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Daphne Du Maurier: a Critical Bibliography

Daphne du Maurier : bibliographie critique
Xavier Lachazette

Texte intégral

Primary Sources

Novels by Daphne Du Maurier (17)

1The Loving Spirit, London: Heinemann, 1931.

2I’ll Never Be Young Again, London: Heinemann, 1932.

3The Progress of Julius, London: Heinemann, 1933.

4Jamaica Inn, London: Gollancz, 1936.

5Rebecca, London: Gollancz, 1938.

6Frenchman’s Creek, London: Gollancz, 1941.

7Hungry Hill, London: Gollancz, 1943.

8The King’s General, London: Gollancz, 1946.

9The Parasites, London: Gollancz, 1949.

10My Cousin Rachel, London: Gollancz, 1951.

11Mary Anne, London: Gollancz, 1954.

12The Scapegoat, London: Gollancz, 1957.

13Castle Dor, with Sir Arthur Quiller-Couch, London: Dent, 1962.

14The Glass-Blowers, London: Gollancz, 1963.

15The Flight of the Falcon, London: Gollancz, 1965.

16The House on the Strand, London: Gollancz, 1969.

17Rule Britannia, London: Gollancz, 1972.

Short Stories by Daphne Du Maurier (50)

Early Uncollected Stories (3)

18“Terror”, The Bystander (26 December 1928): 678-679.

19“A Man of Straw”, The Bystander (27 November 1929): 482-484, 488.

20“Portrait of an Actress”, The Saturday Review (23 May 1931): 753-754.

Early Stories Published Separately, then Collected in Later Volumes (5)

21 “And His Letters Grew Colder”, Hearst’s International Combined with Cosmopolitan (September 1931): 56-59, 180-181. Rpt. as “A Symphony on Paper,” with illust. by Erté, in Nash’s Pall Mall Magazine 88.463 (December 1931): 54-57, 115-116. Also rpt. in The Doll: Short Stories, London: Virago, 2011. 159-177.

22“The Happy Valley”, The Illustrated London News (Christmas 1932): 35-38. Rpt. in The Doll: Short Stories, London: Virago, 2011. 147-158.

23“The Doll”, The Editor Regrets.., London: Michael Joseph, 1937: 257-275. Rpt. in The Doll: Short Stories, London: Virago, 2011. 13-30.

24“The Escort”, The Queen’s Book of the Red Cross. n.p.: Hodder and Stoughton, 1939. 91-101. Rpt. in Harper’s Bazaar 2737 (May 1940). Also rpt. as “Escort” in Argosy (October 1940): 3-16; in Magpie, the Complete Story Magazine 1.7 (October 1951): 3-18; and in The Rendezvous and Other Stories, London: Virago, 2005. 156-174.

25Happy Christmas, New York: Doubleday, Doran & Co, 1940; London: Todd, 1943. Also rpt. in The Fireside Book of Christmas Stories. Indianapolis and New York: Bobbs-Merrill, 1945. 459-468.

Later Stories Originally Published in Collected Volumes (42)

26The Apple Tree: a Short Novel and Several Long Stories, London: Gollancz, 1952. Contains six stories: “The Apple Tree”, “The Birds”, “Monte Verità”, “The Little Photographer”, “Kiss Me Again, Stranger”, and “The Old Man.”

27Kiss Me Again, Stranger: a Collection of Eight Stories Long and Short, Garden City, NY: Doubleday, 1953. Contains two new stories on top of the six in the British ed. of The Apple Tree: “Split Second”, and “No Motive.”

28Early Stories, London: Todd, 1954 (no illustrations); London: Todd, 1955 (with illustrations). Contains eighteen stories: “Panic”, “La Sainte Vierge”, “A Difference in Temperament”, “And Now to God the Father”, “Adieu Sagesse”, “Frustration”, “Piccadilly”, “Tame Cat”, “Mazie”, “The Supreme Artist”, “Angels and Archangels”, “Indiscretion”, “Fairy Tale”, “The Closing Door”, “The Lover”, “Leading Lady”, “Nothing Hurts for Long”, and “Week-end”.

29The Breaking Point, London: Gollancz, 1959. Contains eight stories: “The Menace”, “The Blue Lenses”, “Ganymede”, “The Alibi”, “The Pool”, “The Lordly Ones”, “The Archduchess”, and “The Chamois”.

30The Breaking Point, Garden City, NY: Doubleday, 1959. Contains one new story on top of the eight in the British ed.: “The Limpet”, later reproduced in The Doll: Short Stories, London: Virago, 2011.

31Not After Midnight: Five Long Stories, London: Gollancz, 1971. Contains five new stories: “Not After Midnight”, “A Border-Line Case”, “The Way of the Cross”, “The Breakthrough”, and “Don’t Look Now”.

32The Rendezvous and Other Stories, London: Gollancz, 1971. Contains one new story, “The Rendezvous”, and the hard-to-find “Escort”, on top of twelve easily available stories.

33The Rebecca Notebook and Other Memories, Garden City, NY: Doubleday, 1980; London: Gollancz, 1981. Contains “East Wind”, on top of “The Rendezvous” and ten other previously published stories.

Inspirational Wartime Stories (11)

34Come Wind, Come Weather, London: Heinemann, August 1940 (1st ed.) and November 1940 (2nd ed.); New York: Doubleday, 1941. The first UK ed. contains an introduction, ten stories (“The Admiralty Regrets…”, “George and Jimmy”, “Over the Ration Books”, “A Nation’s Strength”, “A Miner’s Tale”, “’Physician, Heal Thyself’”, “Spitfire Megan”, “The Revolutionary”, “London: 1940?”, “Mrs. Hill and the Soldiers”), and an epilogue. The 2nd UK ed. adds an eleventh story (“In a London Air-Raid Shelter”) while the US ed. opens with “A Word to America”.

Biographies and Autobiographies by Daphne Du Maurier (7)

35Gerald: a Portrait, London: Gollancz, 1934.

36The Du Mauriers, London: Gollancz, 1937.

37The Young George Du Maurier: a Selection of his Letters, 1860-1867, London: Peter Davies, 1951.

38The Infernal World of Branwell Brontë, London: Gollancz, 1961.

39Golden Lads: Sir Francis Bacon, Anthony Bacon and their Friends, London: Gollancz, 1975.

40The Winding Stair: Francis Bacon, His Rise and Fall, London: Gollancz, 1976.

41Growing Pains: the Shaping of a Writer [Myself When Young in the US ed.], London: Gollancz, 1977.

Plays by Daphne Du Maurier (3)

42Rebecca, London: Gollancz, 1940.

43The Years Between, London: Gollancz, 1945.

44September Tide, London: Gollancz, 1949.

Memoirs, Memories, and Letters by Daphne Du Maurier

45Vanishing Cornwall, photographs by Christian Browning, Garden City, NY: Doubleday, 1966; London: Gollancz, 1967.

