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Immortality theme in literature
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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. Immortality and eternal youth frequently appears in literature as a means of exploring fears of mortality, aging and decay. Carmilla is immortal in the sense that she cannot die from old age, though she can be killed through other means, as seen at the end of the novel. The undead are those that have died but maintain living traits, immune to aging while maintaining an animate body and mind. In Carmilla, there is a clear binary between the mortal and immortal. Laura’s illness is described as a strange melancholy, “a pretty advanced stage of the strangest illness under which mortal ever suffered,” furthering the dist... ... middle of paper ... ...rmities, society is reminded of its own abnormalities. In doing so, greater care is taken to prevent the consequences of monstrosity. Exploring monsters in literature and film, therefore, becomes necessary in reinforcing ideals of normalcy (160). The attempt to subvert this monstrosity the social anxieties of aging, beauty and the fear of death remains constant. The immortal and eternally beautiful monster defies human boundaries, limitations, and weaknesses of the physical body. In Le Fanu’s Carmilla, the vampire is constructed as the ideal feminine body, invulnerability and immune to decay. The monstrous vampire body, capable of destabilizing normalcy within society, is both deformed and eternally beautiful. The monster presents the ideal subject to compare and contrast with humankind, providing a safe space to confront and explore society’s insecurities and fears.
Batman beats the Joker. Spiderman banishes the Green Goblin. For centuries story tellers have used the basic idea of good beats bad to guide their tales. Stories of blood sucking, human possessions and other tales have been passed down generations and vary between cultures. Among the creators of the famous protagonists is, Bram Stoker, the creator of Dracula. This fictional character was soon to be famous, and modified for years to come into movie characters or even into cereal commercials. But the original will never be forgotten; a story of a group of friends all with the same mission, to destroy Dracula. The Count has scared many people, from critics to mere children, but if one reads betweens the line, Stoker’s true message can be revealed. His personal experiences and the time period in which he lived, influenced him to write Dracula in which he communicated the universal truth that good always prevails over evil.
Throughout legends there has always been an old tale that vampires do exist. This myth began with a man known as Dracula, Vlad Tepes, who was brought to popularity by the author Bram Stoker. Another, Elizabeth Bathory, also assisted in the vampire myth.
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. .
Bram Stoker’s Dracula illustrated fears about sexual women in contrast to the woman who respected and abided by society’s sexual norms. Joseph Sheridan LeFanu’s “Carmilla” represented not only the fear of feminine sexuality, but also the fear of sexuality between women. John William Polidori’s “The Vampyre” showed society’s fear of sexuality in terms of the seductive man who could “ruin” a young girl.These texts are representative of vampire stories in the Victorian Era, and will be the focus here.
Vampirism is not an author’s imagination, or terminology, but for some category of people; it is a life dogma and path they willfully and viciously want to follow. According to Foster, vampirism is about selfishness, and denying other people’s rights to live in order to meet one’s own demands. The unusual vampirism, through the detailed description, complex syntax, and unusual diction, demonstrates the destructive consequences of violence on human beings leading the lives of the victims as well as their families to be shed into pieces.
which has the upper body of a woman and the lower body of a winged
Count Dracula has been the frontrunner for the modern day vampire lore and legends since being printed back in 1897, pop culture took the vampire traits from Bram Stoker’s Dracula and twisted them. In modern portrayals of vampire lore, each author chooses an original aspect from Stoker but then creates a little bit of their own lore in the process. Count Dracula appears to be a walking corpse from the pale and gaunt visual aesthetics to the coolness of his undead skin (Stoker). In some cultures, the vampire is able to transform from the body of a human being to that of a fellow creature of the night, a bat. In the novel Dracula more than one town was easily visualized through the detailed descriptions throughout the novel, thus
For centuries, gothic authors depict the vampires as evil, repulsive, and socially secluded “creatures”, leaving the audience terrified by the gruesome details of the murdering and sucking the blood to kill the victims, in order for the vampire kind to survive. However, the modern vampire is drastically pulling away from that negative connotation, and becoming difficult to differentiate amongst the public. Since many Americans are struggling to make ends meet, they tend to seek out alternative methods of achieving money, such as donating blood for a payment. This not only helps struggling families in their time of need, but also helps people struggling with organ failure. This source of saving human blood is represented in Twilight, as the Cullen family of vampires, feed exclusively on animal blood in order to save human life. Though the gruesome murdering of the human victims from a vampire attack has been taken out of today’s stories, the general gloomy and eerie mystique of...
In the year 1897, Bram Stoker releases the crown jewel of the 20th century: his vampire epic Dracula. Ever since Dracula, Transylvania, and castles have been associative of vampirism, the world has become “bloody”. There are slight deviations to the novel, but the majority of them are fairly partial to the novel. Worldly views show Dracula as an old man with a new face. The inception of Bram Stoker’s Dracula has been the melting pot of the recreations and incarnations of the world’s deadliest, bloodsucking vampire, Count Dracula.
The Vampire Academy by Richelle Mead is about two girls Rose Hathaway and Lissa Dragomir. Rose Hathaway is not a normal girl not even close. She is a bodyguard to the vampire princess Lissa Dragomir. After two years of freedom Lissa and Rose were caught, and dragged back to the one place they vowed to never go back to St. Vladimir’s Academy. Now they have to watch every move they make, because someone at the academy is out to get them, but who and why?
Le Fanu’s approach using gothic tropes is obvious here, as he uses the tabooed deviations from the sexual norm, to explicitly showcase the rise of the New Woman, chasing sexual freedom. One of the main differences between Dracula and “Carmilla” is the way each author interconnects the gothic trope of sexuality. Carmilla is portrayed as beautiful and majestic (Le Faun Chapter III). Whereas, Dracula is portrayed as a horrid, hairy and harmful looking man (Stoker Chapter II). While both Stoker and Le Fanu create creatures that both hold power over there victims, Le Fanu effectively uses Carmilla’s beauty, to portray her victims as more willing. Therefore, readers’ are lead to believe that Carmilla depends more on the act of seduction, referring to the very strong lesbian undertones. By drawing on this, Dracula is predominately a more vicious attacker. This separates Carmilla from her male counterparts as Carmilla is seducing victims in a very literal sense, opposed to Dracula whose victims are just under his trance. Therefore, what has already been alluded to in Carmilla’s case, becomes explicit in Stoker’s Dracula. This is apparent during Johnathan being tempted and repelled (Stoker Chapter III) by the three vampires. However, Dracula focuses mainly on facets of male homosexuality and male hegemony, and
Fangs, dead, blood, and bats. Those are some things that come to peoples minds when they think about vampires. In Webster’s International Dictionary vampires are defined as “a bloodsucking ghost or reanimated body of a dead person, believed to come from the grave and wander about by night sucking the blood of persons asleep…” Whatever people think of vampires, they are not really what they are believed to be.
Vampires are known as mythical beings with white pale glittery skin that drain the essence of life known as blood. As unbelievable as it sounds they actually did exist centuries ago. They weren’t anything like the vampires we see in movies, shows, books, and video games today. A vampire or something analogous to it can be found in most culture and folklores going back to the beginning of time, but it is a mistake to think they have familiar attributes of Count Dracula. The term “vampire” appeared in literature since the 18th century. Vampires might be viewed as either blood-sucking creatures or sexy ones, but they represent much more than that. Vampires represent fear and contempt of people with different beliefs.