Issues of Sexuality in 'Bram Stoker's Dracula'

Fiction & Literature, Literary Theory & Criticism, British
Cover of the book Issues of Sexuality in 'Bram Stoker's Dracula' by Christoph Haeberlein, GRIN Publishing
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Christoph Haeberlein ISBN: 9783640135745
Publisher: GRIN Publishing Publication: August 12, 2008
Imprint: GRIN Publishing Language: English
Author: Christoph Haeberlein
ISBN: 9783640135745
Publisher: GRIN Publishing
Publication: August 12, 2008
Imprint: GRIN Publishing
Language: English

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1.7, University of Cologne, course: Gothic and Neo-Gothic Ficiton, 22 entries in the bibliography, language: English, abstract: Taking a look (an not even a close one) at movies or TV-series dealing with vampires, one immediately recognizes the vampire as a sexed-up figure, conveying the notion of the lascivious vamp as in Underworld, the noble alpha-male as in Blood Ties or the longed-for guardian and lover as in Moonlight. In her novels, Anne Rice describes the vampire's bite as a liturgical act (cf. Brittnacher 1994:131), Sheridan Le Fanu's female vampire Carmilla is actually a lesbian (cf. Leatherdale 1985, 54) and John Polidori's early story The Vampyre is considered to have successfully combined the vampire-motif with a seducing romanticism (Hurst 2002, 139; Leatherdale 1985, 51). There is a long tradition in sexing up vampire-figures, reaching back even to Bram Stocker's Dracula. Indeed, Bram Stoker combined different aspects of the literary vampire when he created Count Dracula (cf. Brittnacher 1994, 119ff; Hurst 141f). This mixture of well-tried elements may be one of the reasons why Bram Stoker's novel is widely seen as the 'by far best-known literary treatment of the vampire myth' (Bentley 1972, 27). Amazingly, Dracula has never been out of print since it was first published in 1897 (Leatherdale 1985, 11; McNally et.al. 1994, 133) and can thus be said to have become the figurehead for the vampirism-phenomena. Consequently, James Twitchell asserts that 'vampire and Dracula have become synonymous' (1981, 132).

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1.7, University of Cologne, course: Gothic and Neo-Gothic Ficiton, 22 entries in the bibliography, language: English, abstract: Taking a look (an not even a close one) at movies or TV-series dealing with vampires, one immediately recognizes the vampire as a sexed-up figure, conveying the notion of the lascivious vamp as in Underworld, the noble alpha-male as in Blood Ties or the longed-for guardian and lover as in Moonlight. In her novels, Anne Rice describes the vampire's bite as a liturgical act (cf. Brittnacher 1994:131), Sheridan Le Fanu's female vampire Carmilla is actually a lesbian (cf. Leatherdale 1985, 54) and John Polidori's early story The Vampyre is considered to have successfully combined the vampire-motif with a seducing romanticism (Hurst 2002, 139; Leatherdale 1985, 51). There is a long tradition in sexing up vampire-figures, reaching back even to Bram Stocker's Dracula. Indeed, Bram Stoker combined different aspects of the literary vampire when he created Count Dracula (cf. Brittnacher 1994, 119ff; Hurst 141f). This mixture of well-tried elements may be one of the reasons why Bram Stoker's novel is widely seen as the 'by far best-known literary treatment of the vampire myth' (Bentley 1972, 27). Amazingly, Dracula has never been out of print since it was first published in 1897 (Leatherdale 1985, 11; McNally et.al. 1994, 133) and can thus be said to have become the figurehead for the vampirism-phenomena. Consequently, James Twitchell asserts that 'vampire and Dracula have become synonymous' (1981, 132).

More books from GRIN Publishing

Cover of the book Virginia Woolf´s 'The Waves' by Christoph Haeberlein
Cover of the book Manage feelings in your projects well, and you are more likely to deliver your projects successfully by Christoph Haeberlein
Cover of the book Strategy Coursework - Sony Corporation by Christoph Haeberlein
Cover of the book African American Vernacular English - Origins and Features by Christoph Haeberlein
Cover of the book A structural clash of perspectives. Irreconcilable contradictions in Tom Stoppard's drama 'Rosencrantz and Guildenstern are Dead' by Christoph Haeberlein
Cover of the book Soziale Ausgrenzung durch Stadtteile und Netzwerke by Christoph Haeberlein
Cover of the book Biological Invasions by Christoph Haeberlein
Cover of the book Mophology of the fairy tale. Disney's literary original 'The Princess and the Frog' analysed on the basis of Propp's 'Morphology of the folktale' by Christoph Haeberlein
Cover of the book The Reformation in Scotland by Christoph Haeberlein
Cover of the book Invisibility in african american novels by Christoph Haeberlein
Cover of the book The German Influence on Australian and American English by Christoph Haeberlein
Cover of the book The Evolution of Innovation - TRIZ Trends and Bionics by Christoph Haeberlein
Cover of the book Terrorism and American Literature by Christoph Haeberlein
Cover of the book An examination of the extent to which Rousseau reconciled the claims of the individual and the community by Christoph Haeberlein
Cover of the book Taking sides in Ronald Harwood's 'Taking Sides' by Christoph Haeberlein
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy