More handpicked essays just for you.
Gender issues during the Victorian era
Gender portrayal in literature
Gender issues during the Victorian era
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Despite popular culture today with shows like The Vampire Diaries where vampires are often continuing their daily lives as if they are human and being the heroes to their friends and/or family, Dracula is a depiction of how vampires have, for centuries, been exposed as bloodthirsty, supernatural beings with sexual appeal. The way women are portrayed in Bram Stoker’s, Dracula, is a result of the Victorian ideals. Once Dracula begins to feed on the women, they become bloodthirsty temptresses which are exactly what society fears and try to prevent. In Dracula, Stoker makes sexuality directly linked to the vampirism in the novel. This is seen through the change of Lucy’s somewhat modest behavior into a temptress, the blood-sharing between characters in the novel, and the description of the way Lucy was killed.
Women were expected to set the example for their children, satisfy the needs of their husbands, and it was unheard of for women to express their sexual desires. During this time women were placed into two categories, they were either virgins or married, any woman who did not fit into either of these categories was considered a whore and this meant she was essentially useless. “If a woman went into a hansom alone with a man who was neither her father, nor her husband […] her reputation was irretrievably lost” (Swisher, 181). This shows that even though people did not know the whole story, they judged others by the appearance of things. Most of the Victorian culture was centered on these things that women were expected to do or not to be seen doing. Scientists believed that men were the active ones who were supposed to use all of their energy, while women were sedentary and were supposed to conserve energy. “According to Wollsto...
... middle of paper ...
...The Other South: Southern Dissenters in the Nineteenth Century. New York: Harper & Row, 1974. Print.
Foster, Thomas C. How to Read Literature like a Professor: A Lively and Entertaining Guide to Reading between the Lines. New York: Quill, 2003. Print.
Gates, Barbara T. Kindred Nature: Victorian and Edwardian Women Embrace the Living World. Chicago: University of Chicago, 1998. Print.
Stoker, Bram. Dracula. New York, New York: Bantam Dell, 1897. Print.
Swisher, Clarice. Victorian England. San Diego, CA: Greenhaven, 2000. Print.
"Sex & Sexuality in the 19th Century." Victoria and Albert Museum, Online Museum, Web Team. N.p., n.d. Web. 03 Jan. 2014.
"Sexuality & Modernity: Victorian Sexuality." Sexuality & Modernity: Victorian Sexuality. N.p., n.d. Web. 03 Jan. 2014.
"The Victorian Era." History of Human Sexuality in Western Culture. Word Press, n.d. Web. 03 Jan. 2014.
Each chapter contains numerous sources which complement the aforementioned themes, to create a new study on cultural history in general but women specifically. Her approach is reminiscent of Foucault, with a poststructural outlook on social definitions and similar ideas on sexuality and agency. Power cannot be absolute and is difficult to control, however Victorian men and women were able to grasp command of the sexual narrative. She includes the inequalities of class and gender, incorporating socioeconomic rhetic into the
At the beginning of the 1900s, there was a “sexual revolution” in New York City. During this time, sexual acts and desires were not hidden, but instead they were openl...
In Victorian times, women were often ridiculed for losing their innocence by engaging in sexual activities before marriage. This impurity was frowned upon and usually caused the women to be considered unqualified for marriage. Innocence and purity were primary contributors to the holiness of angels which was both desired and mandatory in the eyes of those looking for a wife. According to Atony Harrison, “fear and sublimation of female sexual desire and insistence upon the dangerous, if not fatal,
In the 19th century Bram Stoker wrote the infamous novel, Dracula. This novel was composed in the style of letters, journal entries, newspaper articles and telegrams in order to convey to the reader a realistic story. The story of Dracula is about an ancient vampire who moves to London from his native country of Transylvania. In London, Dracula seduces and bites a young woman by the name of Lucy Westenra. When Lucy falls sick, no one knows how to help her because while Dracula has bitten her many times she has always been in a trance. Lucy?s friends decide to join together to combat what ever is ailing Lucy. In hopes of some help, Lucy?s friend Dr. Seward asks an old mentor of his by the name of Dr. Van Helsing to come to London and solve this puzzling illness. When Dr. Van Helsing arrives in London and sees Lucy he is the only one that knows almost immediately what has happened and what they are up against. The character of Dracula rarely appears in the story because this creates suspense and magnifies the fear of the unknown. The theme of good versus evil is developed throughout the book in many ways. One of the most important examples is Dracula and Mina. Dracula is the ultimate evil and Mina is full of goodness and purity. The Victorian view of women was not helpful to the characters in Dracula. For example, every time the male characters in the story decide not to tell Mina some particular type of information, things end up going terribly wrong. Even though Mina ends up being the key to destroying Dracula she is still a women and the Victorian view gets in the way.
