observes that "because of our instinct for self-preservation, we all have a natural fear of losing ourselves in another person" (340). This is evident in Dracula when Lucy knows that her "bad dreams" (Stoker 109) come at night so she has "the pain of sleeplessness, or the pain of the fear of sleep" (Stoker 132). She has the fear that if she sleeps Dracula will appear and cause her to "lose herself." Stoker's Dracula character defies Horney's above statement, presumably because he is not "human." He has
everything about them has changed, for instance, “…an expanded “sweet-spot”- the area of the bat that produces maximum hitting power. While the sweet spot on a wood bat is roughly 6 to 8 inches long, aluminum sweet spots can be twice that size”(43). James Braham, a writer for Machine Design, says that the new “aluminum baseball bats have actually taken over an estimated 90 to 95% of the market, with wood bats remaining largely in the professional major and minor baseball leagues”(James 56). Another exciting
Free Essay on Dracula In the novel Dracula there are many qualities that are necessary for success. Firstly determination is a key factor to succeeding; secondly revenge is a factor in succeeding; furthermore fearlessness plays a big role when they go to kill Lucy; lastly intelligence is needed to make all the plans. When Jonathan Harker get captured by Dracula he is afraid, but he is also determined to get free. "I can not say in this room much longer for I shall die," he said. A small
Money - The True Force Behind Dracula In Dracula (1897), Bram Stoker explores the "wonderful power of money" (Stoker 341). Through the actions of Van Helsing and the "Army of Light" Stoker ponders "What can it not do when it is properly applied; and what it might do when basely used!" (341) through Dracula's machinations. Though one does not usually associate a vampire with a bank statement, Dracula utilizes the power of money as well as his abilities to turn into dust and bats. By granting
Yank’s Absurd Inheritance in The Hairy Ape It is intriguing how Eugene O’Neill stages the audience for The Hairy Ape. When the curtain opens upon the forecastle of the transatlantic liner, the audience is immediately beset by Yank’s seemingly unassailable sense of identity. “Everting else dat makes de woild move, somep’n makes it move. It can’t move without somep’n else, see? Den yuh get down to me. I’m at de bottom, get me!” (261). Yank trumpets himself, in effect, as the prime mover
Compare/Contrast Dracula and Bram Stoker's Dracula A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study. Comparing the 1931 version of Dracula, starring Bela Lugosi, with Frances Ford Coppola's Bram Stoker's Dracula 1993 version yields
Stoker and Rice's Books About Vampires Bram Stoker's Dracula and Anne Rice's series The Vampire Chronicles are books about vampires. The way the two authors write about the vampires' powers, the way they live and how they are created and destroyed prove that two books about the same subject can be different in many ways. It also shows how the vampire legend has evolved over a long period of time. Special powers are used in both of the authors writings. A few of the powers are the same, or very
deceased child before three female vampires. Stoker may have been influenced by London's numerous enticements; it is no surprise why he choose it to be the setting of his novel, London seems to be "exotic" and unknown. Stoker is obviously inspired by London's castles, hidden streets, and church yards. Because of all of these points, London is the perfect gothic setting for Stoker's Dracula. London is recognized for its grand castles. Stoker may have been motivated to use these in his
of films that have attempted to recapture the magical horror of Stoker's novel but have fallen drastically short. Works Cited Holte, James Craig. Dracula in the Dark: The Dracula Film Adaptations. Westport: Greenwood Press, 1997. Stoker, Bram. Dracula. New York: Signet, 1992. Bram Stoker's Dracula. Screenplay by James V. Hart. Dir. Francis Ford Coppola. Perf. Gary Oldman, Winona Ryder, Anthony Hopkins, Keanu Reeves. Columbia Tristar, 1992.
