Abstract
The paper goes into Bram Stoker's "Dracula" as a gothic, epistolary tale that reinvented the Dracula archetype, and to this day, embodies the fascinations humans have with horror, myth and melodrama. The paper discusses how Bram Stoker himself was made famous by "Dracula", and has a rich history that involves theatre and high society, as well as writing.

From the Paper
"Bram Stoker's "Dracula" is a gothic, epistolary tale that reinvented the Dracula archetype and that, to this day, embodies the fascinations humans have with horror, myth and melodrama. Bram Stoker himself was made famous by "Dracula", and has a rich history that involves theatre and high society, as well as writing. In Dublin, 1847, Abraham Stoker was born to Irish feminist Charlotte Mathilda Blake Thornely, and had six siblings. Until age seven, Stoker was a bedridden, sickly child but made a miraculous recovery and went on to become healthy, even athletic. He Graduated Trinity College with a degree..."

Tags:dracula, bram stoker, gothicism

Abstract
Doing a psychoanalytical analysis of Bram Stoker's, Dracula, is both fascinating and challenging - largely because so many inferences have to be made about the mental state of the chief characters in question. Be that as it may, there are various things which may be uncovered by virtue of assessing the text from a psychoanalytical point of view. As time allows, three characters from the story - Renfield, Dr. Seward, and Lucy Westenra - will be examined with the aim of discerning what factors appear to be driving them to act as they do. In the case of Renfield, it seems as though he has a madman's need for absorbing into his system the lifeblood of other creatures. Dr. Seward, in his case, is a man who cannot escape seeing the world through the prism of his own scientific training; he is a man who, on some level, must always have mastery and he is stubbornly opposed the prospect of Lucy becoming a vampire on the grounds that it falls outside his own personal ontology and the scientific ontology he embraces. As for Lucy, she is victimized by Dracula time and again until she succumbs and turns into a vampire herself. Her true significance, from a psychoanalytical point of view, is that her constant perambulations during the night can be seen as also representing the inner strivings of an early proto-feminist eager to be free of the shackles of nineteenth century patriarchal society.

From the Paper
A Psychoanalysis of Bram Stoker's Dracula Doing a psychoanalytical analysis of Bram Stoker's, Dracula, is both fascinating and challenging - largely because so many inferences have to be made about the mental state of the chief characters in question. Be that as it may, there are various things which may be uncovered by virtue of assessing the text from a psychoanalytical point of view. As time allows, three characters from the story - Renfield, Dr. Seward, and Lucy Westenra - will be examined with the aim of discerning what factors appear to be driving them to act as they do. In the case of Renfield, it seems as though he has a madman's need for absorbing into his system the lifeblood

Tags:bram, stoker, dracula

Abstract
This paper gives an analysis of the character Renfield in the book "Dracula" by Bram Stoker. The paper discusses the development of this character based on excerpts from the book and also talks about the progression and importance of Renfield's role in the book.

From the Paper
"And then there is Renfield who can best be described as a raving lunatic occupying one of those cold, padded cells in Dr. Seward's sanitarium for the mentally deranged. Although somewhat incidental and secondary to the plot of the novel, the character of Renfield is nonetheless quite fascinating and as a literary character follows a distinct line of development, beginning in Chapter 5 with the 25th of April entry in Dr. Seward's diary"

Tags:Dracula, Bram Stoker, Renfield, gothic literature

Abstract
This paper explores horror actor Peter Cushing's ancestral ties with Sir Henry Irving, the great English stage actor and Bram Stoker, the author of Dracula, in the context of the English stage and Irving's tours of America, from 1881 to 1889. It examines Bram Stoker's work in April of 1912, that used a new medium of artistic expression and brought Stoker his posthumous fame--the motion picture industry which catapulted Stoker's Gothic novel to the darkest realms of cinematic exploitation and created a new cultural icon in the form of a blood-sucking, malevolent human monster known as Count Dracula.

