Dracula Research paper Dracula by “Bram ham stroker” is a novel that uses Gothic elements to convey a sense of horror.
The Author has put many biblical symbols in the novel with references such as God for protection or crucifixes or even the use of garlic on purpose.Women are portrayed as sexual slaves to the antagonists Count Dracula who are easily manipulated. Dracula is a character who is pure evil Journals and diaries and letters are used threw out the whole entire novel. Stoker did this so that readers would acknowledge the novel as being more realistic than of any other book. Although some may some may say that “stoker borrowed a procedure from wilkie collins used in his 1860 novel The woman in white,organized his narrative in Dracula to make full us of varity points of views. The story is based on journals, business memoranda, transcripts and phono recordings . This is a technique used to make the text more realistic and urgent and the way actions are described” (stade 386). Stoker may be known as a genius for creating a well thought novel such as Dracula but it similarities to another book make it more of a copycat.
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lucy flirting with men and then having three suitors gets married to one of them and then later on in the text is subdo by Dracula and turns out to be and evil thirsty demon and starts killing innocent children .But Ezter muskovits says that “The vampiresness upset the victorian standards for Females,and thier seaxual activity is depicted in a very negative way (32). For instance Mina hacker is bitten by Dracula but does not turn against her Fellow antagonist and uses her connection with Dracula to calculate where he is and where they can find him. And they eventually do subdue him and kill him all because of her
Bram Stoker’s Dracula includes themes of death, love, and sex. Stoker’s use of empiricism utilizes the idea that everything is happening “now”. The book offers clear insight into who is evil without explicitly saying it. Stoker’s interest in empiricism uses British womanhood as a way to distinguish between good and evil.
Hollywood in known for making literary adaptations, and such adaptations will exploit context. Movies bring literary properties to the public that otherwise would not bother to read them. However the "marriage" of literature and film holds their own separate qualities. It is precisely the point that Hollywood distorts and corrupts serious literature for the entertainment pleasures of a mass audience. In the task of comparing and contrasting the novel of "Dracula" to film extracts of "Bram Stoker’s Dracula", values, meaning and context discovered lie between discrepancy and similarity.
This fictional character was soon to be famous, and modified for years to come into movie characters or even into cereal commercials. But the original will never be forgotten: a story of a group of friends all with the same mission, to destroy Dracula. The Count has scared many people, from critics to mere children, but if one reads between the lines, Stoker’s true message can be revealed. His personal experiences and the time period in which he lived, influenced him to write Dracula in which he communicated the universal truth that good always prevails over evil. Religion was a big part of people’s lives back in Stoker’s time.
The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count with his plans and talk to him about all his options. At first Jonathan was surprised by the Count’s knowledge, politeness, and overall hospitality. However, the longer Jonathan remained in the castle the more uneasy and suspicious he became as he began to realize just how strange and different Dracula was. As the story unfolded, Jonathan realized he is not just a guest, but a prisoner as well. The horror in the novel not only focuses on the “vampiric nature” (Soyokaze), but also on the fear and threat of female sexual expression and aggression in such a conservative Victorian society.
In Bram Stoker’s novel Dracula, Stoker’s use of inverted gender roles allows readers to grasp the sense of obscureness throughout, eventually leading to the reader’s realization that these characters are rather similar to the “monster” which they call Dracula. Despite being in the Victorian era, Stoker’s use of sexuality in the novel contributes to the reasoning of obscureness going against the Victorian morals and values. Throughout the novel the stereotypical roles of the Victorian man and woman are inverted to draw attention to the similarities between Dracula and the characters. Vague to a majority of readers, Bram Stoker uses Dracula as a negative connotation on society being that the values of the Victorian culture are inverted amongst the sexes of characters, thus pointing out the similarities of the characters and the so called “monster” which they call Dracula.
The Victorian England setting and culture of “Dracula” by: Bram Stoker attributes to many stylistic components and character behaviours in the novel. One of which is the behaviour and actions characters express that are a result of sexual repression. In Dracula, sexual repression is best expressed by the character’s desire to create. This desire is exemplified by the way Dracula creates other vampires, Lucy’s sexual desires, and the men’s expression of aggression. The creation of other Vampires is evident through events including Dracula’s aggressive encounters with Lucy and Mina, and the fact the Dracula is building up a Vampire army. Lucy’s sexual desires are exemplified through her longing to have sex with multiple men and how she compares
In Senf’s essay she points out that modern readers of Stokers novel are more likely to be surprised by this version of Dracula. In Stokers novel most of the action occurs in nineteenth-century London. Senf also shines a light on the fact that Stoker has made it so he cannot comment directly on his characters’ failures in judgment, or their lack of self knowledge with the type of narration selection he has chosen, Dracula as well is never allowed a voice in this novel.
