Comparing Sexuality and Power in Dracula and Buffy the Vampire Slayer At first glance, Joss Whedon's "Buffy the Vampire Slayer," the hour-long TV series which premiered in 1997 and is now in its third season, bears little resemblance to the book which started the vampire craze -- Bram Stoker's Dracula, published a century earlier. And yet, looks can be deceiving. Although the trendy -- and often skimpy -- clothing and bandied about pop-culture references of "Buffy" clearly mark the series as
1. Time: The role of time in Dracula is very important. Looking at life through each person’s eyes makes the whole ordeal seem more realistic. After Jonathan's last entry in Chapter 4, we are left wondering whether he made it out alive or not. The time suspense here draws us in wanting to know more and more. Time’s importance also has to do with occurrences of good versus evil. The evil things always happen at night in the dark, and night has always been represented as a dark, evil concept. 2
Bram Stoker’s Dracula is a tale that sets its characters on a path of psychological turmoil and heroic satisfaction. The supernatural nature of the vampire as well as its seemingly human form allows one to analyze these characters as being archetypes of the personal unconscious for the human characters confronting them, particularly the shadow and the anima/animus as postulated by Carl Jung in his text Aion. Furthermore the purely human characters that encounter these vampires, and thus their own
Coppola's Interpretation of Dracula as a Love Story The protagonist and story of Bram Stoker's novel Dracula have been widely interpreted and adapted in films throughout many years. Despite almost a century of time since the initial publication, Dracula has maintained its ability to frighten and mesmerize readers. Francis Ford Coppola's Bram Stoker's Dracula; however, utilizes the erotic romance of the original novel in order to depict a tragic love story. The film accurately follows the general
Knowledge in Stevenson's The Beach of Falesa and Stoker's Dracula Several works of late 19th century British imperial literature contrast the role of information with the role of superstition in colonial encounters. Looking at Stevenson’s “The Beach of Falesa” and Stoker’s Dracula, we see that information plays an important role in both British and non-British characters’ abilities to dominate over their opponents. However, each of these works differs in its treatment of rational and irrational
Who knew vampires were such sexual creatures? It seems obvious once you consider their care free lust for human blood. Due to the context of the time period Dracula was written, the late nineteenth century, expressing your sexuality openly and publicly was not condoned. People in society, especially women, were taught to keep their sexuality under control and to themselves until they were legally married. In Bram Stoker’s Dracula, the reader witnesses how Lucy Westerna, Mina Murray, Jonathan Harker
The vampire is probably the only creature of which this many different myths have been written. However, there is not a clear source that states where these myths have originated from. Over the years many myths have disappeared but the ones that are still discussed today often originated in early Romania, Serbia and Hungary. One of the biggest myths is the one where someone who has been bitten by a vampire becomes a vampire themselves. However there are some variations to this myth, some say that
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
either a mother and a wife, or a pure, innocent girl. Any other deviation from the set path resulted in punishment, both physically and socially. Deviation can vary as women being over sexual to resembling men in their actions. Bram Stoker’s novel, Dracula, is no exception in its representation of Victorian ideals. For his purposes, Stoker uses symbolism, tone, and diction throughout to convey the standard Victorian British perception of themselves. Through this conveyed standard to express his
"I'm no lunatic man, I'm a sane man fighting for his soul" this quote from Bram Stoker’s- Dracula, illustrates and foreshadows that in the Victorian era, a quest for meaning was seen by the majority of society as ‘lunacy’, however the characters that Stoker uses, are represented ‘sane’, suggesting Stoker’s encouragement of a quest for meaning and purpose in the Victorian era of increasing uncertainty. Along with Stoker, Charles Dickens and Lord Alfred Tennyson also address the individual’s pursuit