From the Paper
"While Ellen Terry and Henry Irving enjoyed some days of quiet and peace in the privacy of their drawing-rooms and staterooms, the rest of the (touring) company, the tons of scenery, the hundreds of costumes, the 1,200 wigs, the small-part actors, the supers and Bram Stoker, were sailing to America in a slow boat called The City of Rome." Although this quote from Madeleine Bingham's 1978 biography Henry Irving and the Victorian Theatre seems at first glance rather superficial, two specific points deserve closer examination--first, Henry Irving, the legendary British thespian, the Sir Laurence Olivier of his time, who dominated the English stage for more than thirty years and was the first actor to be knighted 1, and actress Ellen Terry, his longtime leading lady, must have thought of themselves as blue-blood royalty, due to sailing to America from Liverpool in October of 1883 aboard the luxurious steamship Britannic on their first U.S. tour; and second, as the remainder of the company trudged along on that "slow boat" The City of Rome, Irving's business manager, the Dublin-born Bram Stoker, apparently was not considered as deserving of better quarters during the long voyage across the Atlantic to the theatrical citadel of New York City. However, this may have been in Stoker's favor, for it is quite possible while separated from Irving's manic desire for control that Stoker retreated to his conjoined cabin ( No. 100, a few steps from the promenade bar 2 ) and took pen in hand to scribble in a "dogeared notebook (with) hieroglyphical entries in thick, half-obliterated pencil," 3 more notes concerning his ten years of research into the occultic sciences."

Tags:dracula, henry, irving, peter, sir, stoker, count

Abstract
In this article, the writer discusses that Bram Stoker's 'Dracula' highlights the collection of nineteenth century stories forming a popular vampire lore that has been well-received by the public. The writer maintains that unbeknown to the public at the time, Stoker's 'Dracula' actually poked holes in the Victorian society's need to adhere to strict cultural values that they believed would cause a cultural decline. Stoker's 'Dracula' and the vampire tales of the nineteenth century portray the evils that the people of the Victorian Era fought hard against: corruption, homosexuality, sexuality, and the transgression of boundaries or actions that violated the moral codes and cultural values of the time. The writer concludes that Stoker's Dracula offers a chance for readers to live out their sexual desires and fantasies that are deemed as taboo.

From the Paper
"Stoker relays his story through the memory of his characters; their recollections of the events are presented in dairy journals and news clippings. Also, the clinical reports of Dr. Stewart and Dr. Abraham Van Helsing contribute to the narrative, as well as the ships logs that record journeys of the characters, specifically Jonathan Hacker and Count Dracula.
"The novel is essentially split into two parts that tell the story of Dracula's attempt to turn two different types of women into vampires: Lucy Westenra and Mina Hacker. The central victim in the first half of Stoker's novel is Lucy Westenra who emulates the perfection of the Victorian woman. It is clear that Stoker projects Lucy as an angelic Victorian symbol to illustrate how her own demise will be brought about by her desire for the wicked Count Dracula. Drawing close to death, Lucy slowly becomes a vampire. Yet even in this representation, Stoker still projects Victorian beauty onto the vampire Lucy.. "

Tags:cultural, values, sexuality, Victorian, fantasy

Abstract
This paper first explains that the protagonist Dracula from Bram Stoker's novel "Dracula" appears to have been modeled on Vlad Tepes (Vlad the Impaler), an authentic 15-century Wallachain prince, whose exploits often were detailed in ancient German, Turkish and Slavonic horror stories. Next, the author establishes that Stoker knew about the existence of this ancient Wallachian prince and that there are similarities between Dracula and Prince Vlad Tepes. However, the paper concludes that Vlad Tepes was nothing more than a blueprint used by Stoker and that the prince was by no means his only inspiration.

