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This article uses netnographic research methods, as a form of olfactory sensory mining, to investigate the smell-based experiences of audience members at Punchdrunk's Sleep No More (2011). In doing so, it seeks to contribute to the field of theatre audience research, as well as intervening in archival questions surrounding the documentation of ephemeral, olfactory, experiences. It problematizes the supposedly ephemeral nature of scents in relation to the supposed ephemerality of the live performance experience and, thus, also extends research on Punchdrunk's works by suggesting the potential the olfactory has for triggering the re-immersive experience. This article lays new groundwork for how theatre researchers can study the relationship between the live-performance experience and smell, as well as signalling the need for further olfactory sensory mining in the field of audience studies. [ABSTRACT FROM AUTHOR]

The current paper begins with an examination of the relationship between the producer David O. Selznick and the director Alfred Hitchcock, making the case that there are parallels between their relationship and the unnamed protagonist and other characters in Hitchcock's first Hollywood feature, Rebecca (1940). It then explores some of the Freudian and Lacanian symbols within the film and how these can allude to character traits of the main protagonists. [ABSTRACT FROM AUTHOR]

While Rebecca is not currently a set text for A-Level English Literature, this paper argues that the novel's multi-faceted richness would justify its inclusion in any list of recommended texts. Divided into four interconnected parts, the paper offers, firstly, some approaches to the reading and teaching of fiction, generally. The second part presents some framing contexts for illuminating many of Rebecca's preoccupations. These include: ideas about the Gothic tradition and the presentation of Fatal Women in some Romantic literature; some considerations about patriarchy, misogyny, gender and identity; finally, attention is given to the intersection between dream and reality in Rebecca and to the idea of obsession and the double self in two other works by Du Maurier. In the third part, more detailed attention is given to the presentation of character in the novel. The fourth part explores some pedagogical approaches to the novel in the sixth-form classroom. [ABSTRACT FROM AUTHOR]

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.

The present essay aims to unveil underlying connections among Henry James's The Turn of the Screw (1989), Daphne Du Maurier's Rebecca (1938) and the Netflix series The Haunting of Bly Manor (2020) which neither the British author's text nor its creator, Mike Flangan, ever acknowledged. In doing so, this paper sensitively discerns which literary issues from earlier centuries are still relevant and theorizes about the phenomenon of streaming platforms. The two novels are addressed through the works of scholars which coexist with non-academic sources like interviews or even internet blogs. The aim is to bring profiles of spectators who access the show from greatly different backgrounds into focus: erudite avid readers and hardened binge watchers. This work of analysis proves the Netflix series to be an adaptation of James's work by dissecting the changes it has undergone in order to appeal its audience while appropriating central aspects of Rebecca along the way. By the end of the paper, all three creative works reach a fluent dialogue about the two Rebeccas and their anthitheses. Their worlds slowly become one, channeled through the figure of Viola Willoughby, who merges both stories as an analogy of purgatory be it either at Manderley or Bly. [ABSTRACT FROM AUTHOR]

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.

Daphne Du Maurier’s international bestseller, Rebecca, has always puzzled readers, reviewers, and critics alike. Often hard put to define why the novel has them in its thrall and what genre or category it can be said to fall under, they resort to explanations which are both numerically impressive and strikingly contradictory. To underline the exceptional singularity of such a work, the unique literary and historical status of Du Maurier’s fifth novel will first be analysed. Du Maurier’s surprisingly unperceptive assessment of her own work will then be studied, both before its publication and after it became a runaway bestseller. Finally, we will have a look at some of the critical attention it has recently received, in the press and in academic articles, to show that assessing or categorising Rebecca has always been a contentious issue, not just for its author but also for critics at large.

