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Vampires throughout different cultures
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Recommended: Vampires throughout different cultures
Zombies are disgusting, zoned out monsters with skin that is generally pale and falling off and they are often missing limbs. They stumble around with no sense of direction and one intention, to eat the flesh of any creature with a heartbeat. Vampires on the other hand are attractive, sexual, and graceful monsters who suck the blood of humans with the intention of creating new vampires. The origin of zombies comes from Haitian voodoo, where “zombie” translates to “spirit of the dead”. It was believed that a voodoo priest could give a person a powder known as coup padre that would make a person appear to be dead. The public would burn this person, believing they were dead, and the voodoo priest would exhume the body which would be physically intact but have no memory and become a mindless drone of the voodoo priest. The origin of vampires comes from Europe in 1347 at the start of the Black Plague. Vampires were created to explain the Black Plague and how the disease spread. It was believed that if a person died and had a second soul, the second soul would walk the earth, killing the person’s family and friends and eventually everyone in the town. Although zombies and vampires are completely different in almost every way possible, they both express society’s conscious and unconscious fears and anxieties and transcend social norms and taboos. Zombies’ most obvious function is to the social taboo of cannibalism. Zombies violate the basic rule of what it means to be human: not eating people. This taboo is depicted best in George Romero’s Night of the Living Dead (1968). The scene, an hour and 15 minutes into the movie, shows several quick cuts and close ups of zombies ripping apart and eating “human” organs and limbs. The scene, a... ... middle of paper ... ... Dracula were used to show that Mina and Dracula are aware of each other’s presence. In the scene, Lucy, who is a pure and virtuous woman, is willingly having sex with a werewolf and enjoying it. A taboo of bestiality is openly and provocatively shown here. Lucy having sex outside of marriage is a transcension of the social norms of 1897, when Bram Stoker’s Dracula was written. Lucy’s destruction in Bram Stoker’s novel and any Dracula movie shows a “deliberate attempt […] made to make sexuality seem unthinkable in ‘normal relations’ between the sexes” (Senf, 39). During and after Lucy’s transformation, she becomes very sexual and makes several sexual advances. By killing Lucy in the novel, Stoker shows society’s fear of female sexual assertiveness and the belief that sexually assertive women are evil and un-Christian and unable to be in a ‘normal’ relationship.
Max Brooks explains in his article ‘’The Movies That Rose From The Grave’’ [2006], that zombies and the supernatural forces have impacted and have become popular in the world today. The first main idea that Brooks points out is the way society has changed the meaning and glimpse for the supernatural creatures like zombies causing them to become increasingly popular. To support this zombie movies have changed from darkness and mystery to violent and bloodier scenes therefore making them more prevailing. The second main idea that is discussed by Brooks is how the media has helped to increase the popularity of zombies, vampires, ghosts. Highlighted by the author particularity both ‘’resident evil,
...sitive depiction of their sexual relationship. For Mina, however, renunciation of Dracula's evil must include the renunciation of her own physical needs and desires. The roles played by social mores and conceptions of gender and sexuality are, in the end, more than incidental. Indeed, the difference between Victorian England and 1990s America causes the subtle -- but significant -- valuation of the connections between good and evil and women and sexuality in two in many ways similar texts.