46The Rebecca Notebook and Other Memories, Garden City, NY: Doubleday, 1980; London: Gollancz, 1981. Besides three poems, contains “The Rebecca Notebook”, “The Rebecca Epilogue”, “The House of Secrets”, “The Young George Du Maurier”, “The Matinee Idol”, “Sylvia’s Boys,” “My Name in Lights”, “Romantic Love”, “This I Believe”, “Death and Widowhood”, “Moving House”, “A Winter’s Afternoon, Kilmarth”, and “Sunday”.

47Daphne Du Maurier–Enchanted Cornwall: Her Pictorial Memoir, Harmondsworth: Michael Joseph/Pilot, 1989.

48MALET Oriel (ed.), Daphne Du Maurier: Letters from Menabilly, London: Weidenfeld & Nicolson, 1992.

Daphne Du Maurier Archives

49The main archive is housed in the Special Collections of the University of Exeter.

50The library holds the following papers relating to Daphne Du Maurier and her family: EUL MS 144, 206, 207, 276, 301, 307, 341, 342, 346, 351, 354, 359, 363, 400.

51Other Daphne Du Maurier papers, particularly her letters, are held at various repositories, including:

52British Library Department of Manuscripts: Phyllis Bottome Papers. Correspondence with Daphne Du Maurier; 1955-1964, n.d. Partly typewritten and signed. Vol. XXX. (ff. 201). 2. ff. 34-53.

53Cambridge University Library, Department of Manuscripts and University Archives: Daphne Du Maurier, novelist: letters to Régis Bouis 1957-68. Add 9395.

54Manchester University (John Rylands Library): Basil Dean Papers. Correspondence with Basil Dean (1948-49). 1/1/654-737: D.

55Princeton University Library Manuscripts Division, USA: Ellen McCarter Doubleday Papers, 1930s-1978, letters from Daphne Du Maurier to Ellen Doubleday. C0747.

56University of Warwick (Modern Records Centre): Papers of Sir Victor Gollancz (1893-1967), publisher and humanitarian campaigner. MS 157.

57West Yorkshire Archive Service: Notebooks on life of Branwell Brontë (1970s-80). West Yorkshire Archive Service, Bradford. 26D93.

Secondary Sources


58AUERBACH Nina, Daphne Du Maurier: Haunted Heiress, Philadelphia: U of Pennsylvania P, 2000.

59BOURGET Jean-Loup, Rebecca d’Alfred Hitchcock, Paris: Vendémiaire, 2017.

60DOE Helen, Jane Slade of Polruan, Truro: Truran, 2002.

61GOODMAN Gemma, Cornwall: an Alternative Construction of Place, Ph.D. Dissertation, U of Warwick, 2010.

62HABIBI Helena, “Restless Birds:” Avian Encounters in the Fiction of the Brontës and Daphne Du Maurier, Ph.D. Dissertation, Durham U, 2020.

63HALL Anne, “L’ascendance anglaise de Daphne Du Maurier”, in Lionel Royer (ed.), L’ascendance française et anglaise de Daphne Du Maurier, Saint-Christophe-sur-le-Nais: Histoire et Patrimoine, 2007, 15-27.

64HALL Anne, “Daphne Du Maurier et Saint-Christophe”, in Lionel Royer (ed.), Saint-Christophe-sur-le-Nais, un Beau Village de Touraine, Saint-Christophe-sur-le-Nais: Histoire et Patrimoine, 2011, n.p.

65HARRIS Martin, The Official Guide to Daphne Du Maurier in Cornwall, Paignton: Creative Media, 2011.

66HEELEY Melanie Jane, Resurrection, Renaissance, Rebirth: Religion, Psychology and Politics in the Life and Works of Daphne Du Maurier, Ph.D. Dissertation, Loughborough U, 2007, rev. 2019, <​articles/​Resurrection_renaissance_rebirth_religion_psychology_and_politics_in_the_life_and_works_of_Daphne_du_Maurier/​9326801>, accessed on 10 June 2021.

67HOPPEN Anne, Literary Places and Tourism: a Study of Visitors’ Motivations at the Daphne Du Maurier Festival of Arts & Literature, Dissertation submitted in partial completion of the award of MSc Tourism Management and Marketing, Bournemouth U, 2011.

68HORNER Avril & Sue ZLOSNIK, Daphne Du Maurier: Writing, Identity and the Gothic Imagination, Basingstoke: Macmillan, 1998.

69KELLY Richard, Daphne Du Maurier, Boston: Twayne Publishers, 1987.

70KITTOW Sue, Walks in the Footsteps of Daphne Du Maurier, Ammanford: Sigma Leisure, 2018.

71LIGHT Alison, Forever England: Femininity, Literature and Conservatism between the Wars, Oxon: Routledge, 1991.

72PAGLIA Camille, The Birds, BFI Film Classics, London: British Film Institute, 1998.

73PETERSEN Teresa, Daphne Du Maurier: Looking Inward, London: Austin Macauley, 2017.

74PRACHA Setara, A Pathology of Desire: the Dismembered Self in the Short Stories of Daphne Du Maurier, Ph.D. Dissertation, U of Buckingham, 2016.

75RADWAY Janice, Reading the Romance: Women, Patriarchy and Popular Literature, Chapel Hill and London: U of North Carolina P, 1984.

76WESTLAND Ella, Cornwall: the Cultural Construction of Place, Penzance: Patten P, 1997.

77WESTLAND Ella, Reading Daphne: a Guide to the Writing of Daphne Du Maurier for Readers and Book Groups, Truro: Truran, 2007.

78WHITE Patricia, Rebecca, BFI Film Classics, London: British Film Institute, 2021.

Collections of Critical Essays

79CLOAREC Nicole, Anne HALL & Xavier LACHAZETTE (eds.), The Enduring Appeal of Daphne Du Maurier’s Fiction – New Critical Perspectives, Revue LISA/LISA e-journal, vol. 20, no. 52, 2021. Contains an introduction by N. Cloarec, A. Hall and X. Lachazette; nine articles, by X. Lachazette (“’Other Books Like Rebecca? Are There Any?’: The Singular Fate of a Novel”, Ch. 1), J.-L. Bourget (“Enter Sir Alfred, or Hitchcock’s Three Du Mauriers”, Ch. 2), M. Hain (“Looking for ’I’: Casting the Unnamed Heroine in Alfred Hitchcock and David O. Selznick’s Adaptation of Rebecca”, Ch. 3), A. Parey (“On the Afterlives of Daphne Du Maurier’s Rebecca: Spinoffs and Transfictions”, Ch. 4), G. Wisker (“Undermining the Everyday: Daphne Du Maurier’s Gothic Horror”, Ch. 5), N. Cloarec (“Gender and Generic Clashes in The Years Between (Compton Bennett, 1946)”, Ch. 6), H. Habibi (“’Soaring Towards the Sun’: The Icarus Complex in Daphne Du Maurier’s The Flight of the Falcon”, Ch. 7), E. Leung (“The Beginning of the End: the Prologue and Epilogues of Hungry Hill and The Glass-Blowers”, Ch. 8), and E. Westland (“Rule Britannia, Brexit and Cornish Identity”, Ch. 9); and a full-length critical bibliography by X. Lachazette, <​lisa/​13277>, accessed 21 November 2021.

