Analysis Of The Novel ' Dracula '

The turning point was within the first ten pages. Which as a reader it kept me interested in what was gonna happen throughout the whole book. Given the book wasn’t too long, that was a plus because I don't have a lot of time to read with having practice, a job and other homework. This book was very easy to finish in the time period given by my teacher, which was very easy to cut the book into easy segments to read, because it was a shorter book than most. In the novel it kept me very excited when the main character Dracula was hunted down and killed. It was a very big turning point in the book, it changed the whole plot of the story. I also liked this book because it showed more than just the main character changing physically throughout the book it shows his mental change in perspective from his change of being human to changing to a vampire. His mental development is a key example of the fact that person will act in the way that you treat them. One Dracula was was confined to his castle for looking being a vampire, that is the point in which he mentally becomes a blood eating

Bram Stoker’s “Dracula” is a story about a Vampire named Count Dracula and his journey to satisfy his lust for blood. The story is told through a series of individuals’ journal entries and a letters sent back and forth between characters. Bram Stoker shows the roll in which a certain gender plays in the Victorian era through the works of Dracula. This discussion not only consists of the roll a certain gender takes, but will be discussing how a certain gender fits into the culture of that time period as well as how males and females interact among each other. The Victorian era was extremely conservative when it came to the female, however there are signs of the changing into the New Woman inside of Dracula. Essentially the woman was to be assistance to a man and stay pure inside of their ways.

Women’s inferior nature within Dracula in reminiscent of Foster’s chapter, “It’s All Political”, which highlights the depth provided by inserting political aspects into novels, such as gender customs. Mina breaks the socially accepted version of a woman, whom is uneducated and stays in the background, by contributing intellectual ideas to Professor Van Helsing’s discussion; Van Helsing praises, “Ah, that wonderful Madam Mina! She has a man’s brain—a brain that a man should have were he much gifted—and a woman’s heart” (Stoker 236). The men are awestruck at the concept that a woman is able to bring forth opinions worthy of a “man’s brain”. This boasts the putative wisdom of men over their unrefined female

In Dracula, Stoker portrays the typical women: The new woman, the femme fatale and the damsel in distress, all common concepts in gothic literature. There are three predominant female roles within Dracula: Mina Murray, Lucy Westenra and the three vampire brides, all of which possess different attributes and play different roles within the novel. It is apparent that the feminine portrayal within this novel, especially the sexual nature, is an un-doubtable strong, reoccurring theme.

By using such a setup, Stoker successfully maintains Mina’s innocence in the borderline murderous acts she is committing by leaving that it is not out of her own free will, but rather from the influence of an antagonist. In addition, though Mina is the one who is directly harming Jonathan, Dracula is the one who is declared the actual perpetrator. “With a wrench, which threw his victim back upon the bed,” (Stoker 235). The victim mentioned here is Jonathan, who Mina was feeding on, is actually stated to be Dracula’s victim instead. This perpetrates the gender roles of women being weak and unassuming while men are dominant and strong. In addition, it defends the mother symbolism with Dracula, as he is taking responsibility for Mina’s actions, like a parent would for their child. By doing so, Mina is associated with a child. Children are understood to be not in full control of their actions and are not given the full responsibilities an adult is because they are known to be not fully mature. This way, it implies that Mina is immature and not in full control of her actions, which simultaneously contributes to the hysterical woman trope seen in the patriarchy. Mothers are the nurtures and the ones who teach their children how to act. In these earlier examples, Dracula takes on the role of a mother, creating irony by switching gender roles. It also dramatizes the change that Mina experiences, doing a complete 180 from the previous

In the late 19th century, when Dracula by Bram Stoker is written, women were only perceived as conservative housewives, only tending to their family’s needs and being solely dependent of their husbands to provide for them. This novel portrays that completely in accordance to Mina Harker, but Lucy Westenra is the complete opposite. Lucy parades around in just her demeanor as a promiscuous and sexual person. While Mina only cares about learning new things in order to assist her soon-to-be husband Jonathan Harker. Lucy and Mina both become victims of vampirism in the novel. Mina is fortunate but Lucy is not. Overall, the assumption of women as the weaker specimen is greatly immense in the late 19th century. There are also many underlying

Countess Elizabeth “Lady Dracula” Bathory de Ecsed was born on August 7, 1560 in Transylvania, Romania to George Bathory and Anna Bathory. She was born to a very wealthy family that contained powerful people such as cardinals, princes, kings, and prime ministers which gave her the privilege of living in the family castle, Esced. Through her childhood, she was very educated; she was able to learn a few languages such as greek, latin, hungarian, and German. Although she was highly educated, she was also taught false acts by her uncles and aunts. Her uncle taught her acts of satanism and her aunt taught her about sadomasochism, which is giving or receiving pleasure from acts involving infliction of pain. This possibly caused her problems

