“Victorian novels tend to be idealized portraits of difficult lives in which hard work, perseverance, love, and luck win out in the end” (Victorian Era). Dracula follows this theme like many other Victorian novels. The vampire causes many problems in the life of Jonathan, Dr. Seward, and Van Helsing which led them to fight Dracula. The men eventually win this battle, which rids the world of the pest that terrorized for so long. They are successful in beating the immigrant because of the Victorian formula.
Introduction Literature has proved to be throughout time a powerful tool for creating enduring myths, legendary characters and fictional stories, making thus the truth irrelevant as long as the narrative was gripping. Such aspects, together with the context and period into which a novel was written brought to life stories that have become immortal and are going to last for eternity. This seems to be the case of the 19th 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 has been the superstition created around this character that nowadays it is impossible to allude to Romania, and particularly to Transylvania, without thinking of it as the home of Dracula.
No horror novel has achieved the notoriety of Bram Stoker’s Dracula. Vampires today would not be so popular in horror if not for Stoker’s revamped version of the classic Eastern European bloodsucker. Having come at a time when xenophobic novels were extremely popular, Dracula has kept its relatability despite the test of time. Aside from its hold as a horror novel, Dracula endures because it serves as a reminder of how society works alongside authority figures and the powerless, and from its definition of human values. The Victorian Era is known for a pious, sexless society where women were considered inferior.
Heathcliff and Catherine have long been identified as inhuman, as a much quoted comment by Dante Gabriel Rossetti shows: “The action is laid in Hell – only it seems places and people have English names there” (qtd. in Krishnan 4). If one is willing to accept that Catherine's ghost haunts Heathcliff after her death, defining this ghost as a vampiric entity is anything but absurd, as long as one does not equal 'vampire' with Dracula as described in the first chapter. An impartial reading reveals a great number of similarities between the depiction of Catherine and Heathcliff and common vampire tropes. Wuthering Heights shares a type of anti-hero with the first vampire narrative, an archetype which was later imitated by the most influential vampire
In regard to conventions, the film uniquely introduces the concept of iconography, where Harry is depicted as a special character since he is the only character to ever survive Lord Voldemort’s killer spell. Furthermore, the use of historically fierce creatures such as the shark transformation of Victor Krum (Stanislav Ianevski), which works towards the introduction of exciting reaction from the audience, especially after Harry transforms into a significantly timid creature. Nevertheless, the characterization makes it harder for the audience to presume possible outcomes of the tournament. In terms of genre of the film, Harry Potter’s The Goblet of Fire is largely a science fiction- fantasy type of film with some hint of horror in its conventions aimed at sparking intense reactions from the audience. Conventionally, science fictional films aim to exploit advanced technology, futuristic even, in developing their plot and characterization; this film is set in a traditional setting thus eliminating the usual science fiction rhetoric by laying focus on the good old wizardry and witchcraft periods.
“Bad outfitted in his battles-weathered armor, Macbeth met the Norwegian attacks shot for shot, as if he were the goddess of war’s husband. Finally he broke the enemy’s spirit, and we were victorious.” (Act 1 Scene 2) This shows how brave Macbeth would be. He would be able to win any type of war. There are other quotes that can give someone an image of who Macbeth was and how he would never hurt anyone. “But if this is a good thing, why do I find myself thinking about murdering King Duncan, a thought so horrifying that it makes my hair stand on end and my heart pound inside my chest?” (Act 1 Scene 3)
1. Introduction Abraham ‘Bram’ Stoker’s world famous novel Dracula was first published in 1897, at the dawn of today’s modernity. Although he wrote more than ten novels, Dracula is by far his most popular work up to date. He himself has never been to the country of Transylvania although he describes it vividly in the novel. Bram Stoker became familiarised with the idea of vampires and the dark east of Europe by various The transition from Victorian Age to modern times is not only marked by a change in industry and trade, but also in values which is prominently featured in Dracula.
“Every war is ironic because every war is worse than expected,” Paul Fussell wrote in “The Great War and Modern Memory,” his classic study of the English literature of the First World War. “But the Great War was more ironic than any before or since.” The ancient verities of honor and glory were still standing in 1914 when England’s soldier-poets marched off to fight in France. Those young men became modern through the experience of trench warfare, if not in the forms they used to describe it. It was Yeats, Pound, Eliot, Joyce, and Lawrence who invented literary modernism while sitting out the war. Robert Graves, Siegfried Sassoon, Edmund Blunden, Isaac Rosenberg, and Wilfred Owen—who all fought in the trenches and, in the last two cases, died there—remained tied to the conventions of the nineteenth century while trying to convey the unprecedented horror of industrial warfare, a condition of existence so murderous and absurd that a romantic or heroic attitude became impossible.
On the other hand, Billy gets away with keeping a diamond. It is worth considering the fact that Vonnegut finished Slaughterhouse-Five more than twenty years after the war was over so we should not forget the fact that Vonnegut always writes from the survivor’s point of view, many years away from the fury of the war and he has the accommodation to laugh, to satirize, ironies with war and all the laughter has to be a step away from madness of the war. As a result of making the death of Edgar Derby as the climax of the novel, Vonnegut doesn’t minimize the destruction of Dresden but he succeeded to reveal the injustices of the war by showing the fate of only one individual in the war. Vonnegut shifts the attention of readers through irony from the destruction of whole city and the death of ten thousands to the execution of an American soldier Edgar Derby for picking up a teapot out of ruins: Derby’s crime is so minuscule in comparison with the larger crime of destroying an undefended city that if death is the proper punishment for his actions, what punishment should be given to those responsible for burning Dresden? rightly asks Tom Hearron
Likewise, another story where the setting is integral to the plot is that of Bram Stoker’s Dracula. The Count is bound to his dwelling by his condition; he is forced to come back and replenish his strength in his grave. Consequently, the castle acts as both his home and his tomb; one which he controls completely and where he is exempt from danger. Dracula goes back to his castle in moments of distress and danger to store up his energies anew. This imposing castle is in a faraway place from civilization in very unforgiving terrain, Dracula’s castle cut the sky; for we were so deep under the hill whereon it was set that the angle of perspective of the Carpathian mountains was far below it.