When we think about gothic fiction it is hard not to think about Dracula, a renowned novel written by Irish author Bram Stoker. It was published in 1897 and has set the foundation of the vampire villain character, which is still popular today. Although our current popular culture altered vampire-fiction immensely, Bram Stoker’s Dracula still remains the most popular vampire-fiction novel there is. The plot is set in the late nineteen century and we can say it is written in epistolary form, as a
century author Bram Stoker, who, upon fact, legend and fiction brought to life his eponymous vampire: Count Dracula, a sinister and monstrous predator who thrived on the blood of living souls. Regarded by many as the defining work of Gothic fiction, Stoker’s fin-de-sìecle novel achieved a pervasive hold on Western imagination, transforming it into one of the most lasting literary myths of all times. Hence, it comes as no surprise that when we say “vampire” we immediately think of Dracula, and such
Embedded within the heart of Victorian England, Dracula offers a unique contribution to the conversations about women and colonization during the Victorian Era, reflecting a period and a people vexed over rapid social and moral change. Throughout the years, Dracula was received very differently. When the novel was first published, it was devoured by the growing middle class, partly due to the Education Reform Act of 1870. This law is what allowed education to be offered to all British children.
Feminist Reading: Dracula between Beauvoir’s and Roth’s Ideas In her article, “Suddenly Sexual Women in Bram Stoker’s Dracula” Phyllis Roth argues that Dracula is a misogynistic novel which is obvious in the system of power in which men are dominant and active figures whereas women are just followers and obedient to their system. She draws on Simon de Beauvoir’s idea that “ambivalence as an intrinsic quality of Eternal Feminine”, in order to show that women are victims to men powers. In her chapter
Dracula is a household name; however, the actual meaning is not as well known. The novel Dracula by Bram Stoker contains a unique story, one which due to the structure of the book there are multiple main characters. The book is written in the form of letters, allowing the focus to be on many different people and viewpoints. Dracula starts out with Jonathan Harker an, Englishman, who takes a trip to Transylvania to meet Count Dracula. On his way to the castle he is warned of the dangers of Dracula
An Analysis of the Unvoiced Villain and Sex Undertones in Dracula Most readings of Dracula have covered an emphasis on the theme of sexuality, about homoeroticism, blood-transmitted disease, new women of the Victorian era, and perverse sexual practices. These subjects at the repressed Victoria era, as well as sexuality, were considered to be unspeakable in the public sphere. Women were required to be faithful to men; and sex between men was illegal. Yet Stoker’s text serves more than bringing up
Ireland. Thus we find strong, innocent and pure women like in Stoker’s Dracula, but also dangerous and powerful ones as we can see in Le Fanu’s “Carmilla”. However, we also could talk about some novels in which the role of women has disappeared completely, as we can appreciate in Stevenson’s The Strange Case of Dr Jekyll and Mr Hyde. The aim of this paper is to analyse the role of women in these texts, paying special attention to Stoker’s novel, and to draw an overview of how they were represented
An Irish novelist, short-story writer and essayist, Bram Stoker is one of the best and well-known author who developed his famous work, Dracula. Bram Stoker was originally derived from his real and full name, Abraham Stoker. He was born in Clontarf, Ireland on November 8, 1847. He is raised by his mother named, Charlotte Matilda Blake Thornley Stoker and his father Abraham Stoker. One of seven children, young stoker suffered from illness that left him bedridden and unable to move for years, yet the
hate more palatable it is interwoven into indoctrinations of morality and values: faith, patriotism, and family. These calculated perversions of values are expressed throughout Bram Stoker’s Dracula as well as its fortuitous reconstruction, The Clansman by Thomas Dixon Jr. An analysis of alterity as portrayed in both Dracula and The Clansman reveals congruent invisible empires of systemic cultural oppression erected upon the foundations of white supremacy, religiosity, and patriarchy.
1. Introduction Madness as a theme plays an important role in Bram Stoker 's “Dracula”, almost every character at some point exhibits some kind of behaviour which could be connected with mental instability. “The working notes for the novel show that the idea of madness was present from an early stage; a cast list dating from the spring of 1890 includes a mad doctor and a mad patient who has ‘a theory of perpetual life’.” (Pedlar136). Even though, male and female characters are equally susceptible