Daphne Du Maurier’s Rebecca is one of these novels that are regularly submitted to rewriting and expansion. If the process “preserves the traditional canon’s centrality” (as Jeremy Rosen says about minor character elaborations), it also participates in the critical reassessment of the source text as it throws a new light on it. This article discusses very diverse transfictions based on Du Maurier’s novel and examines the workings of the various narrative strategies adopted to reactivate the well-known novel. This will enable us to underline the elements, traits or characteristics of Rebecca that are picked upon – and which ensure Du Maurier’s novel an afterlife – and how these various revisions and/or expansions engage with the source text. While Antonia Fraser’s “Rebecca’s Story” (1976) is a coquel enabling a first-person account by Rebecca of her marriage, Rose Tremain’s “The Housekeeper” (2014) changes diegetic level as it portrays the young Du Maurier and gives an account of the inspiration behind Rebecca by the character misrepresented as Mrs. Danvers. Other texts under study are Susan Hill’s Mrs. de Winter (1993) and Sally Beauman’s Rebecca’s Tale (2001), which offer narrative and temporal expansions, and finally Lisa Gabriele’s The Winters (2018), a transposition of the plot and its characters to contemporary America.

This article considers the lengthy process of casting the unnamed female protagonist in the first film version of Daphne Du Maurier’s Rebecca in light of the more general adaptation strategies employed by the filmmakers, particularly the independent producer David O. Selznick who was renowned for his film versions of literary classics. Drawing on archival documents from the Selznick Collection at the Harry Ransom Center in Austin, Texas, and on the surviving screen tests of several candidates for the main role, the author compares Fontaine’s screen tests with those of her most immediate “rivals” – Vivien Leigh, Anne Baxter, Margaret Sullavan and Loretta Young – and relates them to the vibrant exchange of opinions between Selznick and director Alfred Hitchcock for whom the film marked his Hollywood debut. Furthermore, the text notes how the casting of Joan Fontaine affected the characterization of the second Mrs. de Winter, or “I”, as she is often referred to. By integrating adaptation studies with star and performance studies, the article’s aim is to bring more nuance into the ongoing discussion of this canonical film and its historical relevance.

The paper first focuses on the three adaptations by Hitchcock of Daphne Du Maurier’s material, Jamaica Inn (1938-39), Rebecca (1939-40) and The Birds (1962-63). It summarizes the very different circumstances of the films’ production, which help explain why Rebecca is much closer to its novelistic source than the other two and why the writer was happy with Rebecca and dissatisfied with the other two. It then proceeds to a brief examination of the friendly and professional relationship between Hitchcock and Daphne’s father, the stage and occasionally film actor Gerald Du Maurier, and speculates about possible thematic connections between Hitchcock and Daphne’s grandfather George Du Maurier, the illustrator and author of Trilby and Peter Ibbetson. It concludes that the complex network between Hitchcock and three generations of Du Mauriers is evidence of the Hollywood director’s abiding English roots and inspiration.

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. [ABSTRACT FROM AUTHOR]

In the opening chapters of Rebecca, du Maurier's unnamed narrator makes a poignant remark about her desire to re-experience certain memories: 'If only there could be an invention ... that bottled up a memory, like scent. And it never faded, and it never got stale'. Although her suitor curtly dismisses this comment, readers should not be as quick to forget the tie that the narrator draws between memory and scent. In this article, I argue that fragrance is not an insignificant detail of du Maurier's story but rather an emotively charged presence that can help readers better understand the relationship between the narrator and the first Mrs. de Winter. After discussing neurological and anthropological studies that have emerged around smell's connection to memory and liminality, I explore moments in du Maurier's text where fragrances reanimate Rebecca and create a visceral connection between the protagonist and this deceased yet very much present character. By examining the way Rebecca rises to the surface through smell, I ultimately show that odours play a pivotal role in allowing readers to recognize how her forceful and resilient personality continues to dismantle the boundaries of patriarchal control from beyond the grave. [ABSTRACT FROM AUTHOR]

Feminist writers often protest the passive representation of female characters in Eurocentric fairy tales. Their main objections are triggered by the stereotypical image of the damsel-in-distress prevalent in these patriarchal folktales. The stories of Rapunzel, Cinderella, Little Red Riding Hood, Sleeping Beauty, and Snow White, among many others, all feature helpless young females, waiting for a male hero to save them from the difficult situations they find themselves in. Twentieth-century feminist fiction marked a drastic shift in perspective in the rewriting of these tales. The passive female heroines are given fundamental roles as adventurous women, who have the ability to save themselves and even the men they love. The present study focuses on Daphne du Maurier’s 1938 novel Rebecca as a new version of the Cinderella story. It explores the protagonist’s Bildungsroman journey into development and sheds light on the disintegration of the traditional rescue motif that was common in classic male-authored texts. [ABSTRACT FROM AUTHOR]

