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."

Tags:bram, carmilla, dracula, religion, sex, stoker, vampire

Abstract
The paper examines how the text of "Dracula" presents several representations of an other; Mina and Lucy as women, Van Helsing as a foreigner, Dracula as an Easterner and vampires as undead, as opposed to the us of the white English male. The paper shows how the arrangement of a narrative composed of first hand accounts combined with a natural distrust of the other by the English, works to reveal our own biases in finding the horror in "Dracula". The paper therefore emphasizes how it is difficult for us to know whether Dracula is truly horrific or if it is only our prepossessed biases, alongside those of the narrative, which create an illusion of horror.

From the Paper
"Count Dracula himself is the largest and most apparent representation of an other in this work. The narrative opens with Harker's account of traveling to Transylvania to meet the Count. The journals first illustrate culture shock as Harker comments on the oddities he encounters during his journey. Comments such as "it seems to me that the further East you go the more unpunctual are the trains" reveal that in Harker's mind his Western culture remains superior to anything Eastern he observes (p. 28). This new culture is a phenomenon for him to examine and find unusual. As his journey to the Count's castle progresses, his fascination with the unfamiliar gives way to fear as he observes the locals' superstitions, hears howling, and sees wolves surround his carriage in the night. This build up adds to the horror of his first night there."

Tags:Mina, Lucy, Van, Helsing, Dracula, vampires, bias

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 reviews and analyzes Bram Stoker's Gothic novel, "Dracula", by examining the realistic elements that add intensity to the story. The paper further notes that Stoker's novel falls into the Gothic genre in terms of its peculiar combination of atmosphere, romance and horror. Additionally, the paper describes the typical setting of a Gothic novel and the macabre and mysterious aspects of the environment which are emphasized. The paper also notes that there must be some secret or mystery which is central to the work. The paper then describes the romantic and erotic elements of a Gothic novel, which end up being perverse and corrupt. The paper concludes by stating that "Dracula" is a novel that cannot only be understood as representative of the horror genre in literature since it displays many if not all of the classic characteristics of the Gothic novel and genre.




Outline:

Gothic Romance
Conclusion

From the Paper
"This creation of atmosphere in the Gothic genre is also characterized by a sense of mystery, combined with terror - a combination which is a hallmark of the genre. As one critic notes; the Gothic emphasizes the portrayal of the terrifying as well as "...a common insistence on archaic settings, a prominent use of the supernatural, the presence of highly stereotyped characters, barbarism as opposed to elegance, and the attempt to deploy and perfect techniques of literary suspense". (What Constitutes Horror In Victorian Gothic) All of these aspects are evident in the tale of Dracula.
"The above also relate to another of the central characteristics or defining features of the Gothic genre in literature. This refers to the dominance in the tale of some powerful secret or unknown element. (Gothic Novels) This is an element that is clearly evident and central to Dracula and refers to the secret of Dracula and his vampires that lie hidden in the bowels of the castle. This is the horrifying secret that is the main focus of the entire novel and is enhanced by descriptions of coffins in which lie the "undead". This is the horrific mystery that is the central area of focus in the novel."

Tags:Count Dracula, Fin de Siecle, Victorian Era, Eroticism

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."

Tags:dracula, frankenstein, comparison

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 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 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."

Tags:dracula, europe, history, impalement, impaler, romania, ruler, tepes, vampire, vlad, wallachia

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.

Tags:dracula, victorian, morality