Comparative Literature: The comparison between the book Dracula to the movie is that in the movie starts with legend of Vlad the impaler which is not in the book. In the movie Dracula has a shadow that operates separately from his body movements. Character of Dracula is less threatening initially in the book than in the movie. In the movie, Dracula appears as a wolf rather than the wolf escaping from the zoo being controlled by him which is not in the book. Lucy does not seem very ill compared to the description in the book. Dracula only appears as a bat briefly at the end of the movie in the abbey scene, not at the windows of the house.…
Le Fanu’s story of Carmilla has been adapted as a web series, in which the setting is modern day society at a college campus. Laura remains the narrator of the thirty-six-episode season, where she records all events from her dorm room as part of her journalism class. The web series stays loyal to having Carmilla remain the female vampire in the story, while also implying other female romantic relationships. In the short story Le Fanu’s choice of a female vampire alters the way in which the audience reads the relationship between Carmilla and Laura, particularly because there is a romantic and sensual relationship that develops between these characters. The relationship between two women during Le Fanu’s time implies the confined gender roles that had been situated within his society, and the threat that female sexuality imposed. Whereas the adaptation normalizes the sexual and romantic relationship between women because modern society is more accepting of homosexuality. The theme of female desire in the short story emphasizes the fears of violating social norms of conformity as a woman, whereas the web series uses female desire to emphasize the power women have in modern society.…
Lucy, who one would ultimately define as a “New Woman” is very sweet, yet Demetrakopoulous believes that her sweetness ultimately makes Lucy “not very bright, hysterically emotional, and easily had” when it comes to men, therefore making her ditzy and desirable personality a crime against society. As a “New Woman”, Lucy makes clear her desires and needs, and is unafraid to appeal to multiple men at once, as she did to Quincy, Andrew, and Dr. Seward. Due to the fact that Lucy represents the mere image of the “New Woman”, she was literally displayed as a vicious blood-sucking beast by Stoker himself. When Dracula turns Lucy into a vampire, her free expression of her sexuality offends and disgusts her husband. In fact, on the night where Andrew and the other men spot Lucy for the first time after her transformation, Andrew states “the sweetness was turned to adamantine, heartless cruelty, and the purity to voluptuous wantonness” (Dracula 417). Andrew’s total love for Lucy turned to rigid hatred after just one glance at his previous bride because she was not ashamed to express herself. Stoker, who clearly loathed the “New Woman”, made sure to demonstrate the “New Woman” in a negative lightning to try to avail to everyone that when women took control of their desires, they were bound to eventually overpower the…
These women can suddenly take the male prerogative to instate an encounter that is inherently sexual, and penetrate their victim (with their fangs). This destabilisation of gender roles is not limited to female people receiving phallic symbols however; the vampire itself completely reverses the stereotypical roles of men and women in the Gothic story. The women become predators, dangerous creatures to be hunted and feared; the men are the prey and they crack under the pressure and become hysterical on several occasions, the “stalwart manhood seemed to have shrunk somewhat under the strain of his much tired emotions” [Stoker, p.181]. After Lucy is killed, Dr. Seward must comfort Arthur Holmwood in the funeral parlour when he “suddenly [breaks] down, and threw his arms round my shoulders and laid his head on my breast, crying,” [Stoker, p.181]. Whereas when Mina is told of Lucy’s death, she shows “courage and resolution in her bearing” [Stoker, p.240], and is determined to tell the full story of their fight against Dracula, even if recording the death of her friend upsets…
Bram Stokers, Dracula, from the late-Victorian era, is one of the best stories of vampire folklore. Dracula was tall, dark, handsome, and mysterious with immense sexual character. His snow white teeth which outlined his rosy red lips made us fantasize of him and ultimately become obsessed. The overwhelming fascination of Stoker’s novel has created individuals to overlook the true metaphoric mechanism behind the story. “Technologies of Monstrosity: Bram Stoker’s “Dracula””, Judith Halberstam points out the metaphor in which Dracula was created. Halberstam argues how Dracula was created as a metaphor for anti-Semitic representations and stereotypical sanctions of the Jew. Halberstam validates her hypothesis by comparing Dracula to physical characteristics of the Jew. Furthermore, she expresses the relation of blood and gold, race and sex, sexuality and ethnicity that consequently relate to the Jew. On the other hand, Kathleen Spencer, “In Purity and Danger: Dracula, The Urban Gothic, and the Late Victorian Degeneracy Crisis”, tries to relate the unconscious and conscious sexuality of Stoker and cultural identities. Spencer focuses on the ‘fantastic’, the urban gothic, romantic revival, and Mary Douglass’s purity and danger to justify her hypothesis. Both these texts provide great examples for the metaphors and symbolism which is hidden in the text of Stoker’s novel.…
The life of a Puritan was one filled with hard work and praising the lord God. We are able to learn more about their ideals through their works of art. The Portrait of Elizabeth Freake and her Baby Mary reflects the two main ideals in puritan philosophy which are so simply summarized in Ephesians 2: 8-9, "For by grace are ye saved through faith; and that not of yourselves: it is the gift of God: Not of works, lest any man should boast". The two main ideals of puritan philosophy are humility and the grace of God.…
In my opinion, i think the authors are the ones who want the love and sex. For example, the poem To the Virgins, to Make Much of Time the speaker is Robert Herrick and in the poem To his Coy Mistress the speaker is Andrew Marvell. Although in To the Virgins, to Make Much of Time, the speaker is much more creepy and weird. I feel like he is a older man, he is intelligent, and I would guess that his emotional state would be that he is jealous. In the poem To His Coy Mistress i think the author is a reasonable man, he is middle aged, and his emotional state is based around love and desire of wanting a beautiful…