80MUNFORD Rebecca & Helen TAYLOR (eds.), Daphne Du Maurier, Women, a Cultural Review, vol. 20, no. 1, Oxon: Routledge, 2009. Contains articles by G. Carpenter (“Review of Justine Picardie’s Daphne”, 89-96), H. Doe (“’I too would find my ship’: Daphne Du Maurier’s Passion for the Sea”, 74-88), M. J. Heeley (“’Greece as Inscape’ in Daphne Du Maurier’s The Flight of the Falcon”, 42-56), M. E. Mitchell (“’Beautiful Creatures’: The Ethics of Female Beauty in Daphne Du Maurier’s Fiction”, 25-41), R. Munford and H. Taylor (“Introduction”, 1-8), C. Pittard (“’We are seeing the past through the wrong end of the telescope’: Time, Space and Psychogeography in Castle Dor”, 57-73), S. Zlosnik and A. Horner (“Myself When Others: Daphne Du Maurier and the Double Dialogue with ’D’”, 9-24).

81TAYLOR Helen (ed.), The Daphne Du Maurier Companion, London: Virago, 2007. Contains articles by N. Auerbach (“Tales of Awe and Arousal: Animals Invade”, 233-241), S. Beauman (“Rebecca”, 47-60), C. Berry and J. Gardner (“Who I Am: Adventures in the Du Maurier Family Archive”, 105-113), M. Di Battista (“Daphne Du Maurier and Alfred Hitchcock”, 320-329), M. Forster (“Gerald: a Portrait”, 249-253), A. Fraser (“Rebecca’s Story, with an epilogue by Daphne Du Maurier”, 92-101), H. Hanson (“’Last Night I Dreamt I Read Rebecca Again’: Reading, Watching and Engaging with Rebecca in Fiction and Film”, 330-340), M. Heeley (“Christianity Versus Paganism: Daphne Du Maurier’s Divided Mind”, 122-132), A. Horner and S. Zlosnik (“Glimpses of the Dark Side”, 242-248), M. Jancovich (“Rebecca’s Ghost: Horror, the Gothic and the Du Maurier Film Adaptations”, 312-319), A. Light (“The Rebecca Notebook and Other Memories”, 61-67 and “Hitchcock’s Rebecca: a Woman’s Film?”, 295-304), R. Munford (“Spectres of Authorship: Daphne Du Maurier’s Gothic Legacy”, 68-74), H. Taylor (“Rebecca’s Afterlife: Sequels and Other Echoes”, 75-91), D. Thomson (“Du Maurier, Hitchcock and Holding an Audience”, 305-311), M. Wandor (“Drama in Daphne Du Maurier: Spirit and Letter”, 341-347), E. Westland (“The View From Kilmarth: Daphne Du Maurier’s Cornwall”, 114-121).

Individual Critical Essays

82ABI-EZZI Nathalie, “Daphne Du Maurier”, The Double in the Fiction of R.L. Stevenson, Wilkie Collins and Daphne Du Maurier, Oxford: Peter Lang, 2003, 199-276.

83ALLEN Richard, “Daphne Du Maurier and Alfred Hitchcock”, in Robert Stam & Alessandra Raengo (eds.), A Companion to Literature and Film, Malden (Mass.): Wiley-Blackwell, 2007, 298-325.

84ARIAS Rosario, “Personal Trauma, Romance and Ghostly Traces in Justine Picardie’s Daphne”, in Jean-Michel Ganteau & Susana Onega (eds.), Trauma and Romance in Contemporary British Literature, New York and Oxon: Routledge, 2013, 51-67.

85ARMSTRONG Dianne, “The Inverse Gothic Invasion Motif in Daphne Du Maurier’s Jamaica Inn: the National Body and Smuggling as Disease”, Women’s Studies: an Inter-Disciplinary Journal, vol. 38, no.1, 2008, 23-42.

86AUERBACH Nina, “Daphne Du Maurier”, in George Stade & Carol Howard (eds.), British Writers Series, Supplement III, New York: Charles Scribner’s Sons, 1996, 133-149.

87AUFFRET-BOUCE Hélène, “Rebecca ou ’le péril en la demeure’”, Caliban, no. 33, 1996, 93-100.

88AUSTIN Andrea, “Details: Hitchcock Reads Rebecca”, in Sally Goade (ed.), Empowerment versus Oppression: Twenty-First Century Views of Popular Romance Novels, Newcastle upon Tyne: Cambridge Scholars, 2007, 65-80.

89BAXTER Beverley, “It Might Have Been So Good: The Years Between—Daphne Du Maurier”, First Nights and Noises Off, a Selection of Dramatic Criticisms, London: Hutchinson, 1949, 111-114.

90BELLANCA Mary Ellen, “The Monstrosity of Predation in Daphne Du Maurier’s ’The Birds’”, Interdisciplinary Studies in Literature and Environment, vol. 18, no. 1, 2011, 26-46.

91BERGLUND Birgitta, “Mrs. Radcliffe and Rebecca”, Studia Neophilologica, no. 68, 1996, 73-81.

92BERTRANDIAS Bernadette, “Daphne Du Maurier’s Transformation of Jane Eyre in Rebecca”, in Armelle Parey (ed.), Re-Writing Jane Eyre. Revue LISA/LISA e-journal, vol. 4, no. 4, 2006, 22-31, <​lisa/​1774>, accessed on 10 June 2021.

93BIRKS Harold, “Jamaica Inn: the Creation of Meanings on a Tourist Site”, in Ella Westland (ed.), The Cultural Construction of Place, Penzance: Patten P, 1997, 137-142.

94BISHOP Kyle William, “The Threat of the Gothic Patriarchy in Alfred Hitchcock’s The Birds”, Rocky Mountain Review, vol. 65, no. 2, Fall 2011, 135-147.

95BLACKFORD Holly, “Haunted Housekeeping: Fatal Attractions of Servant and Mistress in Twentieth-Century Female Gothic Literature”, LIT (Literature Interpretation Theory), vol. 16, no. 2, 2005, 233-261.

96BOLD Valentina & Pauline GREENHILL, “Frenchman’s Creek and the Female Sailor: Transgendering Daphne Du Maurier”, Western Folklore, vol. 71, no. 1, Winter 2012, 47-67.

97BRAZZELLI Nicoletta, “Manderley in Rebecca by Daphne Du Maurier: a Haunted House”, ACME (Annali della Facoltà di Studi Umanistici dell’Università degli Studi di Milano), vol. 73, no. 2, 2020, 141-160, <​index.php/​ACME/​article/​view/​15689/​439> [PDF], accessed on 14 October 2021.