Bram Stoker in Dracula imagens a “proper women” by demonizing Lucy ascribing to her traits of a wanton woman; a whore of a demon. A misogynistic attitude is popular in a patriarchal society especially in the middle of the nineteenth century. On the other hand, Mina although is praised; Stoker unconsciously ties in her behavior that may resemble a woman of propriety she is the very bane of what a progressive woman looks like when looking at her through a gynocritics lens. To prepare the reader for the ideology of the “new and proper woman,” Stoker gives Dr. Steward and Van Helsing separate spheres from that of Lucy’s and Mina’s Character. In chapter fifteen, they are now experts in the dealings and explanation of Lucy the human and Lucy the Un-Dead. As we read the chapters sixteen and seventeen it is preconditioned for us to follow the ways they are dealing with Lucy. It is justifiable to call her a voluptuous lipped “thing” without a soul. Their credibility as learned men allow for them to penetrate a woman for the sake of her soul so she can take her place amongst angels. A woman in the nineteenth century is synonymous to the term “Angel.” Doing anything that is non-Angelic, like the suffragettes places the women to be the binary opposition to Angel; Demon. The “proper woman” is demonstrated with terminology such as; “purity, sweetness, and dainty-looking” (Dracula 211) (220). The interpretation would be considered more

In everyday life, as in literature, there will always be an opposing force to evil. In the novel “Dracula,” by Bram Stoker, Professor Van Helsing acts as Dracula’s main antagonist. An antagonist is the character who acts against the main character, which increases the conflict of the story and intensifies the plot. Through the use of theme, characterization and specific events, the author shows readers how Dr. Van Helsing effectively fits the role of Dracula’s most threatening adversary.

Penetration in some form is usually present in sexual activity and penetration is an overall theme throughout both films. The penetration that takes place in Interview With The Vampire and Bram Stokers Dracula does not take place from sex, instead, penetration comes from fangs, and yet the tone is extremely sexual in nature. The scene in Interview With The Vampire where Le Stat brings two women back to their home is a great example. In the scene, Le Stat bites one woman on the breast and she squeals and moans in ecstasy. Her heavy breathing and sexual moaning make the scene quite erotic. And when he sinks his teeth in deeper her eyes roll back in her head in passion. It isn’t until she notices blood that she becomes afraid.

A horror classic by Abraham Stocker, Dracula, may be one of the most notorious villain stories of all time. Bram Stocker is a Irish writer who changed the view of what to read in his time. He shows dark and twisted situations and metaphors throughout Dracula and many other of his horror novels. This novel was released in the Victorian era, which saw his type of writing as equivalent to the devil. This era was a long time of peace and bright minded people. Stockers style surprised many readers, because he always has you thinking it can’t get any darker than it is but it always exceeds the previous twisted situation or event. Bram Stocker shows Dracula as an iconic creature, with many reasons to be feared, but displayed in the wrong time era.

goes to nurse him back to health and to help him make the trip back to

In the novel's world, Dracula has many mystical powers, some which has been shown only on several occasions and some which he uses for his daily life. Dracula also has a very unique personality, which could tempt women and make them vulnerable. This means, Dracula could dominate every human being individually, not as a group. His powers and personality has something in common. Count Dracula uses his powers and unique abilities as a tool to ridicule religions and God's decisions and as a great threat to the mainstream society.

Mina represents a very well-educated and intelligent woman, she is a full time teacher and keeps up with Jonathan’s work to support him. Representing a ‘New Woman,’ who is typically independent and progressive, she even talks about the ‘New Woman’ ideals when she states that “some of the ‘New Woman’ writers will some day start an idea that men and women should be allowed to see each other asleep before proposing or accepting. But I suppose the New Woman won’t condescend in future to accept; she will do the proposing herself. And a nice job she will make of it, too!” (Stoker 85). Interesting here is her usage of “some of the ‘New Woman’,” which excludes herself from being one of the independent and strong women. Even though Mina takes up an essential role during the journey of tracking, identifying and finally erase Dracula, one can interpret her as passive. According to Sally Ledger, professor of Victorian literature, Mina represents a woman who is “’firmly rooted in the

In the novel, Dracula, by Bram Stoker, we are introduced to two specific ladies that are essential to the essence of this gothic, horror novel. These two women are Mina Harker and Lucy Westenra. The purpose for these two women was for Stoke to clearly depict the two types of women: the innocent and the contaminated. In the beginning, the women were both examples of the stereotypical flawless women of this time period. However, as the novel seems to progress, major differences are bound to arise. Although both women, Lucy and Mina, share the same innocent characteristics, it’s more ascertain that with naïve and inability of self control, Lucy creates a boundary that shows the difference between these two ladies and ultimately causes her