Abstract This paper examines how Bram Stoker portrays erotic elements and religious undertones in his novel "Dracula". The author provides a brief analysis of the novel and looks at the way the time in which it was written impacted its acceptance.
From the paper:
"Bram Stoker is known by the world primarily as the author of the powerfully unforgettable novel Dracula. The novel introduces us to the diabolical character?Count Dracula. Dracula was written during the late-Victorian age, when "sex was likely to seem bestial, polluting, depleting, deathly, satanic, a fever in the blood, the theme of dreams, the nature of madness, and the lurking menace in the shadow of every scene" (Stade VI). Obviously very much ahead of its time, the public nevertheless openly accepted Dracula."
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. "
Abstract This paper discusses how Mary Shelly's "Frankenstein" and Bram Stoker's "Dracula" both express views on the nature of good and evil. It explores how the authors use points of view as a device to establish the plot and tell the story. Frankenstein and Dracula both use the themes of dangerous science and redeeming religion. The paper contends that these warnings against science make the books not just shocking horror stories, but stories meant to teach the reader something about how to live.
From the Paper "Mary Shelly's Frankenstein and Bram Stoker's Dracula both express views on the nature of good and evil. The authors use point of view as a device to establish plot and tell the story. Frankenstein and Dracula also both use the themes of dangerous science and redeeming religion. These warnings against science make the books not just shocking horror stories, but stories meant to teach the reader something about how to live. The character of Dracula is in every way evil. He is both tricky and wise, and his appearance is intimidating and frightening. Harker describes Dracula: "His eyes were positively blazing. The red light in them was lurid, as if the flames of hellfire blazed behind them" (Stoker 40). The counts actions are also undeniably evil; immediately following his description of the count, Harker tells of how the count feeds a live, human baby to three vampire women."
Abstract This paper presents facts about a one time actual ruler, Vlad the Impalar, of what is now known as Romania. It looks at the actual figure and the similarities between Stoker's character, Dracula and the Romanian ruler. The paper uses the only known resources that are written about Vlad and tells a little of the horrors and history of 15th century Europe.
From the Paper "Vlad's main goal was to maintain rule. Dracula allied himself with Hungary against his former allies, the Turks, and pledged that he would fight for the Christian cause. Even though Vlad pledged to fight for the Christians, he remained a Romanian Orthodox, in doing so he ensured his position in Wallachia as ruler for the time being."
Abstract This essay analyzes Bram Stoker's novel "Dracula" in the contexts of Victorian cultural and the social morality that dominated 19th century London. Stoker's novel is both a criticism of the effects of sexual repression, as well as an eroticized account of the necessity of moral virtue. Stoker portrays contradictory characters that are manifestations of perverse sexuality (homosexual, bisexual, promiscuous women) and contrasts these with morally virtuous persons who must confront the realms of seduction without succumbing. This essay explores how these encounters portray the loss of innocence in Victorian society, and also validate the moral superiority of purity.
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."
Abstract This paper examines Bram Stocker's novel Dracula in relation to modernity. Specifically, the paper analyzes Stoker's attitude toward scientific achievement which was the widely held Victorian fear of modernity and technology.
From the Paper "Bram Stoker's "Dracula" is one of the best known Gothic tales of supernatural creatures and terror. However there is much more to Stoker's text that meets the eye and the author is able to address several significant concerns of his day while weaving a chilling account of vampires at the same time. Indeed in "Dracula" Stoker expresses the widely-held Victorian fear of technology and modernity and his characters ultimately discover that modern development in science and medicine cannot necessarily be trusted."
Tags:dracula, stoker, modernity, van helsing, lucy, science, advancement, superstition
Abstract This paper analyzes some of "Dracula"'s more disturbing and terrifying aspects as depicted in Bram Stocker's novel. The paper discusses how Stoker exploits some of people's darkest fears in the novel and explains the concept of unseen evil forces.
From the Paper "Bram Stoker's novel "Dracula" is considered by many to be one of the greatest tales of Gothic horror ever written. Stoker utilizes the folklore of vampires that has existed for decades but creates a narrative that examines the terrifying subject in a wholly new light. Indeed there is much in "Dracula" that may be disturbing to readers, as Stoker exploits some of our darkest fears in the novel in order to give the narrative deeper meaning."
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 analyzes and discusses four of the most famous "Dracula" films, based on Bram Stoker's 1897 novel, "Dracula". The paper examines "Nosferatu, Eine Symphonie des Grayens" (1922), "Dracula" (1931), "Horror of Dracula" (1958), and "Bram Stoker's Dracula" (1992). The paper gives a story summary, provides comparisons to Stoker's novel and highlights interesting points. An extensive bibliography is included.
From the Paper "Count Dracula is, without a doubt, one of the most identifiable fictional characters today. Originating with Bram Stoker's 1897 novel, Dracula, aspects of the novel, especially the title character, have been reproduced in everything from the theater and film to breakfast cereal and used-car commercials. In fact, the well-known image of Dracula bears only a mild resemblance to Stoker's Transylvanian vampire. Instead, the stereotypical accented, black suit and cape wearing vampire with pointed teeth and slicked back hair portrayed by Hungarian Bela Lugosi in Universal's 1931 Dracula is the image immediately associated with that name. A large number of films based upon Stoker's tale have been created. Specifically, four Dracula films which are based more or less directly on the original novel are the most prominent and recognized."