Throughout many types of literature, violence exists to enhance the reader’s interest in order to add a sense of excitement or conflict to a novel. This statement withholds much truthfulness due to the fact that without violence in a piece of literature such as Dracula by Bram Stoker, the plot would not have the same impact if it were lacking violence. So to holds true to that of the movie. The movie bares different characteristics then that of the book. First off, the whole ordeal with the wolf escaping and jumping into Lucy’s, room and Lucy’s mom having a heart attacked is never even mention in the movie. Second, The night when the four men go to Lucy’s grave and find it empty is stated both in the book and in the movie however what unfolds after this is different. Finally, the end of the book differs severely from what Francis Ford Copolas rendition and that of the Bram Stoker see it to be. The differences are as follows…
His main victims, Lucy and Mina, are the best examples of how he expresses these desires. Lucy Westenra is the first victim and the first point of emphasis for Dracula's desire to create in the novel. Once Dracula arrives in Whitby a mysteriousness comes about Lucy. She is sleep walking and seems like she has someplace to go or someone to get to. Mina observes this unusual sleepwalking “Strangely enough, Lucy did not wake; but she got up twice and dressed herself” (Stoker 74). The notion of sleepwalking describes the fact that Dracula is somehow trying to draw Lucy to give in and execute his creative desires. Eventually, Lucy escapes from her room, not seen by Mina and is later found in the middle of a graveyard. This is where Dracula executes his desires and makes Lucy his victim: “There was undoubtedly something, long and black, bending over the half-reclining white figure….I could see a white face and red, gleaming eyes” (79). This mysterious figure is Dracula and his making of vampire Lucy was marked with two hole punctures in her neck. These punctures are made from a bite. This action of biting someone's neck is both aggressive and sexual. A pleasure spot on a human beings body is the neck, it is sensitive to the touch of fingers/lips. It is an arousal technique and it just so happens that this is the common method for Dracula to create his vampires. This is a direct evidence to the unleashing of Dracula`s sexual repressions. Dracula’s desire to create and releasing of sexual repressions is also evident when he victimizes Mina. After Lucy’s death, Dracula goes after Mina and the first major event evident to this is when he makes her drink his blood through his chest. “Her white nightdress was smeared with blood, and a thin stream trickled down the man’s bare breast which was shown by his torn open dress” (242). The notion of blood and Mina being victimized by having to suck
In Case's article “Tasting the Original Apple,” it talks about the role that now the new woman has and how it comes into conflict with how men react towards it as stated “Dracula is often read as a largely reactionary response to the threat of autonomous female sexuality posed by the phenomenon of the "New Woman," with its anxieties about female sexuality being most clearly visible in Lucy Westenra's story. Particularly once she has been "vamped," Lucy's sexual assertiveness seems to link her with the New Woman. But Lucy's actions as a vampire, like those of the "awful women" (42) Jonathan encounters at Dracula's castle, perhaps owe less to the specific threat posed by the New Woman's insistence on sexual autonomy than to the ambivalences built into the model of Victorian womanhood from the start. Since ideal womanhood (and the ground of male desire) was characterized by a combination of total sexual purity and at least the potential for passionate devotion to a man, this model...
Sex and sexuality are not even mentioned in the Lucy’s and Mina’s characterizations before their encounters with Dracula. Mina remains sexually passive throughout the novel, only to give birth to her son Quincy, and even then, Stoker did not mention any sexual encounters between Mina and Jonathan preceding Quincy’s birth. However, once succumbed to Dracula’s influence, Lucy has sexual outbursts wherein
...ny other novels of the time, Stoker’s Dracula purposely highlights the superiority of men, while simultaneously belittling women. After only a few pages of this novel, the reader should understand just how helpless the females become. No matter what the issue or controversy, they are unable to find any sort of solution, successful or not, without the help of the male characters. Stoker even goes as far as almost teasing Mina, by allowing her to aid in the hunt for Dracula, yet giving her trivial duties. Lucy on the other hand creates the novel’s most blatant case for male superiority. She is forced to constantly depend on four men for her survival. All blood transfusions she received were from men and even that could not save her life. Stoker manages to make a bold statement by pinpointing the inferiority of the two female main characters in the novel.
In the article, "My Zombie, Myself: Why Modern Life Feels Rather Undead," by Chuck Klosterman, he explains to us how zombies have become popularized and why we're so appealed to them. He said, "Mainstream interest in zombies has steadily risen over the past 40 years," (Klosterman 423) and "Roughly 5.3 million people watched the first episode of The Walking Dead on AMC," (Klosterman 422). Klosterman also said, "When we think critically about monsters, we tend to classify them as personifications of what we fear," (Klosterman 423). Basically, he states that monsters have served to express our fears and zombies are used metaphorically. For example, we have a fear of being consumed (Klosterman 425). He compared zombies to the world but instead of being consumed by actual zombies, it's the world that's consuming us. He implies that dealing with life feels like dealing with zombies.