98BROMLEY Roger, “The Gentry, Bourgeois Hegemony and Popular Fiction: Rebecca and Rogue Male”, in Peter Humm, Paul Stigant & Peter Widdowson (eds.), Popular Fictions: Essays in Literature and History, London and New York: Methuen, 1986, 151-172.

99BROWNING Christian, “Daphne Du Maurier and Her Love of Cornwall”, in ’Wood nee Hughes’ (ed.), Cream of Cornish Writers, Lostwithiel: Domain Publishing, 1994, 11-15.

100BUNTING Kirsty, “’The imprint of what-has-been’: Arthur Quiller-Couch, Daphne Du Maurier and the Writing of Castle Dor”, Cornish Studies: Journal of the Institute of Cornish Studies, vol. 21, no. 1, 2013, 260-275.

101BUSBY Graham & Zoë HAMBLY, “Literary Tourism and the Daphne Du Maurier Festival”, Cornish Studies: Journal of the Institute of Cornish Studies, no. 8, 2000, 197-212.

102BUSBY Graham & Patrick LAVIOLETTE, “Narratives in the Net: Fiction and Cornish Tourism”, Cornish Studies: Journal of the Institute of Cornish Studies, vol. 14, no. 1, 2006, 142-163.

103CARCY Rebecca A., “J.M. Barrie and the Du Mauriers”, Mythlore, vol. 15, no. 4, Summer 1989, 40-42.

104CHRISTENSEN Peter G., “Daphne Du Maurier and Arthur Quiller-Couch’s Castle Dor: History, Romance and Recurrence”, Tristania: a Journal Devoted to Tristan Studies, no. 22, 2003, 67-84.

105CLOAREC Nicole, “Alter Egos and Alternatives in The Scapegoat: Daphne Du Maurier’s Novel, Robert Hamer’s and Charles Sturridge’s Adaptations”, in Armelle Parey & Shannon Wells-Lassagne (eds.), Adapting Endings from Book to Screen: Last Pages, Last Shots, Oxon: Routledge, 2020, 127-139.

106CODACCIONI Marie-José, “L’étrangère dans le temps (’Split Second’ de Daphne Du Maurier)”, in Nadia J. Rigaud (ed.), L’étranger dans la littérature et la pensée anglaises, Aix-en-Provence: U de Provence, 1989, 237-245.

107COUSINS A.D., “Daphne Du Maurier’s ’Ganymede’”, The Explicator, vol. 71, no. 3, 2013, 218-220.

108DAVIES Rosamund, “Don’t Look Now: the Screenwork as Palimpsest”, Journal of Screenwriting, vol. 4, no. 2, 2013, 163-177.

109DENISOFF Dennis, “Where the Boys Are: Daphne Du Maurier and the Art of Unremarkability”, Sexual Visibility from Literature to Film, 1850-1950, Basingstoke: Palgrave Macmillan, 2004, 121-153.

110D’MONTE Rebecca, “Origin and Ownership: Stage, Film and Television Adaptations of Daphne Du Maurier’s Rebecca”, in Rachel Carroll (ed.), Adaptation in Contemporary Culture: Textual Infidelities, London: Continuum, 2009, 163-173.

111DODD Philip, “Gender and Cornwall: Charles Kingsley to Daphne Du Maurier”, in K.D.M. Snell (ed.), The Regional Novel in Britain and Ireland, 1800-1990, Cambridge: CUP, 1998. 119-135.

112DODGE ROBBINS Dorothy, “R is for Rebecca: a Consonant and Consummate Haunting”, Names: a Journal of Onomastics, vol. 64, no. 2, June 2016, 69-77.

113DOLAN Josephine, “Anchorage and Play in Frenchman’s Creek: Children, Gender, and National Identity”, Yearbook of English Studies, no. 32, 2002, 95-109.

114DRAKE Robert Y. Jr., “Manderley Revisited”, The Mississippi Quarterly, vol. 12, no. 2, Spring 1959, 86-91.

115DRIVER Olive, “Daphne Du Maurier’s Golden Lads and the Plays of Shakespeare”, Baconiana, vol. 76, no. 193, 1996, 7-12.

116EDWARDS Kyle Dawson, “Brand-Name Literature: Film Adaptation and Selznick International Pictures’ Rebecca (1940)”, Cinema Journal, vol. 45, no. 3, Spring 2006, 32-58.

117FAUNCH Christine, “Archives of Written Lives: a Case Study of Daphne Du Maurier and Her Biographer, Margaret Forster”, British Records Association, vol. 35, no. 122, April 2010, 28-34.

118FORSTER Margaret, “Queen of Menacing Romance. Obituary”, Sunday Times, 23 April 1989, G8.

119FORSTER Margaret, “Rebecca’s Ghost”, in Mark Bostridge (ed.), Lives for Sale: Biographers’ Tales, London: Continuum, 2004, 52-56.

120FRANK Bernhard, “Du Maurier’s Rebecca”, The Explicator, vol. 63, no. 4, 2005, 239-241.

121GILES 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 and History: a New Journal for the Humanities, vol. 12, no. 2, Autumn 2003, 36-50.

122GOMEZ-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”, A Successful Novel Must Be in Want of a Sequel: Second Takes on Classics from the Scarlet Letter to Rebecca, Jefferson: McFarland, 2018, 139-152.

123GOODMAN Gemma, “Women at Sea: Locating and Escaping Gender on the Cornish Coast in The Loving Spirit and Frenchman’s Creek”, in Charlotte Mathieson (ed.), Sea Narratives: Cultural Responses to the Sea, 1600-Present, Basingstoke: Palgrave Macmillan, 2016, 171-193.

124GOTT Patricia, “’There is always the other side…’: The ’Other Women’ of Charlotte Brontë’s Jane Eyre”, Revue LISA/LISA e-journal, vol. 4, no. 4, 2006, 49-63, <​lisa/​1809>, accessed on 10 June 2021.

125HABERMANN Ina, “Daphne Du Maurier: (De-)Familiarizing the Nation”, Myth, Memory and the Middlebrow: Priestley, Du Maurier and the Symbolic Form of Englishness, Basingstoke: Palgrave Macmillan, 2010, 147-210.

126HALL Anne, “Le ’nouveau départ’ de George Du Maurier”, in Marielle Seichepine (ed.), Le Départ à l’Epoque Victorienne, Actes de la journée d’études tenue à Metz le 22 mars 2002, Centre d’études de la traduction de l’Université de Metz, no. 4, 2002, 47-57.

127HALL Anne, “Peter Ibbetson and Du Maurier’s ’French Voice’”, in Simon Cooke & Paul Goldman (eds.), George Du Maurier: Illustrator, Author, Critic. Beyond Svengali, London: Routledge, 2019, 103-114.

