Bibliographie
ATKINSON Kate, Life After Life, London: Doubleday, 2013.
ATWOOD Margaret, “Unpopular Gals,” Good Bones [1992], London: Virago, 2007, 25-30.
BANVILLE John, “The SRB Interview,” Scottish Review of Books, 18 Nov. 2017, <https://www.scottishreviewofbooks.org/2017/11/the-srb-interview-john-banville/>, accessed 7 November 2021.
BEAUMAN Sally, Rebecca’s Tale, London: Little, Brown and Company, 2001.
DU MAURIER Daphne, Rebecca [1938], New York: Avon, 1971.
FORSTER Margaret, Daphne Du Maurier [1993], London: Arrow, 1994.
FRASER Antonia, “Rebecca’s Story” [1976], in The Daphne Du Maurier Companion, London: Virago, 2007, 92-101.
GABRIELE Lisa, The Winters, London: Harvill Secker, 2018.
GABRIELE Lisa, “The Winters is a Modern Update of 1938 Best-Seller Rebecca,” Interview for NPR, 30 Dec. 2018, <https://www.npr.org/2018/12/30/680994457/the-winters-is-a-modern-update-of-1938-best-seller-rebecca?t=1568909949830>, accessed on 19 September 2019.
GARBER Marjorie, Quotation Marks, London: Routledge, 2003.
GENETTE Gérard, Palimpsests: Literature in the Second Degree, trans. Channa Newman and Claude Doubinsky, Lincoln and London: U of Nebraska P, 1997.
GOMEZ-GALISTEO M. Carmen, “Last Night I Dreamt I Saw Rebecca Again: Lesbianism, Female Sexuality and Motherhood in Rebecca by Daphne Du Maurier, Mrs. de Winter by Susan Hill and Rebecca’s Tale by Sally Beauman,” in M. Carmen Gomez-Galisteo (ed.), A Successful Novel Must Be in Want of a Sequel: Second Takes on Classics from the Scarlet Letter to Rebecca, Jefferson, NC: McFarland, 2018, 130-152.
HILL Susan, Mrs. de Winter [1993], London: Mandarin, 1994.
HUTCHEON Linda, A Theory of Parody [1985], Urbana and Chicago: University of Illinois Press, 2000.
KELLAWAY Kate, “Daphne’s unruly passions,” The Guardian, Sunday 15 April 2007, <https://www.theguardian.com/books/2007/apr/15/fiction.features1>, accessed on 13 June 2020
LACKEY Michael, “Locating and Defining the Bio in Biofiction,” a/b: Auto/Biography Studies, 2016, 31, 3-10.
LARROUX Guy, Le Mot de la fin, la clôture romanesque en question, Paris: Nathan, 1995.
LODGE David, Consciousness and the Novel [2002], London: Penguin, 2003.
LODGE David, “The Author’s Curse,” The Guardian, 20 May 2006, <https://www.theguardian.com/books/2006/may/20/featuresreviews.guardianreview2>, accessed on 7 November 2021.
MORARU Christian, Rewriting: Postmodern Narrative and Cultural Critique in the Age of Cloning, Albany: SUNY Press, 2001.
MULLER Wolfgang G., “Iconicity and Rhetoric,” in Olga Fischer and Max Nänny (eds), The Motivated Sign, Amsterdam: John Benjamins Publishing Company, 2001, 305-322.
NUNGESSER Verena-Susanna, “From Thornfield Hall to Manderley and Beyond: Jane Eyre and Rebecca as Transformations of the Fairy Tale, the Novel of Development, and the Gothic Novel,” in Margarete Rubik and Elke Mettinger-Schartmann (eds.), A Breath of Fresh Eyre: Intertextual and Intermedial Reworkings of Jane Eyre, Amsterdam: Rodopi, 2007, 200-228.
PAREY Armelle, “Peter Carey’s Jack Maggs: The True Story of the Convict?” in Georges Letissier (ed.), Rewriting/Reprising: Plural Intertextualities, Newcastle: Cambridge Scholars Publishing, 2009, 126-137.
