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an analysis of horror
an analysis of horror
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Does the supernatural simply flare and then fade forever? More specifically, do vampires die? Guillermo del Toro and Chuck Hogan claim in their essay, “Why Vampires Never Die,” published in July 30th 2009, that the reason paranormal creatures are immortal is due to the fact that they stress what is corporeal in humanity, whereas vampires accentuate the endless and everlasting desire within mankind. They deem that in a society fixated on the transient, something truly endless grasps a distinctive charm. Furthermore, their core idea is that the individual craving for vampires hasn't been altered, albeit how radically society has been reformed. That in actuality, present scientific progressions have amplified one’s interest of vampires and monsters, and that forms inherent fears that will stay with people persistently. Del Toro and Hogan take advantage of multiple rhetorical elements such as telling the story in a compare and contrast manner, making use of similes, using a more connotative language, and having a unique structure of text. The author’s op-ed piece was published in 2009, the very peak of the vampire contagion, where one could find these creatures wherever they looked. This pandemonium that arose from vampires is what drove del Toro and Hogan to pen “Why Vampires Never Die.” Furthermore, the purpose behind this essay is to give an abridged description of the past of vampires for the people who had become fanatics of the creatures. Also, this essay showed how vampires have persisted in pop culture. They suggest that vampires have been remade by diverse cultures at different times, and this change echoes that society's angst and concerns. The novelist’s imply that Stroker’s Dracula may mirror an exaggerated human on a prim... ... middle of paper ... ...Moreover, by having paragraphs smaller and/or larger then others, it helps the reader identify what is important within the confines of the text. Both del Toro and Hogan affirm that beings such as vampires will never die, but not because of their immortality, but how they illustrate one’s desires. The authors of “Why Vampires Never Die” exploit numerous rhetorical components to convey this notion to the reader. So do vampires flare and then fade forever? No they do not. For as their impurity grants its nightly endowment, vampires alter humanities abominable finite identities and bind it to the treasure of infinity, and therefore impart within people their inner desire. As long as they express societies lust, they will forever be immortal. Works Cited Kennedy, X.J., Dorothy M. Kennedy, and Jane E. Aaron. Bedford reader. S.l.: Bedford Bks St Martin'S, 2013. Print.
Janet E. Gardner , Beverly Lawn , Jack Ridl , Peter Schakel. Boston: Bedford/St.Martin’s, 2013. 250-276. Print.
J. Gordon Melton, in the excerpt “Sexuality and the Vampire” published in his The Vampire Book: The Encyclopedia of the Undead (1998), explains that vampires have a sexual appearance that started from their origin in Dracula. Melton supports his statement by analyzing the monsters' transition to sexual beings through the stories of Dracula’s desires, multiple countries’ erotic tales revolving around vampire-like beings, the manifestation of sensual themes in literary, stage, and screen works, and their current evolution of the once terrified immortals to loved heroes. The purpose of this essay was to outline the seductiveness of the written immortal creatures in order to explain the fanged-mammals’ appeal beyond their terrifying monster abilities.
Carmilla is an example of a woman who loves her food far too much. Carmilla is consumed entirely by her food, even sleeping in a coffin of blood: “The limbs were perfectly flexible, the flesh elastic; and the leaden coffin floated with blood, in which to a depth of seven inches, the body lay immersed” (Le Fanu 102). There exists a unique relationship between the vampire and their victims. Food becomes defined in terms of victimhood, distinctly separated from humanity’s general consumption of meat. The need for human victims makes hunting synonymous with courtship, as intense emotional connections are established between the vampiress and her food. As seen in the intense relationship developed between Laura and Carmilla, the vampire is “prone to be fascinated with an engrossing vehemence, resembling the passion of love, by particular persons” (105). For Carmilla, cruelty and love are inseparable (33). The taking of the victims’ blood for sustenance is a highly sexualized exchange of fluids from one body to another. The act of consumption is transformed into an illicit carnal exchange between the hunter and the hunted.
In the first thesis, the author speaks of the vampire’s body as that which lies in fear, desire anxiety and fantasy. He suggests that it should be killed by driving a stake through its heart that will stick it to the ground. The monster, as it is being referred to be pure culture and symbolizes something and not just itself. The thought of killing the vampires can be related to monster movies we watch where they are killed using the stake but never die. Some of them even claim to be five hundred years!
Ed. Lynn Z. Bloom and Louise Z. Smith. 3rd ed. Boston: Bedford/ St. Martin’s, 2011. 494-507. Print.