128HALL Lucy, “Men of the House: Oppressive Husbands and Displaced Wives in Interwar, War and Postwar Women’s Fiction (Daphne Du Maurier, Dorothy Whipple, Elizabeth Taylor)”, in Sue Kennedy & Jane Thomas (eds.), British Women’s Writing, 1930 to 1960: Between the Waves, Liverpool: Liverpool UP, 2020, 161-178.

129HALLETT Nicky, “Did Mrs Danvers Warm Rebecca’s Pearls? Significant Exchanges and the Extension of Lesbian Space and Time in Literature”, Feminist Review, no. 74, July 2003, 35-49.

130HARBORD Janet, “Between Identification and Desire: Rereading Rebecca”, Feminist Review, no. 53, July 1996, 95-107.

131HARRINGTON Louise, “Imperialism, Class, and the English Country House in Howards End and Rebecca”, English, no. 56, Autumn 2007, 283-298.

132HODGES Sheila, “Editing Daphne Du Maurier”, Women’s History, vol. 11, no. 2, 2002, 293-307.

133HOLLINGER Karen, “The Female Oedipal Drama of Rebecca from Novel to Film”, Quarterly Review of Film and Video, vol. 14, no. 4, 1993, 17-30.

134HORNER Avril & Sue ZLOSNIK, “A ’Disembodied Spirit’: the Letters and Fiction of Daphne Du Maurier”, Prose Studies, vol. 19, no. 2, 1996, 186-199.

135HORNER Avril & Sue ZLOSNIK, “Daphne Du Maurier and Gothic Signatures: Rebecca as Vamp(ire)”, in Avril Horner & Angela Keane (eds.), Body Matters: Feminism, Textuality, Corporeality, Manchester: Manchester UP, 2000, 209-222.

136HORNER Avril & Sue ZLOSNIK, “Daphne Du Maurier: Sex and Death the Italian Way”, in Michael Newton & Evert Jan van Leeuwen (eds.), Haunted Europe: Continental Connections in English-Language Gothic Writing, Film and New Media, New York and London: Routledge, 2020, 107-122.

137HORNER Avril & Sue ZLOSNIK, “Daphne Du Maurier: the French Connection”, in Richard Todd & Luisa Flora (eds.), Theme Parks, Rainforests and Sprouting Wastelands: European Essays on Theory and Performance in Contemporary British Fiction, Amsterdam: Rodopi, 2000, 173-184.

138HORNER Avril & Sue ZLOSNIK, “Dame Daphne Du Maurier”, in Robert Clark (ed.), The Literary Encyclopedia, Norwich: The Literary Dictionary Co., 2001, n.p., <​php/​speople.php?rec=true&UID=1325>, accessed on 10 June 2021.

139HORNER Avril & Sue ZLOSNIK, “Deaths in Venice: Daphne Du Maurier’s ’Don’t Look Now’”, Working Papers in Literary and Cultural Studies, no. 21, U of Salford: ESRI (European Studies Research Institute), September 1995.

140HORNER Avril & Sue ZLOSNIK, “’Extremely Valuable Property’: The Marketing of Rebecca”, in Judy Simons & Kate Fullbrook (eds.), Writing: a Woman’s Business, Manchester and New York: Manchester UP, 1998, 48-65.

141HORNER Avril & Sue ZLOSNIK, “’I For This and This For Me’: Daphne Du Maurier and ’Regional’ Writing”, Working Papers in Literary and Cultural Studies, no. 13, U of Salford: ESRI (European Studies Research Institute), October 1994.

142HORNER Avril & Sue ZLOSNIK, “Keeping It in the Family: Incest and the Female Gothic Plot in Du Maurier and Murdoch”, in Diana Wallace & Andrew Smith (eds.), The Female Gothic: New Directions, Basingstoke: Palgrave Macmillan, 2009, 115-132.

143HORNER Avril & Sue ZLOSNIK, “’Those Curious Sloping Letters’: Reading the Writing of Du Maurier’s Rebecca”, Working Papers in Literary and Cultural Studies, no. 5, U of Salford: ESRI (European Studies Research Institute), January 1994.

144HOVEY Jaime, “In Rebecca’s Shoes: Lesbian Fetishism in Daphne Du Maurier’s Rebecca”, in Shari Benstock & Suzanne Ferriss (eds.), Footnotes: On Shoes, New Brunswick, New Jersey and London: Rutgers UP, 2001, 156-176.

145HUGHES Helen, “A Silent, Desolate Country: Images of Cornwall in Daphne Du Maurier’s Jamaica Inn”, in Ella Westland (ed.), Cornwall: the Cultural Construction of Place, Penzance: Patten P, 1997, 68-75.

146ISMAEL Zaid Ibrahim & Sabah Atallah KHALIFA ALI, “Women Pacifist Voices: the Anti-War Fiction of Elizabeth Bowen and Daphne Du Maurier”, Surra Man Ra’a, vol. 16, no. 63, May-June 2020, 1039-1054.

147JAGOSE Annamarie, “First Wife, Second Wife: Sexual Perversion and the Problem of Precedence in Rebecca”, Inconsequence: Lesbian Representation and the Logic of Sexual Sequence, Ithaca and London: Cornell UP, 2002, 101-121.

148JOANNOU Maroula, “Englishness as History”, Women’s Writing, Englishness and National and Cultural Identity: the Mobile Woman and the Migrant Voice, 1938-1962, London: Palgrave Macmillan, 2012, 64-80.

149KENT Alan M., “Cornish Nationalism and Women: from Daphne Du Maurier to Helen Charles”, “Wives, Mothers and Sisters”: Feminism, Literature and Women Writers in Cornwall, Penzance: Patten P/Hypatia Trust, 1998, 35-41.

150KIM Youngjoo, “Romance with Daphne Du Maurier: Revisiting the Ruins of Englishness in Rebecca”, Korean Society for Feminist Studies in English Literature, vol. 19, no. 3, 2011, 5-44.

151KORKUT-NAYKI Nil, “The Supernatural and the Functions of the Gothic in Daphne Du Maurier’s ’The Birds’ and ’Don’t Look Now’”, in Katarzyna Wieckowska (ed.), The Gothic: Studies in History, Identity and Space, Freeland: Inter-Disciplinary P, 2012, 127-133.

152KOROSI Marta, “’Disembodied Spirits’ Revisiting Manderley: The Construction of Female Subjectivity in Du Maurier’s Rebecca”, AnaChronisT, vol. 8, 2002, 164-179, <​534570/​_Disembodied_Spirits_Revisiting_Manderley_The_Construction_of_Female_Subjectivity_in_du_Mauriers_Rebecca>, accessed on 10 June 2021.

153LACHAZETTE Xavier, “A Desperate Attempt at Conflict Resolution: Daphne Du Maurier, Moral Re-Armament, and World War II”, in Eliane Elmaleh & Xavier Lachazette (eds.), Représentations de conflits en littérature et dans les arts visuels, Quaina, no. 10, July 2020: n.p., <​revues/​numero-10-representations-de-conflits-en-litterature-et-dans-les-arts-visuels/​>, accessed on 10 June 2021.