PAREY Armelle, “Susan Hill’s Mrs. de Winter and Sally Beauman’s Rebecca’s Tale: ‘re-visions’ of Daphne Du Maurier’s Rebecca?” Odisea, Revista de estudios ingleses, 2016:17, 7-17.
PAREY Armelle (ed.), Prequels, Coquels and Sequels in Contemporary Anglophone Fiction, London and New York: Routledge, 2019.
RHYS Jean, Wide Sargasso Sea [1966], London: Penguin, 1968.
RICH Adrienne, “When We Dead Awaken: Writing as Re-Vision” [1971], in On Lies, Secrets, and Silence: Selected Prose, 1966-1978, New York: Norton, 35-49.
RIFFATERRE Michael, Sémiotique de la poésie, Paris: Seuil, 1983.
ROSEN Jeremy, Minor Characters Have Their Day, Genre and the Contemporary Literary Marketplace, New York: Columbia UP, 2016.
SAINT-GELAIS Richard, Fictions transfuges, La transfictionnalité et ses enjeux, Paris: Seuil, 2011.
SAID Edward, Culture and Imperialism [1993], London: Vintage, 1994.
SANDERS Julie, Adaptation and Appropriation, London: Routledge, 2006.
SPENGLER Birgit, Literary Spin-offs, Rewriting the Classics—Re-Imagining the Community, Frankfurt: New York/Campus Verlag, 2015.
TAYLOR Helen (ed.), The Daphne Du Maurier Companion, London: Virago, 2007.
TAYLOR Helen, “Rebecca’s Afterlife: Sequels and Other Echoes,” The Daphne Du Maurier Companion, London: Virago, 2007, 75-91.
TREMAIN Rose, “The Housekeeper,” The American Lover, London: Chatto and Windus, 2014, 121-148.
VARNAM Laura, “Du Maurier’s Rebecca at 80: why we will always return to Manderley,” The Conversation, 28 February 2018. <https://theconversation.com/du-mauriers-rebecca-at-80-why-we-will-always-return-to-manderley-92519>, accessed on 3 September 2019.
ZABUS Chantal, “Subversive Scribes: Rewriting in the Twentieth Century,” Anglistica 5:1-2 (2001), 191-207.
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Notes
Kate Atkinson, Life After Life, London: Doubleday, 2013, 399.
Hitchcock famously adapted the novel to the screen in 1940, while British TV adaptations were aired in 1979 and 1997. A new adaptation directed by Ben Wheatley was released on Netflix in 2020.
Richard Saint-Gelais, Fictions transfuges, La transfictionnalité et ses enjeux, Paris: Seuil, 2011,148.
Edward Said, Culture and Imperialism [1993], London: Vintage, 1994, 78.
Richard Saint-Gelais, op. cit., 1.
Ibid., 55.
Gérard Genette, Palimpsests: Literature in the Second Degree, trans. Channa Newman and Claude Doubinsky, Lincoln and London: U of Nebraska P, 1997, 206.
Richard Saint-Gelais, op. cit., 139-140.
Birgit Spengler, Literary Spin-offs, Rewriting the Classics—Re-Imagining the Community, Frankfurt: New York/Campus Verlag, 2015, 11. The distinction Spengler makes between rewritings and spinoffs is that for the latter “the requirements to recognize the fundamental relation to a given pre-text tend towards a more widely shared cultural competence.” Ibid., 51.