Vampires have been viewed with fear and fascination for centuries. Of all the vampires in literature, Bram Stoker’s Count Dracula is probably the most prominent vampire. Recently, there has been an upsurge of public interest in socially acceptable vampires, like the Cullens in the Twilight series by Stephanie Meyer. This essay will contrast Stoker’s Dracula with Carlisle Cullen, one of the newer vampires from the Twilight series. They will be examined in terms of their origins and how they dealt with immortality.
Nowadays, people are still enticed by fear, they have a curiosity for the supernatural, evil and frightening. Although modern day society is supposedly politically correct, we are still an immoral society and many of us would treat a creature like Frankenstein’s creation or a vampire like Dracula like a monster. In this way, the novels still have social significance.
The vampire had been depicted as the epitome of offensive and seductive behavior in their early representations. It has suffered an enduring image of something inhuman and monstrous that feeds and thrives at the expense of others. As David Punter and Glennis Byron have asserted, “Confounding all categories, the vampire is the ultimate embodiment of transgression” (The Gothic 268). The transgressive behavior of the vampire was first observed with Stoker’s Dracula. Although this figure is attractive to us in many ways, with his intelligence and immortality, the Count is primaril...
Humanity has always been fascinated with the allure of immortality and although in the beginning vampires were not a symbol of this, as time passed and society changed so did the ideas and perceptions surrounding them. The most important thing to ask yourself at this point is 'What is immortality?' Unfortunately this isn't as easily answered as asked. The Merriam Webster Dictionary says immortality is 'the quality or state of being immortal; esp : unending existence' while The World Book Encyclopedia states it as 'the continued and eternal life of a human being after the death of the body.' A more humorous definition can be found in The Devil's Dictionary by Ambrose Bierce:
From Transylvania to Hollywood, vampires have transformed from unfamiliar, mysterious personalities to one of the most dominant monsters in the horror genre today. Vampires are one of the oldest and most noted creatures in mythology, with many variations of them around the world. Although the most famous version is Bram Stoker’s Dracula, many variants have come before and after telling of the same legend with their own added ideas and modifications to relate to their cultures. Today, there is a multitude of literary and film works that convey and resurface peoples’ fear of vampires. As gothic works like Dracula, by Bram Stoker and Scooby-Doo! and the Legend of the Vampire directed by Scott Jeralds share certain traits reflective of the genre;
Gothic imagery and themes include castles, coffins, monsters and strange lands and pose the background of the classic Gothic novel. The Gothic element is synonymous with the horror and uncanny- a feeling rather than form, in which transgression is the central topic (Wisker 7). The vampire is a figure that transgresses society’s limits to form the central dynamic of the Gothic. “We enjoy seeing the limit transgressed- it horrifies us and reinforces our sense of boundaries and normalcy” (Halberstam 13). Assuming that Bram Stoker’s Dracula sets the archetype of the vampire, it is clear that modern vampires have demonstrated a decrease in the Gothic horror despite similarities in the Gothic imagery
When the word “vampire” comes to mind, people think of the traditional pale-faced, malicious bloodsuckers, sporting a cape and killing people when they’re sleeping. Wrong! Nowadays, the image of a vampire is a handsome, polite, and loving person who protects humans. The new cultural phenomenon Twilight is building a new degrading image for vampires that slaps the face of all previous authors, directors, writers, etc. who contributed to giving the monster its unique image in the past.
In Twilight, Edward Cullen presents the question; “ But what if I’m not the hero? What if I’m the bad guy?” The role of vampires is very controversial. Back in the day they were evil, soulless monsters and people genuinely feared them. However, in the present day it seems that we have grown to love them and even hope to one day be them. There are a plethora of vampire stories and many of them have become immense hits. With so many vampire stories, it is not uncommon that readers are able to identify a vast amount of similarities. Although similar in aspects, there are still many differences between the classic and modern day vampires. Two highly popular stories, in which we can easily identify similarities and differences, are Bram Stoker’s Dracula and Stephenie Meyer’s Twilight.
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. .
Vampires are in a sense immortal. They cannot die of old age and are always in their prime at around 20 – 30 years of age (physically). They are immune to almost any diseases and poisons and cannot spread a disease from one human to another. They can recover from most wounds; a new vampire might take three days to recover from a wound that would take an older vampire three minutes. Vampires can of course be killed if the wound is large enough that they will die before they have time to heal, this means that old vampires are almost impossible to kill as they heal almost instantaneously