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Female Sexuality in Bram Stoker's "Dracula", 2005.
This paper considers Bram Stoker's "Dracula" from a feminist perspective.
1,575 words (approx. 6.3 pages), 3 sources, MLA, $ 55.95
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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."
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Bram Stoker's "Dracula", 2005.
An analysis of Bram Stoker's novel "Dracula".
1,125 words (approx. 4.5 pages), 1 source, $ 44.95
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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. "
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Bram Stoker's "Dracula", 2007.
A review of the 1992 film version of Bram Stoker's "Dracula".
2,431 words (approx. 9.7 pages), 0 sources, $ 74.95
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Abstract
The purpose of this paper is to examine the formal-aesthetic value and social-ideological value of the 1992 film, "Dracula", directed by Francis Ford Coppola. The discussion encompasses different elements of film, including photography, movement, editing, sound, ideology and mise en scene.
Outline
The Love Story
Sexuality
Music
Foreign Language
Silhouetting, or Shadow Puppets
Narrative
Star Power
Dark Tones and Shadows
The Color Red
Studio Shooting
Movement
Depth in Photography
Editing
From the Paper
"The romantic interest between the Count and Mina is not the only romantic elements to the movie- there is also a subplot concerning the suitors of Lucy, Mina's friend and confidant. She is sought by three suitors of varying degrees of breeding and social status (an English aristocrat, an English psychiatrist, and a Texan cowboy). We see from one scene to the next how Lucy entices each man in turn, applying all of her girlish charm. The suitors love her purity, innocence and beauty, and Lucy represents a classical maiden, loved and desired by all. The Texan expressed those qualities of purity by describing her as "fresh as a spring rain..." At the same time, we see her tantalizing all three men at the same time, enjoying the sexual power that she has over them. "
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Bram Stoker's "Dracula", 1990.
This paper examines the ways in which the legend of the vampire, encased within Bram Stoker's "Dracula", emerges as an index of the position of women amid fin-de-siecle decadence: Sexual repression, plot, characters, morality, symbolism, women as victim
6,300 words (approx. 25.2 pages), 11 sources, $ 135.95
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From the Paper
"The purpose of this research is to examine the ways in which the legend of the vampire, encased within Bram Stoker's "Dracula", emerges as an index of the position of women amid fin-de-siecle decadence. The plan of the research will be to set forth the principal elements of the climate of social and sexual repression that defined prevailing ideas about women in Victorian society and culture, and then to discuss aspects of the novel that show it to be as much (if not more) a product of such closely held attitudes as a commentary upon them. Throughout, reference will be made, from a twentieth-century perspective, to the status of the so-called New Woman, whose identity was at the time of the novel's publication just beginning to emerge.
The power and sensual attractiveness of the vampire offer access to forbidden (sexual) fruit that could not fail to appeal ... "
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Bram Stoker's "Dracula", 2007.
A review of Bram Stoker's classic Victorian novel "Dracula", with a focus on its depiction of women.
970 words (approx. 3.9 pages), 3 sources, MLA, $ 34.95
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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."
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"Frankenstein" ( Mary Shelley ), "Dracula" ( Bram Stoker ) and "The Cask Of Amontillado" ( Edgar Allan Poe ), 1999.
Analyzes the protagonists' psychological disorders: pathological narcissism ("Dr. Frankenstein"), repression of the libido ("Dracula") and repression of guilt ("Fortunato").
1,350 words (approx. 5.4 pages), 4 sources, $ 47.95
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From the Paper
"In Mary Shelley's Frankenstein, Victor Frankenstein is a man suffering from pathological narcissism. This narcissism is manifested specifically in Frankenstein's case in his grandiosity and the gratification he derives from his admiration for his own mental attributes. As with Narcissus, Frankenstein's self-obsession ends in disaster and death as the object he creates outside of himself as representation of his self-love ultimately brings about his own demise. Frankenstein is completely obsessed with the quest for power and knowledge, specifically power over nature, and, by extension, over death. His creation of the monster, in this context, is an expression of his desire to live beyond death, if indirectly in the monster. Ironically, that is what does occur--the monster outlives his narcissistic creator, although perhaps not for long, as the monster exits vowing to ..."
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The Bram Stoker/Peter Cushing Alliance, 2002.
A discussion of the historical, cinematic relationship between Henry Irving, Bram Stoker and Peter Cushing.
2,605 words (approx. 10.4 pages), 10 sources, MLA, $ 78.95
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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."
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Dracula: Stoker, Browning and Coppola, 2006.
This paper analyzes two "Dracula" movies, the one made in 1931 by Todd Browning and the other produced in 1992 by Francis Ford Coppola.
1,350 words (approx. 5.4 pages), 7 sources, MLA, $ 45.95
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Abstract
The author compares and contrasts two versions of the movie "Dracula"; one from 1931, and one from 1992. The paper focuses on two factors, which the author maintains determined the filming direction -- the expectations and sophistication of the movie audience and the time in which the film was made.