154LACHAZETTE Xavier, “L’humiliation du pèlerin dans ’The Way of the Cross’ de Daphne Du Maurier”, in Cyril Selzner, Rémy Bethmont & Yannick Deschamps (eds.), Strangers and Pilgrims: Métamorphoses Spatiales du Religieux dans les Mondes Anglophones (XVIIe- XXIe Siècles), Paris: Atlande, 2021, 155-168.

155LACHAZETTE Xavier, “Jardin et connaissance dans les nouvelles ’The Pool’ et ’The Apple Tree’ de Daphne Du Maurier”, in Gelareh Yvard, Jean-Michel Yvard & Emmanuel Vernadakis, Le Jardin et ses Mythes aux États-Unis et en Grande-Bretagne, Rennes: PUR, 2017, 217-229.

156LACHAZETTE Xavier, “Using Animal Retribution Fiction for the Promotion of Environmental Awareness: the Case for a Reinterpretation of Daphne Du Maurier’s ’The Birds’”, in Sylvie Nail & Camille Manfredi (eds.), Understanding, Acknowledging, Representing Environmental Emergency, e-Rea, Revue électronique d’études sur le monde anglophone, vol. 18, no. 2, June 2021, n.p., <​erea/​12148>, accessed on 15 June 2021

157LACHAZETTE Xavier, “Vanishing Cornwall de Daphne Du Maurier et Kits Browning: la Cornouailles comme Engagement et comme Repli”, in Delphine Letort & Antoine Fraile (eds.), La Culture de l’Engagement au Cinéma, Rennes: PUR, 2015, 217-229.

158LIGHT Alison, “Daphne Du Maurier’s Romance with the Past”, Forever England: Femininity, Literature and Conservatism between the Wars, Oxon: Routledge, 1991, 156-207.

159LIGHT Alison, “Rebecca”, Sight and Sound, vol. 6, no. 5, 1996, 28-31.

160LIGHT Alison, “’Returning to Manderley’: Romance Fiction, Female Sexuality and Class”, Feminist Review, vol. 16, no. 1, 1984, 7-25; in Terry Lovell (ed.), British Feminist Thought: a Reader, Oxford (UK) and Cambridge (USA): Blackwell, 1990, 325-344.

161LINKIN Harriet Kramer, “The Deceptively Strategic Narrator of Rebecca”, Journal of Narrative Theory, vol. 46, no. 2, 2016, 223-253.

162LLOYD SMITH Allan, “The Phantoms of Drood and Rebecca: the Uncanny Reencountered through Abraham and Torok’s “Cryptonomy”, Poetics Today, vol. 13, no. 2, Summer 1992, 285-308.

163LOVE Heather, “Living (And Dying) in the Other”, Grey Room, no. 24, Summer 2006, 16-25.

164MARCHBANKS Paul, “Jane Air: the Heroine as Caged Bird in Charlotte Brontë’s Jane Eyre and Alfred Hitchcock’s Rebecca”, Revue LISA/LISA e-journal, vol. 4, no. 4, 2006, 118-130, <​lisa/​1922>, accessed on 10 June 2021.

165MARSHALL Ann Herdon, “Act Natural: Dubious Proposals in The Mill on the Floss, The Pastor’s Wife, Vera and Rebecca”, Women, a Cultural Review, vol. 28, nos. 1-2, 2017, 115-129.

166MAUREL Sylvie, “’I am another woman’: Tropes and the Metamorphosis of Gender Roles in Rebecca by Daphne Du Maurier”, Etudes britanniques contemporaines, no. 25, 2003, 103-114.

167MAUREL Sylvie, “Romantic Ghosting in Daphne Du Maurier’s Rebecca”, Anglophonia: French Journal of English Studies, no. 15, 2004, 131-140.

168MIQUEL-BALDELLOU Marta, “Caught Up in between Doublets: Neo-Victorian (Trans)Positions of Victorian Femininities and Masculinities in Jane Eyre and Rebecca”, Revue LISA/LISA e-journal, vol. 7, no. 4, 2009, 87-104, <​lisa/​846>, accessed on 10 June 2021.

169MIQUEL-BALDELLOU Marta, “’I wanted to be old’: Gender and Ageing in Daphne Du Maurier’s Rebecca and Susan Hill’s Mrs de Winter”, 1616 Anuario de Literatura Comparada, no. 8, January 2018, 87-105.

170MIQUEL-BALDELLOU Marta, “The Myth of Apollo and Daphne as a Metaphor of Personal Crisis in Daphne Du Maurier’s ’The Apple’”, in José Manuel Losada & Antonella Lipscomb, Myths in Crisis: the Crisis of Myth, Cambridge: Cambridge Scholars Publishing, 2015, 120-128.

171MIQUEL-BALDELLOU Marta, “’This is the nineteenth century, you know’: Traces of the Victorian Gothic Romance in Daphne Du Maurier’s Jamaica Inn”, The Grove, Working Papers on English Studies, no. 20, January 2013, 81-97.

172MIQUEL-BALDELLOU Marta, “’The whole aspect of age is full of possibilities!’ Traces of Ageing, Memory, and Sexuality in Daphne Du Maurier’s ’Don’t Look Now’”, in Marta Cerezo Moreno & Nieves Pascual Soler (eds.), Traces of Ageing, Bielefeld: Verlag, 2016, 65-90.

173MITCHELL Donna, “Monstrous Femininity and Objectified Masculinity in Daphne Du Maurier’s ’The Doll’”, in Lizzie Harris McCormick, Jennifer Mitchell & Rebecca Soares (eds.), The Female Fantastic: Gendering the Supernatural in the 1890s and 1920s, New York: Routledge, 2019, 22-33.

174MODLESKI Tania, “ʻNever to Be Thirty-Six Years Oldʼ: Rebecca as Female Oedipal Drama”, Wide Angle, vol. 5, no. 1, 1982, 34-41.

175MURPHY Terence Patrick, “Opening the pathway: Plot management and the Pivotal Seventh Character in Daphne Du Maurier’s ’Don’t Look Now’”, Journal of Literary Semantics, vol. 37, no. 2, December 2008, 151-168.

176NIGRO Kathleen Butterly, “Rebecca as Desdemona: ’a maid that paragons description and wild fame’”, College Literature, vol. 27, no. 3, Fall 2000, 144-157.

177NUNGESSER 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 & Elke Mettinger-Schartmann (eds.), A Breath of Fresh Eyre: Intertextual and Intermedial Reworkings of Jane Eyre, Amsterdam: Rodopi, 2007, 209-226.

178PADDY David Ian, “Home Is Where the Dark Is: a Literary Geography of Daphne Du Maurier’s Disturbing Genres”, in David Punter & C. Bruna Mancini (eds.), Space(s) of the Fantastic: a 21st-Century Manifesto, London: Routledge, 2020, 96-114.

179PAREY 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, no. 17, 2016, 7-17.