In Dracula the vampire symbolises an invasion of innocence, reflecting increasing sexual anxiety amongst the women of the 19th century England. Lucy’s letters portray a childish manner in reference to sexual desire , she writes “I love him, I love him, I love him!”, this tone seems hyperbolic and her idolisation of her suitor after brief encounters shows sexual eagerness. This is because she gives limited information about Arthur except his role in society, however she describes interaction with her other suitors Quincey and Dr Seward in detail in her letter. Comparatively the relationship of Mina and Jonathan seems mature, throughout throughout the opening journal entry Jonathan makes reference to Mina, in his memoir he notes “get recipe
Max Brooks touches on the fact that zombies were a joke a couple years ago when the reigning monsters were vampires and werewolves but now they have risen to the top of the horror industry. Zombies are taking over movies, television shows, video games and practically any other media form you can think of. Brooks believes the rising fascination of zombies is related to watching the fictional destruction of our society and knowing it is not real and being able to turn it off rather than realizing the downfall that is actually occurring. He believes that zombies have been so popular because it allows people to have a feeling of control because they know the dead cannot rise so watching different scenarios of the world almost ending due to an epidemic
These women pursued and aimed for the idea of a “New Woman,” which meant to be liberal and not fit into the norms of social roles. According to Senf, “New Woman” roles explored through the domains of education, and financial independence. Women wanted to be emancipated from the demands of culture and society, and freely express their thoughts. Some women were successful in conquering the idea of the “New Woman,” while others were still under the authority of the dominant male. The expanding influence of the women may have left men powerless, but it resulted to promote the ideas of the “New Woman.” In the story, Dracula causes the commotion of giving women the sexual power in which society at time suppressed and inhibited. According to Miller, Dracula is used to instill fear within the characters and society because of his ability to liberate female sexuality. In the story, when Lucy is bitten by Dracula it symbolizes the liberation from her traditional role in society, and at the same time she created into a sexual being. Upon this transformation, Lucy represents women who emancipate themselves from the Victorian woman. In the beginning of the story, prior to Lucy transforming into a vampire, she is described as pure, innocent and scenic. She exchanges letters with Mina, and in one letter she
According to author Kyle Bishop, we are living in what he is calling the zombie renaissance, essentially, it is the reinvigoration of the genre that for many years became non existent. Since 9/11 movies and shows featuring the genre have spark interest in the pop culture community. Using the genre’s features and aesthetics these new films and shows have formed a connection between our society’s greatest fears and anxieties such as reality about our deaths, infectious diseases, natural disasters, and war. These types of images continue to become a more common aspect of our daily lives and essentially is dominating the horror genre.
The two main female characters in Dracula, Mina and Lucy, show the standards set by men for women during the time. These two characters also serve as foils for each other, which further highlights the patriarchal standards in the Victorian society, and how women are evolving during the time as well. Lucy is described as an innocent
Stoker is clever in contrasting the two best friends, Lucy and Mina, because he portrays Mina as more of a respectable woman than Lucy. Van Helsing even says that Lucy is “one of God’s women, fashioned by His own hand to show us men and other women that there is a heaven where we can enter, and that its light can be here on earth. So true, so sweet, so noble, so little an egoist--and that, let me tell you, is much in this age, so sceptical and selfish” (Stoker 203). Stoker’s view on the relationship between men and women is revisited here and he shows the reader his opinion of what a woman should aspire to be like. He does not sexualize Mina because she is not a sinful or evil woman with suppressed desires, but rather strong-minded and devoted. That is to say why the issue in Mina’s situation is gender based rather than sexual. Mina, although obedient to the situation, is not viewed as an equal to the group of men attempting to protect her. Van Helsing, whilst astounded with Mina’s contributions states, “‘We men are determined--nay, are we not pledged?--to destroy this monster; but it is no part for a woman’” (Stoker 251). Mina gladly accepts the gender role in which she is placed, but at the same time she feels constrained and as if she could be of more help to the men. The choice in Dracula’s victim also shows how Victorian society did not view women as autonomous individuals.
This is a question that has been asked repeatedly and as time progressed, our answers have changed from what we once thought to be the answer. To be fair, there really is not just one type of answer that fits for everyone’s idea of a zombie. For many people of varying religious beliefs and cultural backgrounds, their answer may not be the same as what our Western modern expectations of a