scholarly journals Analisis Plot Novel Rebecca oleh Daphne Du Maurier, Diceritakan Ulang oleh Margaret Tarner

2021 ◽  
Vol 7 (2) ◽  
pp. 705-720
Author(s):  
Heni Heni
Keyword(s):  
Daphne Du Maurier

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: 

A “disembodied spirit”: The letters and fiction of Daphne du Maurier

Prose Studies ◽  
1996 ◽  
Vol 19 (2) ◽  
pp. 186-199
Author(s):  
Avril Horner ◽  
Sue Zlosnik
Keyword(s):  
Daphne Du Maurier

scholarly journals Apples and Pears: Symbolism and Influence in Daphne du Maurier’s ‘The Apple Tree’ and Katherine Mansfield’s ‘Bliss’

2016 ◽  
Author(s):  
Setara Pracha
Keyword(s):  
Apple Tree ◽  
Mental States ◽  
Katherine Mansfield ◽  
Organic Unity ◽  
Liminal Spaces ◽  
Close Analysis ◽  
Daphne Du Maurier ◽  
The Way

This essay offers a parallel reading of two stories, ‘Bliss’ by Katherine Mansfield and ‘The Apple Tree’ by Daphne du Maurier, revealing a hitherto unexamined yet fruitful area of research. Dramatic irony, organic unity and liminal spaces are identified and discussed in terms of how these are used to represent subconscious and conscious perceptions of reality. The plots incorporate symbols from well-known myths to suggest extreme mental states in narratives that invite the reader to occupy psychological spaces of delusion and fantasy. Material from previously unpublished letters reveals the extent to which Mansfield influenced du Maurier’s writing and this close analysis demonstrates how examining these writers in tandem provides a valuable mean of accessing their work in a new way. Du Maurier’s critical reputation is current undergoing a process of revision which echoes the way in which Mansfield has come to be increasingly regarded as one of the ‘high priestesses’ of modernism.

scholarly journals The Linguistics of Imaginary Narrative Spaces in Daphne du Maurier’s Rebecca

2018 ◽  
Vol 5 (2) ◽  
pp. 42-61
Author(s):  
Ньюман Джон
Keyword(s):  
New York ◽  
Cognitive Linguistics ◽  
English Language ◽  
Cognitive Grammar ◽  
Cognitive Poetics ◽  
Cambridge University ◽  
Oxford University ◽  
Daphne Du Maurier ◽  
The University ◽  
Narrative Spaces

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.

scholarly journals ANTHROPOMORPHIC TAXIDERMY AND THE DEATH OF NATURE: THE CURIOUS ART OF HERMANN PLOUCQUET, WALTER POTTER, AND CHARLES WATERTON

2007 ◽  
Vol 35 (2) ◽  
pp. 663-678 ◽  
Author(s):  
Michelle Henning
Keyword(s):  
Tourist Attraction ◽  
Media Attention ◽  
High Profile ◽  
Entire Collection ◽  
Auction Sale ◽  
Daphne Du Maurier ◽  
Public Museum

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.

scholarly journals A SEGUNDA ESPOSA: SEMELHANÇAS E DIFERENÇAS ENTRE "ENCARNAÇÃO", "A SUCESSORA" E "REBECA"

2020 ◽  
Vol 11 (2) ◽  
Author(s):  
Maria De Lourdes Marcelino da Silva ◽  
Altamir Botoso
Keyword(s):  
Jose De Alencar ◽  
Daphne Du Maurier

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.

Ecos de Anfitrión y tradición gótica en Manderley en venta de Patricia Esteban Erlés

2020 ◽  
pp. 70-87
Author(s):  
Sara Núñez de la Fuente
Keyword(s):  
La Niña ◽  
La Nina ◽  
Daphne Du Maurier

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.

scholarly journals Ensino de literatura e multimodalidade

2021 ◽  
Vol 37 (1) ◽  
pp. 169-190
Author(s):  
Carolina Natale Toti
Keyword(s):  
Daphne Du Maurier

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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