Sexual allegory is combined with victorian culture and violent monsters, a dichotomy of human instincts. Stoker also captures the constant battle between traditionalists and supporters of modernity. Stoker wraps up this thought experiment in the trappings of a horror novel in order to best show off the monsters he designed. With its ability to have inspired countless vampire progeny across literature and film, Dracula is a work that combines fantasy elements with relatable thematic struggles in a way that will allow it to live
Although written and published in Victorian England where the culture revolves around societal constraints and restrictions of expressing sexual desires, Bram Stoker’s “Dracula” has many scenes that seem to revel in sexual language and sensual description, yielding indications of repressed lust and sexuality. Such sexual connotations are not directly expressed, but camouflaged by vampire attacks and the act of blood sucking. Rape, one of the erotic overtones recurring throughout the novel, illustrates how penetration and blood sucking function as an insinuation of sexual intercourse, at the same time revealing different expectations the Victorian society imposes upon women. Several rape scenes are disguised through the use of symbolism
This is what gave him the idea of how Dracula would enter into England. In the Wallachian language Dracula means devil and this greatly affected what Stoker would name his vampire. Bram stoker wrote in unique way by drawing from personal experience and research to write his masterpiece (BBC, Nightmare: The Birth of Horror). One of the main overarching themes of Dracula is that one should defended the weak and helpless no matter the cost. For instance, each man donated great amounts of blood to Lucy trying to keep her from becoming
Metonymy is exploited in Dracula when the topic of gloom and horror is introduced. This displays fundamental essences that provide principals of mystery and the supernatural. Doom and horror develop the storyline as it portrays how the weather and atmosphere can affect the story. This can be shown at the introduction of the story, Jonathan Harker is on business trip, he’s supposed to meet up with a man by the name of Count Dracula, all is well until Harker recognizes that Dracula isn’t so-called Human, and is placed with 3 undead women who want to suck his blood. By this time, the sun had already set and the moon was shining, this creates a mystifying and intimidating atmosphere, which then allows the audience to acknowledge that the atmosphere
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
This suggests that a clear distinction exists between men and women, one that supersedes biological differences, allows the for division to creep in between them. This understanding of gender cascades into the concept of hegemonic masculinity, a reality in which man “sustains a leading position in social life”
This unsettling evokes some of the key features of the Gothic, such as the use of phantasmagoria, transgression, and excesses, all of which disturbed the reader by surrounding them with dark reflections of a reality portrayed through fiction. Pacts with the devil to obtain one’s desires, monks and aristocrats who revel in luxury — even if this means they must stain their hands with blood —, vampires and mad scientists: all corrupt one’s morals, all corrupt the false appearance of serenity. Likewise, the female vampires who torment Jonathan Harker disturb the harmony of the domestic sphere and unsettle the delicate balance between the private and the public domain. These vampiric women are marked by heightened sensuality and tacked to other fatal women that permeate art and European literature at the end of the nineteenth century. In this novel, fear and desire are often confused, a clue modern anxieties surrounding desire toward sensuous but degrading bodies.
The persona Dracula is also different than commonly considered: She has a hairy, moustached man with a wolfish demeanour who is constantly known as childish and unholy by Van Helsing; a considerably retreat from a dashing[a]: jaunty; smart; chic; romantic; gallant, ancient sensuality of modern vampires. The story, will, however have a variety things for someone to think about such as sexuality, gender roles, capitalism, immigration and homophobia all of that can be found and developed through close reading of the written text message. Dracula by Bram Stoker is considered to be the very embodiment of gothic novels. It is a classic story of mythical creatures, supernatural and mysterious events, omens and visions, apocalypticism, threatening creatures, romance, darkness, emotion and all the elements a gothic novel ought to include. A single of the things medieval novels concentrate on are supernatural and mysterious events.
~ Sins of the flesh: anorexia, eroticism and the female vampire in Bram Stoker's Dracula. “Dracula’s diabolical kiss unleashes in Lucy an aggressive and overtly sexual voracity that represents a threat to the adoring males around her. The fact that the male characters regard Lucy in such different ways illustrates their fear at her capacity to transform and the terrifying power it entails.” (7). ~ Women then are not only virginal victims in the novel, they serve to illustrate the contradictions and ironic tensions within the Victorian value system
Gender consists of men as well as women. In various attempts to understand gender, the concept of sex roles was introduced; and sometimes men and women were treated as simple categories. The most suitable approach is to treat gender as a system of social relations (Connell). According to Raewyn Connell “[m]asculinities are the patterns of social practice associated with the position of men in any society’s set of gender relations”. Moreover, differences in bodily forms is not a firm determining factor of gender patterns; one could rather see it as a reference point in gender practices.