From the Paper
"Another point that we must not miss is mentioned by two prominent researchers; they maintain that there are wood cut outs, or early portraits of the Wallachian prince that remain to this day. The accuracy of these cut outs is obviously in question due to the age of the cut outs and the primitive nature of wood cutting technology, however, having looked at pictures of the cut outs, it is certainly worth noting the striking resemblance they bear to descriptions of the Count (see appendix)."

Tags:bloodthirsty, warlord, appearance, blueprint, imagination

Abstract
This paper explains that Bram Stoker wrote "Dracula"in 1897 during the Industrial Revolution. For the first time in history, people were seeing how science and technology could change their lives and society, for better and for worse. The writer points out that superstition and fear of science continued well into the early 1900s. The writer then describes how each of the main characters in "Dracula" believes in the scientific rationality, yet ends up combining both science and superstition to succeed against the evil of Dracula.

From the Paper
"When Lucy dies, Van Helsing's use of the superstitions are magnified and even Seward does not understand why these actions are being taken. Van Helsing places garlic all around the room and Lucy's coffin and places the crucifix over her mouth. He then completely surprises Seward by asking if he can cut off her head, take out her heart, and stuff her mouth with garlic. Naturally, Seward is upset about this mutilation, but Van Helsing reminds him that "there are strange and terrible days before us.""

Tags:conflict, cross, madness, scholar, vampire

Abstract
This paper considers Bram Stoker's "Dracula" from a feminist perspective. The paper analyzes the novel's depiction of female sexuality and male dominance and incorporates Victorian ideals of womanhood.

From the Paper
"While Bram Stoker's "Dracula" is often considered simply a thrilling Gothic tale of vampires and the eternal struggle between good and evil, there is much sub text underlying the novel that speaks to the social conventions of the period in which Stoker wrote the text. Indeed much can be gleaned about Victorian society from the narrative in "Dracula" as Stoker's characters all serve to embody various societal ideals or concerns."

Tags:stoker, dracula, lucy, mina, female sexuality, gender roles, Victorian, vampire, lesbianism, femininity

Abstract
This paper looks at Bram Stokers classic horror tale, "Dracula". It analyses the novel's message both on the basic, obvious level as well as its deeper more hidden messages. It looks at how "Dracula" represents the Victorian suppression and fear of the female sexuality and how in many ways vampirism is equated with sex and the 'forbidden'.

From the Paper
"Bram Stoker's Dracula is probably the best-known vampire story of our time. Almost all of us know who Dracula is even if we have not read the book. It is a classic work of fictional terror and has produced the prototypical vampire, an image that is still embedded in popular culture today. Dracula also looks at sexuality in the Victorian Era as well as religion in the era. Bram Stoker uses this novel to convey the beliefs, fears, and thoughts of the people of the Victorian Era. Stoker based his novel on a real historical figure, Vlad who lived in the 15th century and ruled what is now a part of Romania. "

Tags:dracula, symbolism, victorians

Abstract
This paper examines how, in Bram Stoker's "Dracula", Dracula represents evil and how underlying this evil are the mores of Victorian England, which created stereotypes for women that centered on purity, motherhood and a lack of choice in their sexuality and the rest of their lives. It points out that this novel is often seen as an analogy of the two distinct roles of women in the Victorian society---the mother-wife and the whore. The paper concludes that this novel may be a classic horror tale but reading it from a woman's point of view it is even more frightening.

From the Paper
"Stoker introduces the two women, Mina and Lucy, as chaste and good ladies who hold a decent place in society. Mina is a working class schoolmistress, while Lucy is an upper-class lady of leisure. The most either can hope for in their lives is to marry and become respectable wives and mothers. Lucy writes to Mina, "You and I, Mina dear, who are engaged and are going to settle down soon soberly into old married women, can despise vanity." Thus, Lucy writes what most women felt in Victorian times. Their only goal was to remain true (pure) to one man, raise children, and be seen but rarely heard."

Tags:voluptuousness, wife-mother, whore, stereotype, frightening