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, however, Jonathan chooses to persist.
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.
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
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
Another characteristic of Gothic is the supernatural in all its forms: zombies, vampires, ghosts, witches, omens, dreams. For example, the character in Dracula is a vampire In this essay, I will try to discuss the occult elements in Jane Eyre. Jane Eyre appeared in 1847. It is a Victorian novel, a Bildungsroman, which has Gothic elements throughout it, it is a novel about a plain and simple woman who tries to find her place in society and her way is cluttered with mysterious episodes. I intend to provide in the following pages the characteristics of the Gothic novel and to apply them on the novel Jane
The role of female characters in Bram Stoker 's "Dracula" and its movie adaptation by Francis Ford Coppola Gothic novel made its breakthrough with Horace Walpole in the late 18th century, when the term 'gothic ' was used to describe something barbarous or medieval. In the late Victorian era, Bram Stoker wrote "Dracula", a novel written in a form of journal with a monster living in a castle full of mysteries that ought to be revealed within the atmosphere of gloom and terror. After the first publication in 1897, its movie adaptations, which "constitute a simpler attempt to make texts 'relevant ' or easily comprehensible to new audiences and readerships via the process of proximation and updating" (Sanders 19) have begun. The most famous ones are "Nosferatu" by F. W. Murnau in 1922 and "Bram Stoker 's Dracula" by Francis Ford Coppola 70 years later, analyzed more minutely in the essay. In most of the adaptations the emphasis is on the character of the Count
In order to fully understand this development, some influential works should not go unmentioned. As mentioned before, it was Bram Stroker 's novel Dracula which defined the vampire narrative more than any other literary work. Stoker selected featured from folklore and literary vampires, added ideas of his own and combined them into a strong archetype. “The way ancient tradition, such as folkloric elements of vampires or the influence of early demon forms […] were intertwined with cutting edge technology, such as the used of shorthand, Dr Seward 's phonography and Van Helsing 's blood transfusion, allowed for the creation of what is essebtially the vampire 's passport into the twentieth century and its manifestation once again as a socially relevant
72). What I conclude from this is that Mr. Tabor was slowly transforming into a werewolf in the car. That's why he was getting passionless, and maybe his hand was hairy because of the fact that werewolves have quite a lot of hair. “There were short black hairs on the back of the hand.” (pg. 72).
In their writings, many authors present the explained and the unexplained supernatural, but by reversing their proper order (Miles, 2002: 53). The supernatural disappeared from most of today 's detective stories. Sometimes it occurs but is soon given a logical explanation (Harris 2008: 1). In detective fiction works, the events are ultimately given a natural explanation, while in the former, the events may be truly unnatural. However, there are some famous examples where supernatural, so present in the very genesis of the Gothic, is also manifest in detective fiction: Sheridan Le Fanu’s Dr. Hesselius, whose purpose is to discover the vampire nature of Carmilla (homonymous Carmilla); John Silence, Algernon Blackwood’s psychic researcher; occultist Dion Fortune’s Dr. Rhodes, a skilled reasoner who appeals to magic as well; Aleister Crowley’s Simon Iff, both a detective and a necromancer; Seabury Quinn’s Jules de Grandin, researcher and lycanthrope hunter; Manly
At the end of his article, the Journal of Gothic and Horror Studies states, “Bill Hughes has a doctorate in English Literature from the University of Sheffield” and “[Hughes] has also published on Richard Hoggart, intertextuality and the Semantic Web, and contemporary paranormal romance” (22). Moreover, “[Hughes] is on the editorial board of the journal Monstrum” (22). The journal Monstrum is “an academic journal which specialises in monsters and the monstrous” (Monstrum: A New Journal). Therefore, being on the editorial board of another academic journal lends Hughes even more credibility than he has. Furthermore, the journal which his article is written is peer-reviewed and is cited by other authors, as well as his article is displayed on academic search pages, all of which mean that the journal his article is written in gives Hughes even more credibility.