Adrienne Rich, “When We Dead Awaken: Writing as Re-Vision” [1971], On Lies, Secrets, and Silence: Selected Prose, 1966-1978, New York: Norton, 35-49, 35. This is a key element in Christian Moraru’s 2001 pioneering study, which attempts to “locate, theorize and assess a rewriting model involving predominantly, albeit not exclusively, critique, revision, and dissent.” Christian Moraru, Rewriting: Postmodern Narrative and Cultural Critique in the Age of Cloning, Albany; SUNY Press, 2001, 23. Julie Sanders confirms that “[m]any appropriations have a joint political and literary investment in giving voice to these characters or subject-positions they perceive to have been oppressed or repressed in the original.” Julie Sanders, Adaptation and Appropriation. London: Routledge, 2006, 98. Looking at more recent productions, Jeremy Rosen argues that “a great many intertextual works do not launch a critique of the canon.” Jeremy Rosen, Minor Characters Have Their Day, Genre and the Contemporary Literary Marketplace, New York: Columbia UP, 2016, 4.
Chantal Zabus, “Subversive Scribes: Rewriting in the Twentieth Century,” Anglistica 5:1-2 (2001), 191-207, 191.
Ibid., 205.
For Sanders, adaptation and appropriation “reinforce that canon by ensuring a continuing interest in the original or source text, albeit in revised circumstances of understanding.” Julie Sanders, op. cit., 97-98. For Rosen, minor character elaborations “preserve the traditional canon’s centrality.” Jeremy Rosen, op. cit., 5.
A number of scholars use “sequel” as an umbrella term. Armelle Parey (ed.), Prequels, Coquels and Sequels in Contemporary Anglophone Fiction, London and New York: Routledge, 2019, 3.
Helen Taylor (ed.), The Daphne Du Maurier Companion, London: Virago, 2007, 84.
Ibid., 76.
See Gérard Genette, op. cit., 206.
Helen Taylor, op. cit., 79.
Ibid.
Marjorie Garber, Quotation Marks, London: Routledge, 2003, 75.
Margaret Forster, Daphne Du Maurier [1993], London: Arrow, 1994, 135.
See Armelle Parey “Susan Hill’s Mrs. de Winter and Sally Beauman’s Rebecca’s Tale: ‘re-visions’ of Daphne Du Maurier’s Rebecca?” Odisea, Revista de estudios ingleses, 2016:17. 7-17, 12.
Sally Beauman, Rebecca’s Tale, London: Little, Brown and Company, 2001, 22.
Armelle Parey “Susan Hill’s Mrs. de Winter and Sally Beauman’s Rebecca’s Tale”, op. cit., 14.
“Rhys’s novel employs a tripartite narrative structure […]. Rhys creates narrators who are not fully coherent, reliable, or sympathetic tellers of their tales. She thus invites readers to approach skeptically these formerly minor figures rather than be seduced into straightforward sympathetic identification with or sentimental attachment to them” (Jeremy Rosen, op. cit., 13).
Sally Beauman, op. cit., 327.
Jeremy Rosen, op. cit., 1.
Antonia Fraser, “Rebecca’s Story” [1976], in The Daphne Du Maurier Companion, London: Virago, 2007, 92-101, 92.
Ibid., 92.
Rose Tremain, “The Housekeeper”, The American Lover, London: Chatto and Windus, 2014, 121-148, 121.
Jeremy Rosen, op. cit., 27.
Jean Rhys, Wide Sargasso Sea [1966], London: Penguin, 1968, 106.
As Helen Taylor says when she refers to it as “a tantalising outline of what might have been a wonderful prequel novel.” Helen Taylor, op. cit., 83).
Antoine Fraser, op. cit., 92.
Daphne Du Maurier, Rebecca [1938], New York: Avon, 1971, 279-280.
Michael Riffaterre evokes the concept of “retroactive reading” (“lecture rétroactive”), which is the process of revising one’s view of former material in the same text: “Au fur et à mesure de son avancée au fil du texte, le lecteur se souvient de ce qu’il vient de lire et modifie la compréhension qu’il en a eue en fonction de ce qu’il est en train de décoder. Tout au long de sa lecture il réexamine et révise, par comparaison avec ce qui précède.” Michael Riffaterre, Sémiotique de la poésie, Paris: Seuil, 1983, 17.
Rose Tremain, op. cit., 147.