180PETERSEN Teresa, “Daphne Du Maurier’s Rebecca: the Shadow and the Substance,” AUMLA: Journal of the Australasian Universities Modern Language Association, no. 112, November 2009, 53-66.

181PETERSEN Teresa, “Daphne Du Maurier and Incest: Biographical Recognition and Evasion”, AUMLA: Journal of the Australasian Universities Modern Language Association, Special issue, December 2007, 63-71.

182PETERSEN Teresa, “Daphne Du Maurier’s My Cousin Rachel: in the Looking Glass”, AUMLA: Journal of the Australasian Universities Modern Language Association, Special issue, December 2009, 167-176.

183PETERSEN Teresa, “Daphne Du Maurier’s Short Stories: Horror, the Macabre and the Bizarre”, AUMLA: Journal of the Australasian Universities Modern Language Association, no. 118, November 2012, 51-72.

184PONS Auba Llompart, “Patriarchal Hauntings: Re-reading Villainy and Gender in Daphne Du Maurier’s Rebecca”, Atlantis, vol. 35, no. 1, June 2013, 69-83.

185PRACHA Setara, “Apples and Pears: Symbolism and Influence in Daphne Du Maurier’s ’The Apple Tree’ and Katherine Mansfield’s ’Bliss’”, in Clare Hanson, Gerri Kimber & W. Todd Martin (eds.), Katherine Mansfield and Psychology, Edinburgh: Edinburgh UP, 2016, 172-186.

186PURVES Maria, “’Don’t Look Now’: Disguised Danger and Disabled Women in Daphne Du Maurier’s Macabre Tales”, in Ruth Bienstock Anolik (ed.), Demons of the Body and Mind: Essays in Disability in Gothic Literature, Jefferson: McFarland, 2010, 181-196.

187PYRHONEN Heta, “Bluebeard’s Accomplice: Rebecca as a Masochistic Fantasy”, Mosaic: a Journal for the Interdisciplinary Study of Literature, vol. 38, no. 3, September 2005, 149-165.

188RANCE Nicholas, “Not Like Men in Books, Murdering Women: Daphne Du Maurier and the Infernal World of Popular Fiction”, in Clive Bloom (ed.), Creepers: British Horror and Fantasy in the 20th Century, London: Pluto P, 1993, 86-98.

189REGINALD Robert, “Beware of the House: the Nature of Reality in Daphne Du Maurier’s Fantasy”, Xenograffiti: Essays on Fantastic Literature, I.O. Evans Studies in the Philosophy and Criticism of Literature, no. 33, December 1996, 24-26.

190REYNIER Christine, “The Outrageousness of Outrage: Daphne Du Maurier’s ’Monte Verità’”, Études britanniques contemporaines, no. 45, 2013, n.p., <​ebc/​683>, accessed on 10 June 2021.

191REYNIER Christine, “Beyond Cinema: Daphne Du Maurier’s Intermedial Experiments in ’The Little Photographer’ (1952)”, Short Fiction in Theory and Practice, vol. 8, no. 1, September 2018, 89-97.

192RICHTER Virginia, “Tourists Lost in Venice: Daphne Du Maurier’s ’Don’t Look Now’ and Ian McEwan’s The Comfort of Strangers”, in Manfred Pfister & Barbara Schaff (eds.), Venetian Views, Venetian Blinds: English Fantasies of Venice, Amsterdam: Rodopi, 1999, 181-194.

193SCHRAGE-FRÜH Michaela, “Blurring the Boundaries: Dreaming Children in Katherine Mansfield’s ’Sun and Moon’ and Daphne Du Maurier’s ’The Pool’”, Journal of the Short Story in English, no. 69, Autumn 2017, 15-36, <​jsse/​1849>, accessed on 10 June 2021.

194SCHRODER Gottfried, “Don’t Look Now: Daphne Du Maurier’s Story and Nicolas Roeg’s Film”, Literatur in Wissenschaft und Unterricht, vol. 20, no. 1, 1987, 232-245.

195SCHÜLTING Sabine, “’Dream Factories’: Hollywood and Venice in Nicolas Roeg’s Don’t Look Now”, in Manfred Pfister & Barbara Schaff (eds.), Venetian Views, Venetian Blinds: English Fantasies of Venice, Amsterdam: Rodopi, 1999, 195-212.

196SIMMONS Judy, “Rewriting the Love Story: the Reader as Writer in Daphne Du Maurier’s Rebecca”, in Lynne Pearce & Gina Wisker (eds.), Fatal Attractions: Re-Scripting Romance in Contemporary Literature and Film, London: Pluto P, 1998, 112-127.

197SIPIERE Dominique, “Le Vol des oiseaux : Statut et Interprétation de l’Espace chez Du Maurier et Hitchcock”, Licorne, no. 28, 1994, 231-248.

198SIVINSKI Stacy, “’An invention… that bottled up a memory, like scent’: Phantom Fragrances in Daphne Du Maurier’s Rebecca”, Journal of Gender Studies, vol. 29, no. 8, November 2020, 860-869.

199SOLES Carter, “’And No Birds Sing’: Discourses of Environmental Apocalypse in The Birds and Night of the Living Dead”, Interdisciplinary Studies in Literature and Environment, vol. 21, no. 3, Summer 2014, 526-537.

200TATAR Maria, “’Have You Ever Really Been Afraid?… of A Man?… of A House?… of Yourself?’: Charlotte Bronte’s Jane Eyre, Daphne Du Maurier’s Rebecca, and Modern Gothics”, Secrets beyond the Door: the Story of Bluebeard and His Wives, Princeton and Oxford: Princeton UP, 2006, 67-88.

201TEAHAN Sheila, “Untimely Returns: Shoring Fragments against Ruins in Daphne Du Maurier’s Rebecca”, in Mitsi Efterpi, Anna Despotopoulou, Stamatina Dimakopoulou & Emmanouil Aretoulakis (eds.), Ruins in the Literary and Cultural Imagination, Cham: Palgrave Macmillan, 2019, 93-110.

202TEMPLETON Wayne, “Daphne Du Maurier”, in George M. Johnson (ed.), British Novelists between the Wars, Detroit: Gale, 1998, 85-94.

203THERY Michèle, “Ni tout à fait la même, ni tout à fait une autre: Mrs de Winter de Susan Hill et Rebecca de Daphne Du Maurier”, Etudes britanniques contemporaines, no. 8, 1995, 13-36.

204THOMPSON Terry W., “Sourcing Arthur’s Last Stand in Du Maurier’s ’The Birds’”, ANQ: a Quarterly Journal of Short Articles, Notes and Reviews, vol. 23, no. 1, July 2010, 51-55.

205TURNER Katherine, “Daphne Du Maurier’s Mary Anne: Rewriting the Regency Romance as Feminist History”, U of Toronto Quarterly, vol. 86, no. 4, Fall 2017, 54-77.