Abstract In this article the writer explores various theories on the symbolism of 'Dracula'. The paper explores this topic from the assumption that 'Dracula' is a stylistically Victorian novel, rather than a Gothic one. This is important when one begins to explore the sexual overtones of the novel. While it is not the purpose of this research to dispute these interpretations, the article takes an entirely different approach than the sexual and religious interpretations. The research supports the thesis that 'Dracula' symbolizes bourgeois thought at the time. The writer concludes that the research supports the thesis that a political and economic interpretation of Dracula is the most appropriate if one is to understand the work and the context in which it is written.
Outline:
Social Movements and Dracula Sexual Interpretations
Political Interpretations
Aristocracy and Immortality
Intentional Ambiguity
From the Paper "In order to thoroughly understand the symbolism in 'Dracula' one must gain an understanding of two important social revolutions that were taking place at the time. The first social revolution involves the changing roles of women. During the time of the writing of 'Dracula', women were beginning to seek their own individual power. For many years they had been oppressed and repressed by men. Women of the time had no right to vote, had little access to education, and were relegated to menial tasks around the house. Men were the movers and the shakers of the time. Men delved into politics, owned factories and made the wheels of Democracy turn. Women noticed these changes and had a desire to be a part of them, but were not received with open arms by their male counterparts."
Abstract In this article, the writer maintains that if evil can be fascinating, then 'Dracula' by Bram Stoker is a fascinating book. The writer notes that the author has created a mesmeric tale in which the reader is led to believe that it is all real. Of course, it is not, but to read it, study it, and discuss the story intelligently, one must pretend to believe in the fictional reality that has been created. The character of Dracula does not really change or grow during the course of the story's events, and in this essay the writer argues that he is incapable of changing. The writer maintains that the story of Dracula illustrates that evil has only the power people give to it by entertaining it, accepting it, and believing in it. The writer notes that prisons are tragically full of people who believe in evil, people like Dracula who believe that the mortal body is all there is to life. The writer points out that Dracula had to be stopped, of course, just as violent criminals today have to be kept away from society.
From the Paper "When the reader first meets Dracula, he appears to be polite and courteous, a man who knows how to make a guest feel welcome. The author is perhaps making a statement about the seeming attractiveness of sin, which always promises to do something for us but inevitably makes us suffer. Dracula has prepared for Harker's visit and seen to it that his guest is comfortable and eating well. We learn more about him the next day when Harker enters Dracula's library. Dracula is an educated man, even a thinker, by the looks of his books and varied interests, ... "
Abstract Bram Stoker's "Dracula" is a gothic tale of Western civilization's struggle against a deadly being. In order to combat Dracula, a band of mismatched characters collaborate in their efforts to save humankind from the fatalities that could occur at the will of a foreign vampire. This paper shows that by using the scientific method, these characters are able to defeat the deadly vampire as he lacks their scientific ability. In "Dracula", scientific advancement acts as a positive force in the fight against the vampire as Dracula lacks the scientists' objectivity which everyone has the capabilities to acquire.
From the Paper "However, the scientists' ultimate faith in the scientific method limits them in their pursuit of Dracula. Van Helsing recognizes that scientists lack an open mind in mystical events such as Dracula's ability to materialize and dematerialize at will as good scientists are limited by their belief that what their limited senses notice are what constitute reality. The characters initially resist the possibility that vampires exist as they are limited by their interpretation of their observations."
Abstract This paper discusses Bram Stoker's horror novel, "Dracula." It describes the plot of the novel and its characters. The paper then looks at the play of "Dracula" that was produced on stage by Hamilton Dean and John Balderston and discusses its plot. It then discusses the 1931 film version of the novel. The paper finally analyzes the 1922 silent production entitled "Nosferatu," produced by German filmmaker F. W. Murnau and compares it to the films of "Dracula."
Table of Contents:
The Novel and the Play
The Plot
Dracula 1931
Nosferatu
Nosferatu and German Expressionism
From the Paper "Expressionism focused and emphasized the subjective over the objective (Haney 2005). Its goal was to elicit the strongest possible emotional response. Nosferatu is not only the story of a vampire. It is also the story of plague and pestilence, of evil and greed, and of inequality and sexless marriage. It delved into sexual repression and revealed the vampires out of people in the state of the German soul after World War I in Germany. Bram Stoker's novel was a peek into the subconscious. Murnau brought it out and expressed it in the form of a film. He firmly drew from that awareness that everything present contains meaning and significance. The time of its production and other elements combined to make it an Expressionist film. Though not a completely traditional representation of Expressionism, Murnau made the film unique as compared with other films of its time. The most significant element is location filming, which gave it a strong realistic character. His talent puts his horrific dream teetering at the edge of reality. He meticulously chose the elements of his film and blended them carefully into a whole and single expression of a message (Haney)."
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