A similarly unflattering portrait of Charles Dickens is drawn in Peter Carey’s Jack Maggs (1997) and in Joseph O’Connor’s Star of the Sea (2003), in which the novelist is shown feeding off, and distorting, other people’s stories (see Armelle Parey, “Peter Carey’s Jack Maggs: The True Story of the Convict?” in Georges Letissier (ed.), Rewriting/Reprising: Plural Intertextualities, Newcastle: Cambridge Scholars Publishing, 2009, 126-137.
Rose Tremain, op. cit., 123; see also 147.
Michael Lackey, “Locating and Defining the Bio in Biofiction,” a/b: Auto/Biography Studies, 2016:31, 3-10, 3.
Margaret Forster, op. cit., 28.
Rose Tremain, op. cit., 138. Paraphrasing Du Maurier in a letter, Forster says “she had forced herself to lock up in a box.” Margaret Forster, op. cit., 28.
See Richard Saint-Gelais, op. cit., 256, 260 for a similar process in Madame Homais, which builds on Madame Bovary.
“The point of paronomasia,” says Wolfgang G. Müller, “is that a mere accidental phonetic relationship assumes the appearance of a semantic relationship.” Wolfgang G. Müller, “Iconicity and Rhetoric,” in Olga Fischer and Max Nänny (eds), The Motivated Sign, Amsterdam: John Benjamins Publishing Company, 2001, 305-322, 316.
Rose Tremain, op. cit., 147.
Ibid., 127.
Daphne Du Maurier, Rebecca, op. cit., 246.
Rose Tremain, op. cit., 141-142.
Ibid., 143.
Ibid., 123-124.
Jeremy Rosen, op. cit., 4.
We may draw a quick parallel here with Kazuo Ishiguro’s The Remains of the Day that similarly points at anti-semitism and extreme-right views amongst the upper-class.
Linda Hutcheon, A Theory of Parody [1985], Urbana and Chicago: University of Illinois Press, 2000, 7-12.
Retellings of Austen’s six novels were written by contemporary authors, including Joanna Trollope (Sense and Sensibility) and Val McDermid (Northanger Abbey).
Chantal Zabus, op. cit.
In a 2018 interview with NPR, Gabriele says, “I often call The Winters a response to Rebecca.” “The Winters is a Modern Update of 1938 Best-Seller Rebecca.” Interview on NPR, 30 Dec, 2018.
Christy Fletcher, in a personal email, dated 3 June 2019.
In Guy Larroux’s words, “S’il est vrai que la convention gouverne les dénouements romanesques, il n’en reste pas moins que c’est probablement aussi la partie du livre où l’on aperçoit le mieux le travail de contestation (des modèles convenus précisément), et où l’on saisit le mieux le signe des temps.” Guy Larroux, Le Mot de la fin, la clôture romanesque en question, Paris: Nathan, 1995, 9.
As Laura Varnam notes, “In the context of the #MeToo movement, his treatment of his first wife—who had the audacity not merely to betray him but to laugh at him—triggers a stomach-churning recognition of misogyny that modern readers are chilled to find that the second Mrs. de Winter cheerfully ignores. Maxim de Winter is far more menacing than the ghost of his first wife.” Laura Varnam, “Du Maurier’s Rebecca at 80: why we will always return to Manderley,” The Conversation, 28 February 2018. <https://theconversation.com/du-mauriers-rebecca-at-80-why-we-will-always-return-to-manderley-92519>, accessed on 3 September 2021.)
Lisa Gabriele, The Winters, London: Harvill Secker, 2018, 313.
Ibid., 29-30.
Ibid., 260.
See Kate Kellaway, “Daphne’s unruly passions,” The Guardian, Sunday 15 April 2007. <https://www.theguardian.com/books/2007/apr/15/fiction.features1>, accessed 5 September, 2019.
David Lodge, Consciousness and the Novel [2002], London: Penguin, 2003, 87-88.
Jeremy Rosen, op. cit., 1.
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