to define the workings and scopes of sequels and companion novels, we shall consider two instances provided by Daphne du Maurier'sRebecca’s rich afterlife since its publication and success in 1938: Susan Hill's Mrs de Winter (1993) and Sally Beauman'sRebecca's Tale (2001) that engage with Rebecca’s ending and discourse in different ways and with diverse results.Resumen: Este artículo examina dos tipos de textostransficcionales que parecendesafiar muy poco el final y, porconsiguiente, el discurso de sus fuentestextuales. Después de intentardefinir los mecanismos y el alcance de las novelas-secuela que continuaronestostextos, asícomootrasnovelascompañeras de los mismos, vamos a considerar dos ejemplosextraídos de la fértil vida posterior de Rebecca, de Daphne De Maurier, despuésdeléxito de su publicación en 1938: Mrs de Winter, de Susan Hill (1993) y Rebecca's Tale, de Sally Beauman (2001), que interactúan con el final y el discurso de Rebecca de manerasdiferentes y con resultadosdistintos.

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Marcelino da Silva, Maria De Lourdes, and Altamir Botoso. "A SEGUNDA ESPOSA: SEMELHANÇAS E DIFERENÇAS ENTRE "ENCARNAÇÃO", "A SUCESSORA" E "REBECA"." fólio - Revista de Letras 11, no. 2 (January 28, 2020). http://dx.doi.org/10.22481/folio.v11i2.5574.

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O propósito deste artigo é estabelecer comparações entre os romances Encarnação, de José de Alencar, A Sucessora, de Carolina Nabuco e Rebecca, de Daphne du Maurier, ressaltando pontos de convergência e de divergência entre eles. Como suporte teórico, valer-nos-emos dos textos críticos de Muzart (2002), Brandão (2006), Perrone-Moisés (1990), Klee (2008), Todorov (1992), dentre outros. Em síntese, foi possível constatar que os três livros mantêm um diálogo intertextual não só pela retomada da mesma temática, mas também pela semelhança de elementos estruturais da construção das narrativas tais como personagens, espaços e foco narrativo.

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Gouveia, Sylvia Cristina Toledo. "A escritura do som em sua inscrição na literatura e no cinema: o leitmotiv e o suspense em Rebecca." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 6, no. 2 (July 24, 2018). http://dx.doi.org/10.22475/rebeca.v6n2.438.

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Os estudos interartes viabilizam a apreensão dos signos contidos num locus intermediário que revela as nuances do diálogo entre as artes. A escritura do som na literatura permite o acesso daquilo que, embora não esteja contido no texto escrito, faz parte do caráter literário da obra e vem à tona no instante da recepção do texto. No cinema, essa escritura revela o alcance semântico da trilha sonora, em suas dimensões concreta e subjetiva, na composição das cenas. O presente estudo objetiva realizar uma análise do leitmotiv na formação do suspense em Rebecca, romance de Daphne Du Maurier, e em sua adaptação cinematográfica, de Alfred Hitchcock, propondo uma reflexão acerca do lugar do som no espaço romanesco e na arte cinematográfica.

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Thohiriyah, Thohiriyah. "PROMOTING PATRIARCHAL POLITICS IN DAPHNE DU MAURIER’S REBECCA." TONIL: Jurnal Kajian Sastra, Teater dan Sinema 17, no. 1 (June 2, 2020). http://dx.doi.org/10.24821/tnl.v17i1.3873.

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Abstract: This paper aims to analyze a patriarchal politics performed by the male antagonist named Maxim de Winter in his life of domestic partnership with a female protagonist, Rebecca, elucidated in Daphne du Maurier’s novel entitled Rebecca. The concept of promotion of patriarchal domination is done through deconstructive narration. At first, the novel constructs a narration by putting the woman in a privileged position. However, this position is later dismantled by male domination. This paper employs some methods consisting of close reading, qualitative analysis, and deconstructive analysis. The result shows that woman’s privileged position is only used as a medium for a man to prove his domination and promote patriarchal politics in the form of power struggle. Key words: patriarchal politics, power, Rebecca

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Ismail, Zaid Ibrahim, and Shaima'a Abdullah Jasim. "Daphne Du Maurier’s Cinderella:, A Feminist Reading Of Rebecca." مجلة آداب الفراهيدي, 2020, 437. http://dx.doi.org/10.51990/2228-012-043-057.

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Moosa, Najdat kadhim, and Zaid Ibrahim Ismael. "Schehrazade Revisited: Reconsidering Femicide In Daphne Du Maurier’s Rebecca." مجلة جامعة كركوك للدراسات الإنسانية, 2020, 1. http://dx.doi.org/10.32894/1911-015-002-020.

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Parey, Armelle. "On the Afterlives of Daphne Du Maurier’s Rebecca: Spinoffs and Transfictions." Revue LISA / LISA e-journal, no. 19-n°52 (November 19, 2021). http://dx.doi.org/10.4000/lisa.13552.

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"Daphne du Maurier: haunted heiress." Choice Reviews Online 37, no. 11 (July 1, 2000): 37–6115. http://dx.doi.org/10.5860/choice.37-6115.

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Lachazette, Xavier. "Daphne Du Maurier: a Critical Bibliography." Revue LISA / LISA e-journal, no. 19-n°52 (November 19, 2021). http://dx.doi.org/10.4000/lisa.13792.

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"Daphne du Maurier: writing, identity and the Gothic imagination." Choice Reviews Online 36, no. 03 (November 1, 1998): 36–1444. http://dx.doi.org/10.5860/choice.36-1444.

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PAREY, Armelle. "Daphné du Maurier’s characters in Rebecca living on in Mrs de Winter." E-rea, no. 13.1 (December 14, 2015). http://dx.doi.org/10.4000/erea.4731.

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