The Gothic Tradition in Stoker's Dracula and Wilde's Picture of Dorian Gray Gothic Literature was a natural progression from romanticism, which had existed in the 18th Century. Initially, such a ‘unique’ style of literature was met with a somewhat mixed response; although it was greeted with enthusiasm from members of the public, literary critics were much more dubious and sceptical. Gothic writing is a style of literature that relies upon the evocation of moods, feelings and imagery for impact
Arata, Stephen D. "The Occidental Tourist: Dracula and the Anxiety of Reverse Colonization." Victorian Studies 33.4 (Sum. 1990) : 621-45. Stevenson, John Allen. "A Vampire in the Mirror: The Sexuality of Dracula." PMLA 103 (1988) : 139-49. Stoker, Bram. Dracula. 1897. Oxford: Oxford UP, 1992. Wasson, Richard. "The Politics of Dracula." English Literature in Transition 9 (1966) : 24-27. Zanger, Jules. "A Sympathetic Vibration: Dracula and the Jews." English Literature in Transition 34
destroyed, the women rid of their evil sexual desires and kept out of the dangerous world outside their homes, and the men safe and free in a male-dominated world, playing their exclusive gallant, intelligent, and adventurous roles. Text Cited Stoker, Bram. Dracula. Ed. Glennis Byron. Peterborough: Broadview, 1998.
could ruin young girls, and both fears are embodied by Lord Strongmore. Works Cited Auerbach, Nina. Our Vampires, Ourselves. Chicago: University of Chicago, 1995. LeFanu, Joseph Sheridan. Best Ghost Stories. New York: Dover, 1964. Stoker, Bram. Dracula. 1897. New York: Penguin, 1993.
Bram Stoker's Dracula In act 2 scene 6 and act 3 scene 6 of the play ‘Dracula’, the playwrite creates impressive tension by using spine-chilling, ghostly settings, and slyly showing us situations in which characters such as vampires, prey on vulnerable characters such as Mina. Also, he uses soliloquies to give the opposing character no power. Also, by using soliloquies in these scenes he gives the point of view from the weak characters’ eyes. Firstly, the playwrite creates impressive
During the Romantic Era, Bram Stoker created a timeless monster in his novel, Dracula. Stoker uses a series of letters and journal entries to tell the story form a first person point of view. The Count, for whom the book is named, seems to be invincible to mere man. Stoker uses his character of Dracula to reflect the elements of romanticism through his supernatural powers, a fascination with youth and innocence, and imagery. Dracula seems to possess unexplainable supernatural powers. When Jonathan
Mary Shelley’s Frankenstein and Bram Stoker’s Dracula Evil features in both ‘Dracula’ and ‘Frankenstein’ but the personification of this evil is different in both novels. A feeling of menace and doom pervades ‘Dracula’ because of his supernatural powers. One feels that he has control of the evil and he has the power to manipulate the environment and people for his own ends. ‘Frankenstein’ centres on the creation of a monster made from parts of dead bodies and the fear created by the monster
Bram Stoker's Dracula is Anti-Christian There are many ways that Bram Stoker's Dracula can be considered Anti- Christian by showing of Anti-Christian values and perversions of the Christian religion. In chapter one as Jonathan Harker is traveling to Castle Dracula he is met by several people. When he meets these people and tells them where he is going they cross themselves along with doing several other superstiscious actions. One of the women he meets gives him a crucifix to protect him
female sex and a continuous exaltation of the domineering male sex. Stoker communicates this idea through an abundant use of prominent male characters, the presence of merely two women, who are each extremely suppressed, either sexually or intellectually, and the constant exaltation of the male sex over the female sex. In a paternalistic society, men are acclaimed as the foundation and the pillar of the social order. Stoker illustrates this facet of paternalism through the use of affluent
p.m.” Abraham Stoker in this unassuming way begins his Gothic masterpiece, Dracula (The Annotated Dracula 1). Dracula has been called ‘imaginative’ and ‘original.’ , and Harry Ludlam calls it “the product of his own vivid imagination and imaginative research” (Senf 41). However, the originality of Stoker's Dracula is in doubt. By a similarity in the setting, characters and plot, in Bram Stoker’s Gothic work Dracula and the posthumously published short story “Dracula’s Guest,” Stoker is shown to have
paper ... ... novel allows an outlet for natural, human biological necessities, no doubt many Victorian readers were similarly thrilled and repulsed by its deliberate depiction of them. WORKS CITED Auerbach, N. A. and Skal, D. J. Bram Stoker: Dracula: Authoritative Text, Contexts, Reviews and Reactions, Dramatic and Film Variations, Criticism. New York, W. W. Norton & Company, 1997. Carter, M. L. (ed.). Dracula: The Vampire and the Critics. Ann Arbor, U.M.I. Research Press