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Gothic elements in dracula essay
Bram stokers dracula gothic review essay
Bram stoker dracula and the gothic genre
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Traversing the Darkness: Morality and Aestheticism within Bram Stoker and Joseph Conrad In Bram Stoker’s Dracula and Joseph Conrad’s Heart of Darkness, the authors explore the issue of morality through the use of aestheticism. These two post-Romantic writers utilize intense and artful imagery to propel the plots of their narratives, never explicitly address the topic of morality in the books themselves. Instead, the narrators of each story stand on the periphery of moral judgement, providing the audience with description and allowing the audience itself to project their own morality onto the novel. Further, the narcissistic inclination for people to see themselves within others results in identifying with situations and characters in literature …show more content…
Dracula’s description, both physically and sexually, creates a threatening atmosphere, painting Dracula as the story’s antagonist. When Dracula arrives in London, the idea that he can move undetected amongst the people due to his human attributes and turn others into vampire shows the effectiveness and spread of Dracula’s moral depravity. The concept of not being able to detect the threat, shows that anyone could be Dracula. As Dracula says at the beginning of the novel, “I long to go through the crowded streets of your mighty London, to be in the midst of the whirl and rush of humanity, to share its life, its change, its death, and all that makes it what it is” (Stoker 24), he wishes to partake in all facets of society, leaving nothing untouched. Coming from Transylvania to England represents an inverse imperialism, as the “other” comes into the imperial power and affects its people. Therefore, Dracula, as an allegorical disease of sexual deviance and moral depravity and his position as an imperial power, infects his colony changing its occupants into the “un-dead” and quite literally drains the colony of natural resources, in this case this resource is blood. This allegorical reading of Dracula calls for the audience to delve deeper than the gothic beauty on the surface of the novel, in order to perceive the intricate balance of morality
Since the 19th Century, Bram Stoker’s Dracula has entertained its readers taking them to heights of excitement in the climax
Bram Stoker’s Dracula is not only a classic story of men and monsters, but a dramatic reactionary work to the perceived threats to Victorian society in nineteenth century England. In modern times there have been many film adaptations of the novel, each developing a unique analysis or criticism of the literary text within the framework of the society and time period in which it was created. The 1972 film Blacula is one of the most culturally specific variations on the story of Dracula, and highlights many of the themes and messages found in Stoker’s original text. Among the primary similarities between the novel and the film is the portrayal of race, sexuality, nationality, and culture, and the characterization in each work speaks to the fears and ideals of their respective dominant societies.
Throughout ‘Dracula’, Stoker presents the idea of ‘foreigner’ through the characterisation of Count Dracula and Professor Van Helsing, who are the two main outsiders in the novel. Dracula, being a supernatural creature, is of Transylvanian descent which makes him such a poignant character. On the other hand, Van Helsing is a Roman Catholic, and is of a Dutch background, which also highlights him as a foreigner within ‘Dracula.’ In this essay I will explore how these two characters are represented and the intention behind the idea of ‘foreigner.’
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.
Stevenson, John Allen. A Vampire in the Mirror: The Sexuality of Dracula. 2nd ed. Vol. 103. N.p.: Modern Language Association, 1988. JSTOR. Web. 6 Jan. 2014. .
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
Through the gothic writing of Stoker, there was a huge intimidation of Dracula coming forth from it. “Stoker spared no effort to present his demonic vampire as dramatically as possible” (Leatherdale 105-17). With this sinister presence of death, people start to panic. As a vampire hunter, it was Helsing’s job to help notify people on how to rid themselves of this demon. Stoker portrays survival in the form of teamwork between the men and women of the novel. These characters soon take survival into their own hands. “‘We must trace each of those boxes; and when we are ready, we must either capture or kill this monster in his lair; or we must, so to speak, sterilize the earth, so that no more he can seek safety in it’” (Stoker 373). At this point in the novel, the characters know about the existence of vampires. The consequences are also put on top priority. The men know of the consequences, yet still want to go after this demon. “By chasing Dracula, the men risk being sentenced to an immortal life as a vampire. This immortality is endless time lived in physical form” (Poquette 35). Knowing the risks of hunting a vampire, the characters ignore them to protect their loved ones. A vampire hunter is an important factor in the novel because without one, the other characters wouldn’t know what to do. Stoker chose right in including
Carol A. Senf uses a critical theory lens when she picks apart Bram Stoker’s Dracula. The majority of literary critics interpret this popular myth to be the opposition of good and evil, they turn a blind eye to the more specifically literary matters such as method of narration, characterization, and style. Carol Senf’s critical essay “Dracula: the Unseen Face in the Mirror” she believes that Stokers novel “revolves, not around the conquest of Evil by Good, but on the similarities between the two” (Senf 421). Her argument is as follows:
This essay will attempt to discuss the two gothic tales ‘Carmilla’ and ‘Dracula’ in relation to cultural contexts in which they exist as being presented to the reader through the gender behaviour and sexuality that is portrayed through the texts. Vampire stories always seem to involve some aspect of sexuality and power.
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.
While the character of Renfield is ostensively extraneous to the central plot of Dracula, he fulfils an important role in Stoker’s exploration of the central themes of the novel. This paper will examine how Renfield character is intertwined with the three central themes of invasion, blood and otherness. Firstly, through Renfield’s inner struggle we learn that he is ‘not his own master’ (Stoker, 211). The theme of invasion is revealed by the controlling and occupying powers of Count Dracula. Secondly, the recurring theme ‘the Blood is the Life’ (Stoker, 121), is portrayed throughout the novel and has been interpreted through Stoker’s character Renfield. Then finally, a look at the social construction of the ‘other’ in Dracula and how, through Renfield, who is ‘unlike the normal lunatic’ (Stoker, 52), the Count emerges as the ‘other’ of all ‘others’.
Throughout history, men are taught that they are the head of the household. This idea is implicated in everyday society. At some point in history women were expected to submit to a men commands. One poem in particular that gives us an inside idea of what it was like growing up during the 1950s is called Sixth Grade written by Marie Howe. This poem speaks about sexual harassment that can be interpreted as six grade version of rape, innocence, and gender role. Howe uses limited use symbolism but crucial to connect her to her audience and to make a statement about where the origin of male violence originated.
In the book, Dracula by Bram Stoker there are many characters that display qualities of good verse evil. The Count Dracula is a mysterious character who appears as an odd gentleman but the longer the story goes on Dracula shows his true self. Dracula started infiltrating the lives of anyone who crossed his path and he was not stopping his destruction of others’ lives. Many people were affect by Dracula’s actions but there were two people that Dracula caused an impact on during his rampage. Dracula is an evil, cunning, and selfish character who harms the life of a young man and ruins the future of an innocent woman.
In Bram Stoker's "Dracula", Dracula is portrayed as a monster made evident by his gruesome actions. An analysis of Dracula shows that: shows his evil nature in his planning, brutally killing Lucy Westrenstra causing a violent response from Dr. Seward and others, and how his evil ways lead to his downfall. To characterize Dracula in one way, he is a ruthless, cunning monster who uses tricks, torture, and wits to manipulate people to his will. However when he trifled with some courageous people, he had no knowledge that it would be his undoing.
Historically Western civilization has been a dominant entity that used force to colonize the East. After centuries of this movement Western culture flourished and suppressed the East. The East was uncivilized, and it was westerner’s responsibility to provide stability and proper edict to their lacking counter parts in the East. With this lens, the story of Dracula, is a metaphor for the people of the West and their fear of the intrusions of the East. This metaphor starts off with an introduction of the stark contrast between the east and west settings.