A World Of True Blood And Twilight

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In a world of True Blood and Twilight it is easily seen by the current young adult generation as to how sexualization of vampires is inevitable and as a result is easily accepted. However according to Christopher Craft and his work on “Gender and Inversion”, that conventional vampiric sexualization is more complex than perceived. Craft’s work outlines many of Bram Stoker’s theses throughout his novel Dracula. He states how there is a gender inversion within Stoker’s vampire; questioning conventional Victorian “gender codes” as the novel unravels. Focusing primarily on the gender paradigm, Craft surfaces arguments that would shatter beliefs of homophobic readers, introducing the implicit homoeroticism within the story. Stepping back,…show more content…
Approaching the end of the novel, the group of men have found Lucy’s sleeping ‘coffin,’ and intend to execute her; drive a stake through her heart. This scene shows Stoker’s choice to over sexualize the novel. Stoker wrote, The Thing in the coffin writhed; and a hideous, blood-curdling screech came from the opened red lips. The body shook and quivered and twisted in wild contortions; the sharp white teeth clamped together till the lips were cut and the mouth was smeared with crimson foam. Stoker uses this scene to convey his overall theme of sexuality within his vampires. Here he depicts the men standing over Lucy, as a vampire, and driving a stake through her heart. That being said, the way Lucy ‘dies’ is rather resemblant of a female orgasm. Beginning with the “screech… [which] came from the opened red lips.” Lucy is ‘penetrated’ by Van Helsing and caused to scream from the pain; however, it is hard to pass the sexual connotation this scream has due to the situation surrounding. From the penetration, to the screech, to how her “body shook and quivered and twisted in wild contortions”. This scene is fully depicting female orgasm. Stoker solidifies it further by adding her teeth being clamped together as the orgasm progresses. Near the end of the book Stoker became more and more obvious with his insertion of sexualized material. In the scene where John Harker is
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