Myself when others: Daphne du Maurier and the double dialogue with 'D'

2.50
Hdl Handle:
http://hdl.handle.net/2173/93973
Title:
Myself when others: Daphne du Maurier and the double dialogue with 'D'
Authors:
Zlosnik, Sue; Horner, Avril
Citation:
Women: a cultural review, 2009, vol. 20, no. 1, pp. 9-24
Publisher:
Routledge
Issue Date:
2009
URI:
http://hdl.handle.net/2173/93973
DOI:
10.1080/09574040802684780
Additional Links:
http://www.tandf.co.uk/journals/routledge/09574042.html
Abstract:
One of the most powerful influences on Daphne du Maurier's life and writing was her relationship with her actor-manager father, whom she referred to as 'D'. Although critics such as Nina Auerbach have usefully explored du Maurier's personal and artistic debts to her grandfather (the writer and artist George du Maurier), little has been written on how Gerald du Maurier's personality and possessive love of his daughter marked her work. This essay examines the nature of du Maurier's ambivalent love for her charismatic, emotionally immature and egocentric actor father and explores how she used disguise, masquerade and acting in her fiction in order to represent and explore complex family relationships. To illustrate our argument, we focus on her less well-known works, including The Progress of Julius (1933), Gerald: A Portrait (1934), The Parasites (1949), Myself When Young (1977) and the short story 'A Border-line Case' (1971), while also suggesting that some of her best-sellers, such as Frenchman's Creek (1941) and Rebecca (1938), can be fruitfully re-read through such a perspective. We conclude that her fictional transformation of the family theatrical legacy enabled du Maurier to understand-and come to terms with-her ambivalent attitude towards her own father. Moreover, the disturbing nature of her fiction challenges sentimental narratives of family life, asking the reader to consider at what point, and in what ways, love can become dysfunctional and damaging. Her novels and short stories, read in this light, pose enduring questions concerning the relationship between character and author and between 'self' and 'other'.
Type:
Article
Language:
en
Description:
Full-text of this article is not available in this e-prints service. This article was originally published in Women: a cultural review, published by and copyright Routledge.
Keywords:
Character and author; Daphne du Maurier; Family relationships; Gerald du Maurier; Incestuous desire; Self and other
ISSN:
0957-4042; 1470-1367

Full metadata record

DC FieldValue Language
dc.contributor.authorZlosnik, Sueen
dc.contributor.authorHorner, Avrilen
dc.date.accessioned2010-03-09T14:57:58Z-
dc.date.available2010-03-09T14:57:58Z-
dc.date.issued2009-
dc.identifier.citationWomen: a cultural review, 2009, vol. 20, no. 1, pp. 9-24en
dc.identifier.issn0957-4042-
dc.identifier.issn1470-1367-
dc.identifier.doi10.1080/09574040802684780-
dc.identifier.urihttp://hdl.handle.net/2173/93973-
dc.descriptionFull-text of this article is not available in this e-prints service. This article was originally published in Women: a cultural review, published by and copyright Routledge.en
dc.description.abstractOne of the most powerful influences on Daphne du Maurier's life and writing was her relationship with her actor-manager father, whom she referred to as 'D'. Although critics such as Nina Auerbach have usefully explored du Maurier's personal and artistic debts to her grandfather (the writer and artist George du Maurier), little has been written on how Gerald du Maurier's personality and possessive love of his daughter marked her work. This essay examines the nature of du Maurier's ambivalent love for her charismatic, emotionally immature and egocentric actor father and explores how she used disguise, masquerade and acting in her fiction in order to represent and explore complex family relationships. To illustrate our argument, we focus on her less well-known works, including The Progress of Julius (1933), Gerald: A Portrait (1934), The Parasites (1949), Myself When Young (1977) and the short story 'A Border-line Case' (1971), while also suggesting that some of her best-sellers, such as Frenchman's Creek (1941) and Rebecca (1938), can be fruitfully re-read through such a perspective. We conclude that her fictional transformation of the family theatrical legacy enabled du Maurier to understand-and come to terms with-her ambivalent attitude towards her own father. Moreover, the disturbing nature of her fiction challenges sentimental narratives of family life, asking the reader to consider at what point, and in what ways, love can become dysfunctional and damaging. Her novels and short stories, read in this light, pose enduring questions concerning the relationship between character and author and between 'self' and 'other'.en
dc.language.isoenen
dc.publisherRoutledgeen
dc.relation.urlhttp://www.tandf.co.uk/journals/routledge/09574042.htmlen
dc.subjectCharacter and authoren
dc.subjectDaphne du Maurieren
dc.subjectFamily relationshipsen
dc.subjectGerald du Maurieren
dc.subjectIncestuous desireen
dc.subjectSelf and otheren
dc.titleMyself when others: Daphne du Maurier and the double dialogue with 'D'en
dc.typeArticleen
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