This transformation is apparent in Lucy, who is at first a sweet little girl. After each encounter with Dracula, Lucy’s “canine teeth grow longer and sharper than the rest” (Stoker). Lucy begins to develop traits of an animal when she loosens her sexuality each time she ventures out into the night to meet Dracula. Lucy’s metamorphosis into a grotesque vampire is meant to discourage sexual women, since Lucy begins to look repulsive when she crosses the line of sexual propriety. Also, it becomes evident that hypersexuality dehumanizes a woman. The vampire woman “licks her lips like an animal” and laps it against “her white sharp teeth” in order to seduce Jonathan (Stoker). The three vampire sisters that prey on Jonathan are mesmerizing but possess animal-like qualities that are associated with hypersexual women. A woman that is too promiscuous turns into a bloodthirsty beast, a reason why her sexuality must be repressed. In addition, critics state that the way Stoker describes sexual women suggests that they are not true women. Stoker portrays sexual women as “Un-Dead, fragmenting them into disembodied physical features” (Swartz-Levine). A woman’s sexuality is what turns her into a vampire, stripping her womanhood from her. Therefore, as women unveil their sexuality, they transform into monstrous beings that stray from the standards of Victorian…
Dracula, written in this time, essentially deals with the concern as Dracula is heavily nodded as an “other”, by regaling in his long ancestry which includes historically-famed militaristic groups, further illustrating his as a possible bloodthirsty nature. He is marked by successful generation of conquerers, come to conquer once again. Dracula intends to enter the civilized world and dominate it. He represents the East, and the backwardness that has yet been “civilized” by modernity, which in of itself is threatening. Dracula makes the claim, “Your girls that you all love are mine already.…
Since the eighteen century, vampire stories have played a strong role of popularity in literature and cinematic environments. The continuous changes of vampires have taken the vampire legend from something feared to something desired. Between Dracula and Twilight it has been over a hundred years. These two novels are a great example of vampire’s evolution. However, both novels have elements of narrative device, they are both written from multiple perspectives, and both were turned into a film. Although Twilight and Dracula are pieces of literature that share a vampire story, there are three important differences that characterize each one.…
In its time, Dracula’s specific aspects were deemed horrific to the xenophobic Victorian society as it entered into the realm of the unknown and completely went against…
In Bram Stoker’s novel, Dracula, Stoker portrays many different aspects of women’s roles in the nineteenth century. Women had a strictly defined role within the era; there was no thought of equality, no thought that women could liberate themselves sexually. Stoker uses women in this novel to critique against women’s liberation. Stoker’s portrayal of women makes the novel seem like a fantasy. Women are primarily objects of delicate beauty who occasionally need to be rescued from danger. In the novel Mina Murray is the embodiment of Victorian virtue in which she is loyal, earnest, innocent, and dependent of her husband. Stoker creates another character, Lucy Westenra who is completely opposite of Mina. Lucy is embodies the desire of women who want to liberate themselves. Only Mina shows any considerable strength or resourcefulness. Lucy is primarily two-dimensional victim, picture of perfection who is easy for Dracula to prey upon.…
The Victorian ideology of women is centered on the oppression of females and the idea that a woman’s sole purpose and duty in life is to be obedient and compliant to her husband. It was believed that “New Women” who stepped out of the ideal Victorian role were whores, unfit mothers and brides, and would ultimately cause chaos. In Bram Stoker’s, Dracula, Lucy and the three seductive vampires serve as women who step out of their Victorian role and are in turn punished for their actions.…
In Bram Stoker 's Dracula, the most blatant and powerful symbol is blood. He takes the blood that means so much to the believers of this legend and has it represent more than even they could imagine. Blood is the main object associated with vampires and vampirism. From a mythical standpoint, it is the basis of life for the vampires as they feed off of the blood of young, vibrant souls. From a more scientific standpoint blood is what would drip out of the corpse 's mouth when family members would dig up their dead kin to check for the dreaded disease. Stoker takes the significance of this symbol and puts his own unique twist to the meaning of blood. He combines the traditional folklore of vampirism and the immense sexual undertones of the Victorian era to create a simply horrific tale which completely confuses the emotions of his readers. Stoker knew bloods importance in vampire history and used the overwhelming symbolism to convey his own personal lust and sexual obsessions. The scenes where Lucy is receiving transfusions; first from Holmwood, then from Seward, and the unforgettable vampire baptism between Dracula and Mina all have these very erotic, sexual feelings associated with them. What makes these so powerful is the combination of violence and sex. As a reader, you know that what Dracula is doing are horrific and wrong, but because they are so sexually described and associated you think you should enjoy them, but you can 't. This is the confusion which stoker implements into his readers minds, especially ones of the Victorian era. This is why stoker used blood as the most important symbol in the novel; to create an intense horror that was not just in the words of the book, but in the minds of the reader.…
The sexuality in the Victorian Era was obvious men had erections, and women only did it to please their men. Even though the men are sexual, the women are always there to please him to relief his stress and to get his mind of the evil day. The image of the Victorian Era was seeing of full of riches that the historians called the Gilded Age. The Gilded age is a perfect luxury for people to live in, filled with perfect pleasure by paintings, all over their furniture. The new place of Jerusalem looked gorgeous and magical: the streets were paved in gold, the metal was in gold, and every single thing was gold, for them this was Godly for them, like a dream come true.…