The Mythical Underworlds of Francis Stevens and Daphne du Maurier

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.

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

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:

Ensino de literatura e multimodalidade

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.

STUDIES ON PERSONA OF THE THREE PROTAGONISTS IN REBECCA

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.

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

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.

British Women's Writing, 1930 to 1960

British Women Writers 1930 – 1960: Between the Waves contributes to the vital recuperative work on mid-twentieth century writing by and for women. Fourteen original essays from leading academics and emerging critical voices shed new light on writers commonly dismissed as middlebrow in their concerns and conservative in their styles and politics. The essays showcase the stylistic, cultural and political vitality of the fiction, non-fiction, drama, poetry and journalism of a selection authors including Vera Brittain, Storm Jameson, Nancy Mitford, Phyllis Shand Allfrey, Rumer Godden, Attia Hosain, Doris Lessing, Kamala Markandaya, Susan Ertz, Marghanita Laski, Elizabeth Bowen, Edith Pargeter, Eileen Bigland, Nancy Spain, Vera Laughton Matthews, Pamela Hansford Johnson, Dorothy Whipple, Elizabeth Taylor, Daphne du Maurier, Barbara Comyns, Shelagh Delaney, Stevie Smith and Penelope Mortimer. The neologism ‘interfeminism’, coined to partner Kristin Bluemel’s ‘intermodernism’, locates this group chronologically and ideologically between two ‘waves’ of feminism, whilst forging connections between the political and cultural monoliths which have traditionally overshadowed its members. Drawing attention to the strengths of this ‘out-of-category’ writing, the volume also highlights how intersecting discourses of gender, class and society in the inter- and post- bellum anticipate the bold reassessments of female subjectivity that characterize second and third wave feminism. Exploration of popular women’s magazines of the period, and new archival material, add an innovative dimension to this study of the literature of a volatile and transformative period of British social and cultural history.

The Female Version in Daphne Du Maurier’s Rebecca

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.

The Obsession of Women Characters in Daphne du Maurier's 'Rebecca'

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