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With the emergence of the "New Woman" at the beginning of the twentieth century, writers, both men and women, started to deal with this social phenomenon as a major issue in the representation of female characters in literature. They often depended on traditional myths that depict the war between the sexes, like the Lilith myth. While previous studies on Daphne du Maurier's "Rebecca" focus on the writer's feminism and her Gothic style, no reference has ever been made to the relationship between the novel and this myth of the Genesis, despite the fact that many allusions in the text prove that the novel is obviously a modern treatment of this myth. This study analyses the novel in relation to this myth and tries to deconstruct the mainstream critical discourse on the text as representing the writer's identification with the title character, Rebecca, as a victim of patriarchal oppression. [ABSTRACT FROM AUTHOR]

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.

Conspicuous in the Old Testament (OT) is the literary genre of blessing that is often construed in poetic forms. They are of various types and were significant to their initial audience. A careful analysis of their texts and contexts is indispensable for a correct understanding of their message. Conversely, in our times, these texts and their contents are misinterpreted for some subjective goals, which deviate greatly from what one can perceive as their original meaning and intention. Misinterpretation and incorrect application of Biblical texts of blessings thrive in a society like ours where ills are perpetrated under the guise of religion. The text of Genesis 27:27–29, carefully inserted in the patriarchal narratives, contains a type of OT blessings portraying parents’ wishful desires for their offspring; this is common to all human cultures. It is chosen as a springboard for the study of other parental blessings in the OT. Employing a literary analysis with particular attention to the functions of poetic devices in the text, the study aimed at understanding the message contained therein and its relevance to our contemporary society.

Conspicuous in the Old Testament (OT) is the literary genre of blessing that is often construed in poetic forms. They are of various types and were significant to their initial audience. A careful analysis of their texts and contexts is indispensable for a correct understanding of their message. Conversely, in our times, these texts and their contents are misinterpreted for some subjective goals, which deviate greatly from what one can perceive as their original meaning and intention. Misinterpretation and incorrect application of Biblical texts of blessings thrive in a society like ours where ills are perpetrated under the guise of religion. The text of Genesis 27:27–29, carefully inserted in the patriarchal narratives, contains a type of OT blessings portraying parents' wishful desires for their offspring; this is common to all human cultures. It is chosen as a springboard for the study of other parental blessings in the OT. Employing a literary analysis with particular attention to the functions of poetic devices in the text, the study aimed at understanding the message contained therein and its relevance to our contemporary society. [ABSTRACT FROM AUTHOR]

The paper is devoted to the analysis of Mrs de Winter, one of the main characters from Daphne du Maurier's Rebecca, as 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 gothicisation, "the Gothic damsel in distress." Vulnerable and easily threatened, she is defined solely in relation to her aristocratic husband, whose status she is unable to match. Then, however, as a result of her growth as an individual, Mrs de Winter is degothicised. We witness a change in her attitude toward her tormentors: she no longer feels intimidated; she starts developing, in what we view as an identitybuilding process, her public and personal sense of a mature and independent individual. [ABSTRACT FROM AUTHOR]

Among the many images and symbols of the Church which the church Fathers used, biblical mothers had an important role. Some of these images, such as Mary as an image of the Church, became widespread and have influenced later Christian theology and iconography. In this article, both the development and different applications of these images will be explored. How and to what purpose these images were used in the Early Church will also be studied. Among the topics dealt with by using these images were the origin, age, character and purpose of the Church, as well as its relation to several 'others' (the Jews, the schismatics and the heretics). In modern ecclesiological discussions, especially of Eve and Mary as images of the Church, the role of the Church in salvation, as well as the communal interpretation of biblical mothers, are relevant. [ABSTRACT FROM AUTHOR]

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.