Similar to almost every piece of literature ever created, Dracula by Bram Stoker has been interpreted many different ways, being torn at from every angle possible. Just as one might find interest in interpreting novels differently, he or she might also find interest in the plot, prose, or theme, all of which ultimately lead to the novels overall tone. Throughout the novel, it becomes blatant that the novel contains an underlying theme of female incompetence and inferiority. Through a true feminist’s eyes, this analysis can clearly be understood by highlighting the actions of Mina and Lucy, the obvious inferior females in the book. Through Stoker’s complete and utter manipulation of Mina and Lucy, he practically forces the reader to analyze the co-existence of dominant males and inferior females in society and to simultaneously accept the fact that the actual text of Dracula is reinforcing the typical female stereotypes that have developed throughout the ages.
Bram Stoker’s Dracula is the story about how the small company of men and a woman lead by Professor Abraham Van Helsing combats against Count Dracula, who moves from Transylvania to England in order to manipulate people as “foul things of the night like him, without heart or conscience, preying on the bodies and the souls of those [they] love best” (223). Stoker employs an epistolary format in this novel and nowadays, Dracula becomes one of popular literary works representing epistolary novels written in the nineteenth century. The term “epistolary novels” refers to the novels composed of different types of documents, such as journals, letters, newspaper clippings and so forth. One of the effects created by using an epistolary format is providing the characters’ inner state throughout the story, which “focuse[s] on a broader exploration of the insights that made up the conscious self by and [the broader context]” (Ştefan 73). Consequently, Stoker’s use of fragmentary narratives delivers the main characters’ emotions and thoughts in more picturesque ways. In Dracula, the epistolary format of the novel increases terror and suspense, which derived from tension when the story alters after alluding characters’ insecure future and immense power of Dracula affecting not only the main characters, but the third parties who are irrelevant to them.
Bram Stoker wrote his infamous novel, Dracula, during the turn of the century in 1897, and the Victorian era novel is heavily influenced by the time in which it was written. Francis Ford Coppola’s Dracula is influenced by the period in which it was produced, and it diverges from the novel in the sexualisation of women, the humanization of Dracula, the representation of friendship, and the depiction of science. Dracula is a classic story that can represent the current era’s fears and desires. Although the story changes in Coppola’s Dracula, in comparison to the original, it is not the first time Dracula has been adapted according to the era, and it will not be the last.
Dracula, by Bram Stoker, is a classic tale of Gothicism. Traditionally, gothic tales only carried single theme of horror. Through Dracula, Stoker breaks this single theme barrier. The theme throughout Dracula is clearly displayed through the characters as they step from ignorance to realization in this tale of horror.
When Van Helsing figured out what was happening to Lucy he told Dr. Seward and after Lucy passed away the men went to where she was buried and it had been weeks and her body. The sight they saw was “more radiant and beautiful than ever; and I could not believe that she was dead. The lips were red maybe redder than before” (Stoker 171). This line should that Lucy turned into a vampire because Dracula had been sucking her blood. Jonathan Harker was also a victim of Dracula’s games but he fought through his mental trauma with the help of his Wife, Mina. The rein of Dracula’s evil ways came to an end and although Lucy lost her future, all of her friends were finally safe from
Gothic imagery and themes include castles, coffins, monsters and strange lands and pose the background of the classic Gothic novel. The Gothic element is synonymous with the horror and uncanny- a feeling rather than form, in which transgression is the central topic (Wisker 7). The vampire is a figure that transgresses society’s limits to form the central dynamic of the Gothic. “We enjoy seeing the limit transgressed- it horrifies us and reinforces our sense of boundaries and normalcy” (Halberstam 13). Assuming that Bram Stoker’s Dracula sets the archetype of the vampire, it is clear that modern vampires have demonstrated a decrease in the Gothic horror despite similarities in the Gothic imagery
From the whispers of townsfolk spreading legends and tales of what goes bump in the night to the successful novels, plays and film adaptations, the story of the vampire has remained timeless and admired. One of the main writers responsible for this fame and glory is Bram Stoker with his rendition Dracula, written in 1897. Dracula follows the accounts of Jonathan Harker, Mina Murray, Dr. John Seward, Lucy Westenra, and Dr. Van Helsing, through their journal entries and letters, newspaper articles, and memos. Bram’s vision for Dracula is both terrifying and captivating as the reader follows a small group of men and women led by Dr. Van Helsing through their attempt to retaliate against Count Dracula’s efforts to spread his undead chaos and blood lust across England.
An Atmosphere of Fear and Horror in the Opening Chapter of Dracula by Bram Stoker