“Dracula, in one aspect, is a novel about the types of Victorian women and the representation of them in Victorian English society” (Humphrey). Through Mina, Lucy and the daughters of Dracula, Stoker symbolizes three different types of woman: the pure, the tempted and the impure. “Although Mina and Lucy possess similar qualities there is striking difference between the two” (Humphrey). Mina is the ideal 19th century Victorian woman; she is chaste, loyal and intelligent. On the other hand, Lucy’s ideal Victorian characteristics began to fade as she transformed from human to vampire and eventually those characteristics disappeared altogether. Lucy no longer embodied the Victorian woman and instead, “the swe...
sexuality. The Victorian culture had very rigid roles for women, and their reputation was almost
In their idealized forms, Lucy and Mina are marriage-oriented, subservient to, and reverent of men. Dracula clearly demonstrates its preference for women such as these by contrasting them with the horrible, damned female vampire figures, especially that of vampire Lucy shows how easy it is for women to become corrupted and then break down the fabric of society – the family, by tempting men away from their own wives ideal Victorian woman can be converted into the evil, unchaste, impure,
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.
There are a few characters in Dracula that embody society’s views of the time towards the uprising of women for better rights. On the other hand there are also characters that portray the Victorian ideals that men are stronger than women and how it should stay that way. As author Bram Dijkstra mentions in his response essay, “Stokers work demonstrates how thoroughly the war waged by the nineteenth century male culture against the dignity and self -respect of women had been fought”.(Dijkstra , p.460).
Over the course of cinematic history, many filmmakers have attempted to recreate the chilling, unprecedented world of Bram Stoker’s Dracula. Arguably very few have succeeded, for the majority of directors tend to avoid the pervasive sexuality inherent in the novel. It is a difficult task to achieve, considering the blatant imagery surrounding sex and vampirism, such as the reproduction following a vampiric encounter and the phallocentric nature of the violence committed both by and against these creatures: penetration is involved in their hunting, and one must impale them with a stake in order to destroy them. Readers are thereby forced to admit that Dracula is, in fact, a highly eroticized piece of literature, though whether or not Stoker himself was aware of this suggestiveness, we cannot be sure. The most successful effort at capturing that sexual energy on film has been Francis Ford Coppola's 1992 movie, Bram Stoker's Dracula. In fact, it has often been proposed that Coppola’s version is too carnally focused in comparison to the original work, which leads a viewer to wonder about the purpose in this overt sexualization. It can be concluded that adding copious amounts of eroticism to the film is directly related to Coppola’s strive to depict Count Dracula as more human rather than monster, and sexuality in his film serves as a balance so that the lines between good and evil are blurred. Evidence for this deduction is found in three scenes in particular: Jonathan’s seduction by Dracula’s vampiric wives, Lucy’s demonic transformation, and Mina and Van Helsing’s relationship during the climax of the story.
During this time, sex between those who are not married, was strongly looked down upon. Also, sex was strictly for pro-creation, never for pleasure. Therefore, Victorian pornography highlighted many negative and frightening possibilities of sex such as bodily decay and suffering (Joudrey, 2015). This makes it seem as though both the man and woman would have harm done to them for engaging in intercourse. However, in other categories of Victorian pornography, the perspective that it is God’s will to forcefully take a woman’s virginity takes place. According to scholar Joudrey, there are vivid explanations of doing so in short stories such as Venus in India (1890). Even supposing this view was acceptable in the Victorian Era, it is not a man’s duty to take a woman’s virginity to form her into a “real woman”. Today, this would presumably appear as rape especially because the women had no say in the matter and surely depict the women as objects rather than
Marshall Cavendish Corporation. Sex and Society. New York, NY: Marshall Cavendish Corporation , 2010. Print.
Before the sexual revolution of the 1960’s throughout the 1980’s, sex was an exciting adventure, done between two persons that every individual looked forward to. It was not done loosely or lawlessly but as a way of expression ones love and affection. The issues of sex were discussed privately and women were taught to preserve their virginity until marriage.
Gorham, Deborah. A. A. The Victorian Girl and the Feminine Ideal. Bloomington: Indiana University Press, 1982. Martineau, Harriet.
"History in Focus." : The Victorian Era (Introduction). Institute of Historical Research., Apr. 2001. Web. 29 Mar. 2014.