From the Paper
"The lower classes had Jack the Ripper. The Victorian Upper and bourgeois class had Bram Stoker's 'Dracula'. The original intent of Stoker, to bring out the hidden lust of Victorian women, who did not have the sexual outlets their men did, was lost in Todd Browning's 1931 version, which was truly a 'horror' movie. As to the Coppola 1992 version, '...although hardly 100% accurate to the book, this is the most ambitious...' ((Reel.com, p. 1)"
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Women and Dracula, 2002.
The role that females play in Bram Stoker's Dracula, describes how they are provocative and empowering.
1,400 words (approx. 5.6 pages), 5 sources, $ 53.95
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Abstract
This six-page paper looks at the roles of women illustrated in Bram Stoker's "Dracula", with a comparison to the production by Francis Ford Coppola's version. With reference to the nature of how women were perceived by men during the Victorian era and how they acted.
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?Dracula?, 2002.
An introduction to the characters and themes of Bram Stoker's novel, "Dracula".
1,170 words (approx. 4.7 pages), 1 source, $ 40.95
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Abstract
The paper introduces the characters, settings and themes of Bram Stoker's classic novel, "Dracula", written in 1897. The paper shows that the book contains beautiful and exotic settings and a theme of the forces of great evil pitted against the religious and sexual mores of the day. It shows too that superstitions about evil and how to fight it also play an important role in this book.
From the Paper
"The central character, Count Dracula, is a character of towering malevolence, a nobleman from a foreign country who intends to prey on young, virtuous English women for his own purposes. While he often isn?t physically present in the action of the story, the presence of his influence is often felt. While he does not pursue the young women for overtly sexual reasons, the idea of a high-born nobleman taking advantage of young women, especially those of a lower class than he, draws a parallel to the concerns many parents had of the day that their daughters might be seduced by men above their class only to be used and then cast aside."
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Gender and "Dracula", 2002.
A discussion of the function of gender in Francis Ford Coppola's "Bram Stoker's Dracula"
1,025 words (approx. 4.1 pages), 5 sources, $ 39.95
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Abstract
This paper will argue that much of the mass market appeal of "Bram Stoker's Dracula" lies in its depiction of gender and gender relations.
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Good and Evil in Frankenstein and Dracula, 2005.
A literary discussion on Mary Shelly's "Frankenstein" and Bram Stoker's "Dracula".
675 words (approx. 2.7 pages), 2 sources, $ 26.95
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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."
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?Dracula? in the Movies, 2004.
Discusses film adaptations of Bram Stoker?s "Dracula" over the years.
2,973 words (approx. 11.9 pages), 7 sources, MLA, $ 87.95
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This paper examines the movies based on Bram Stoker's classic novel, "Dracula". It looks at films such as Max Schreck's "Count Orloff" (1922), Lugosi's "Dracula" (1931), and Christopher Lee's unforgettable performances with Hammer Studios during the 50s and 60s. The paper examines male and female actors in several of the movies.
From the Paper
"F. W. Murnau's Nosferatu (1922), presents a great challenge to male sexual authority. In this first film adaption of Bram Stoker's Dracula, the vampire Orlock (Max Schreck) illustrates an inhuman sexuality which is both repellent and powerfully seductive. Stevenson's conclusion that "the ironic thing about vampire sexuality is that for all its overt peculiarity, it is in many ways like human sexuality" (142), seems applicable considering that although Orlock's sexual presence is radically different from that of the young real estate agent Hutter (Gustav van Wangenheim), their sexual desires are both directed by their wish to possess Ellen (Greta Schroeder), Hutter as a husband, Orlock as a lover, but both as a master."
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Science in Dracula, 2003.
Examines how the scientific method is used in Bram Stoker's "Dracula".
875 words (approx. 3.5 pages), 1 source, $ 31.95
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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."
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"Dracula", 2002.
A look at the theme and characters of Bram Stoker's novel "Dracula"
2,351 words (approx. 9.4 pages), 2 sources, MLA, $ 72.95
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Abstract
This paper on "Dracula" by Bram Stoker focuses on the famous novel and its theme. This paper highlights the summary of the novel and emphasizes on the arguments put up by critics regarding the theme. This paper focuses on how each character in the novel plays an important part in establishing the theme of the fiction.
From the Paper
"Bram Stoker is considered to be the world?s most famous horror novelist. Though he has produced a number of short stories, essays and novels, his classic novel Dracula, published in 1897 remains to be his most praised and admired work. Dracula is a story, which focuses on a Transylvanian vampire that comes to London. One of the most pressing themes in the novel, Dracula focuses on the Fulmination of Woman Sexual Expression. The theme reinstates how women behavior during that era was delineated by the austere European expectations. Stoker characterizes the status of women and how they were expected to behave by the society through his heroines Mina and Lucy and how their behavior changes to opposite that is unacceptable by the society. "
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