206VARNAM Laura, “Coarseness, Power and Masculinity in Daphne Du Maurier’s The Infernal World of Branwell Brontë”, Brontë Studies, vol. 44, no. 1, January 2019, 109-122.

207VON DER LIPPE George B., “Death in Venice in Literature and Film: Six 20th-Century Versions”, Mosaic: a Journal for the Interdisciplinary Study of Literature, vol. 32, no. 1, March 1999, 35-54.

208WATSON Daphne, “Reader, I Married Him: the Novels of Daphne Du Maurier and Mary Stewart”, Their Own Worst Enemies: Women Writers of Women’s Fiction, London and Boulder: Pluto, 1995, 16-36.

209WATSON Nicola J., “Daphne Du Maurier, Rebecca”, in David Johnson (ed.), The Popular and the Canonical: Debating Twentieth-Century Literature, 1940-2000, London and New York: Routledge/Open U, 2005, 13-56.

210WESTLAND Ella, “Introduction” to Rule Britannia by Daphne Du Maurier, London: Virago, 2004, vii-xiv.

211WESTLAND Ella, “The Passionate Periphery: Cornwall and Romantic Fiction”, in Ian A. Bell (ed.), Peripheral Visions: Images of Nationhood in Contemporary British Fiction, Cardiff: U of Wales P, 1995, 153-172.

212WILSON Kristi, “Time, Space and Vision: Nicolas Roeg’s Don’t Look Now”, Screen, vol. 40, no. 3, Autumn 1999, 277-294.

213WINGS Mary, “Rebecca Redux: Tears on a Lesbian Pillow”, in Liz Gibbs (ed.), Daring to Dissent: Lesbian Culture from Margin to Mainstream, London: Cassell, 1994, 11-33.

214WISKER Gina, “Dangerous Borders: Daphne Du Maurier’s Rebecca: Shaking the Foundations of the Romance of Privilege, Partying and Place”, Journal of Gender Studies, vol. 12, no. 2, 2003, 83-97.

215WISKER Gina, “’Don’t Look Now’: the Compulsions and Revelations of Daphne Du Maurier’s Horror Writing”, Journal of Gender Studies, vol. 8, no. 1, 1999, 19-33.

216WISKER Gina, “Starting Your Journey in the Past, Speculating in Time and Place: Daphne Du Maurier’s The House on the Strand, ’Split Second’, and the Engaged Fiction of Time Travel”, Journal of the Fantastic in the Arts, vol. 24, no. 3, 2013, 467-482.

217WOLFREYS Julian, “Venice Imagined: the Invisible and Imaginary City, Or, ’Les Lieux de là’”, in Joan Fitzpatrick (ed.), The Idea of the City: Early-Modern, Modern and Post-Modern Locations and Communities, Newcastle upon Tyne: Cambridge Scholars, 2009, 93-107.

218WRIGHT Helen, “Character as Creative Citation: Daphne Du Maurier’s Rebecca and Elizabeth von Arnim’s Vera”, Notes and Queries, vol. 60, no. 2, 15 June 2013, 288-291.

219YANAL Robert J., “Rebecca’s Deceivers”, Philosophy and Literature no. 24, April 2000, 67-82.

Biographical Writings

220BROWNING Christian, “Vanishing Cornwall”, in Helen Taylor (ed.), The Daphne Du Maurier Companion, London: Virago, 2007, 18-21.

221COOK Judith, Daphne: a Portrait of Daphne Du Maurier, London: Bantam P, 1991.

222DE ROSNAY Tatiana, Manderley Forever: the Life of Daphne Du Maurier, trans. Sam Taylor, Crows Nest: Allen & Unwin, 2017.

223DUDGEON Piers, Captivated: J.M. Barrie, Daphne Du Maurier and the Dark Side of Neverland, London: Vintage, 2009.

224DU MAURIER Angela, It’s Only the Sister [1951], Truro: Truran, 2003.

225DU MAURIER Angela, Old Maids Remember, London: Peter Davies, 1966.

226DUNN Jane, Daphne Du Maurier and her Sisters: the Hidden Lives of Piffy, Bird and Bing, London: Harper Press, 2013.

227FORSTER Margaret, Daphne Du Maurier, London: Chatto & Windus, 1993.

228HALL Anne, The Du Mauriers Just As They Were, London: Unicorn, 2018.

229HALL Anne, Au Pays des Souffleurs de Verre: sur les Pas de Daphne Du Maurier, Vendôme: Cherche-Lune, 2010.

230KELLY Richard, Daphne Du Maurier, Boston: Twayne Publishers, 1987.

231LENG Flavia, Daphne Du Maurier: a Daughter’s Memoir, Edinburgh: Mainstream Publishing, 1994.

232MACASKILL Hilary, Daphne Du Maurier At Home, London: Frances Lincoln, 2013.

233ROWSE A.L., “Daphne Du Maurier: Fortune and Romance”, Friends and Contemporaries, London: Methuen, 1989, 261-286.

234SHALLCROSS Martyn, Daphne Du Maurier Country, Bodmin: Bossiney, 1987.

235SHALLCROSS Martyn, The Private World of Daphne Du Maurier, London: Robson, 1991.

236STANLEY Louis T., “Daphne Du Maurier”, People, Places and Pleasures, London: Macdonald, 1965, 236-237.

237TAYLOR Helen, “Daphne Du Maurier’s Children Talk about Their Mother”, in Helen Taylor (ed.), The Daphne Du Maurier Companion, London: Virago, 2007, 3-17.

238TAYLOR Helen, “Interview with Sheila Hodges, Daphne Du Maurier’s Editor, 1943-1981”, in Helen Taylor (ed.), The Daphne Du Maurier Companion, London: Virago, 2007, 22-24.

239WELCH Noël, “The Du Mauriers” and “Kilmarth: the Last Home of Daphne Du Maurier”, A Personal View: the Du Mauriers, Dod Procter, Bernard Leach and Barbara Hepworth, Axminster: Samphire, 2012, 1-20.

240WILLIAMS Michael, The Three Du Maurier Sisters: Daphne, Angela and Jeanne, Clifton-upon-Teme: Polperro Heritage P, 2012.

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Xavier Lachazette, « Daphne Du Maurier: a Critical Bibliography »Revue LISA/LISA e-journal [En ligne], vol. 19-n°52 | 2021, mis en ligne le 22 novembre 2021, consulté le 29 janvier 2023. URL : ; DOI :

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Xavier Lachazette

A member of his University’s research unit (3LAM) and an associate member of the University of Angers’ CIRPaLL (with a focus on short forms), Xavier Lachazette teaches 19th- and 20th-century English literature at Le Mans University. Besides being the coeditor of this issue and the convener of the first Daphne Du Maurier conference in France, he is currently coediting an issue devoted to Du Maurier’s short stories, to be published in Spring 2022 in the JSSE. He has already published five articles on Daphne Du Maurier, together with other contributions on works by W. Somerset Maugham, E.M. Forster, Jane Austen, Charlotte Brontë, and Charles Darwin.

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