Foh Ran Analysis

The book is laced with emotionally and erotically boosted encounters. A person who would enjoy reading about vampires, the urge to keep reading comes within the first few chapters; in this story early as chapter three. The novel is a new vampire paradigm that casts a steady

The death of Lucy Westenra serves as a pivotal moment in Dracula. It is a reminder of the terrible fate that awaits the victims of the Count, and it motivates many of the men later involved in his defeat. But Lucy’s death also demonstrates one of the novel’s core themes, and this is no better seen than in Van Helsing’s conversation with Dr. Seward regarding her blood transfusions. We learn through this conversation that Lucy died due to her impurity, and so one of Dracula’s core themes is revealed: the struggle between lust and chastity, between promiscuity and marriage. The novel serves as an indictment of sexual freedom and a call for a return to traditional romance.

At first glance, Joss Whedon's "Buffy the Vampire Slayer," the hour-long TV series which premiered in 1997 and is now in its third season, bears little resemblance to the book which started the vampire craze -- Bram Stoker's Dracula, published a century earlier. And yet, looks can be deceiving. Although the trendy -- and often skimpy -- clothing and bandied about pop-culture references of "Buffy" clearly mark the series as a product of a far different culture than that of the Victorian England of Dracula, the underlying tensions of the two texts are far similar than one might think. Beneath the surface differences in the treatment of their heroines, the two texts

Expressing one's sexuality is often considered a taboo, especially if it concerns women’s sexuality. A woman expressing her sexuality is often looked down upon because of the notion that women must be innocent and demure. These notions were meant to repress women’s sexual gratification and constrict women into feminine roles as mothers or as wives. These stereotyped feminine roles caused women to be viewed as less of a threat to male masculinity. However, in the Victorian Era, new ideas on what it meant to be a woman challenged these feminine roles and the patriarchal order. The “new woman” wanted to be equivalent to men, financially independent, and sexually liberated. The new woman threatens the patriarchal order because equality of the sexes challenges power dynamics and gender roles. In Bram Stoker’s novel, Dracula, he challenges the social constraints that limit individual and sexual desires through vampires who are capable of revealing the characters’ repressed desires. With the use of vampires as figurative representation of the new woman, the novel reveals the fear of female sexuality through the erotic acts presented by the women and the men who must confront them.

These women have strong sexual powers, to which they use to their advantage in dangering men with their reasoning. Nearing the end of Dracula the three brides are brought back into focus. When even Van Helsing, the strong doctor and picturesque example of what a Victorian male was expected to be, hesitates because “She was so fair to look on, so radiantly beautiful, so exquisitely voluptuous, that the very instinct of man in me, which calls some of my sex to love and to protect one of hers, made my head whirl with new emotion.” This heightens the danger over the women’s control and influence over men as even the knowledgeable and powerful

An Analysis of The Princess Bride, Divergent and “A Pair of Tickets” and How Vampirism and Quests make the stories what they are.

By making use of the cliché vampire tales and transforming them into a unique fictional novel, Octavia Butler’s Fledgling takes the reader into a different world in which pleasure, hatred and persistence are combined to solve the mysterious life-threatening puzzle of a genetically modified vampire. Fledgling is a novel that exposes the ignorance hatred can create and the strength survival can generate. Nonetheless, Fledgling, like many other books, has its downfalls and confusions. Butler’s last novel expresses everything she believed and stood for, and opens the eyes to those who cannot see our universal issues by placing them in a totally different world.

She becomes furious and full of malice when Van Helsing presents a crucifix. She appears as a “devilish mockery of Lucy's sweet purity”. Her entire character is subverted. She becomes the direct counterpart to what she stood for in life. This is both a commentary on the evil that Dracula subjects her to and a suggestive look at the duality of women.

Mare Barrow is a strong-willed, quick-witted Red Blood from The Stilts when suddenly her world is turned upside down when the Silver Blood heir to the throne of Norta takes a liking to her as she’s stealing from him behind a bar. Now forced to live a princess’ lie life her only solace is her future husband, the forgotten prince. With the uprising rebel community comes bigger threats regarding the identity Mare is hiding, her family and the life she’s always known.

Larissa Jordan was a peppy young girl, especially for one who grew up on the Black Isles of Doracha. As a child, she had never been told of the island's’ dark history, nor had she been told of the reasons why families were forced to move away from the mainlands and onto the Isles. And what you don’t know can’t hurt you. At least, that’s what Larissa’s parents believed; and for twelve years, twelve blissfully peaceful years, they appeared to be correct.

With these advancement of technology, the Victorian mindset leans more towards science. This conflicts with Dracula who symbolizes the ancient mindset of humans: superstition and the supernatural. This presents a major conflict with the group of heroes as they grow to understand who Dracula truly is and how they aim to

She will be mine!” ‘Yeah, right.’ I’m thinking to myself. He leaves the club and closes the door to run errands. Now, she and I are alone as I take a stroll around the bed with the dimmed red lights following my shadow analyzing her potential and determining which role she will play in my world. She is too valuable to share, so she will be all mine. Lanzone will be mad because I am going to make her a vampire. Just as I think this, she starts coughing loudly catching me by surprise. I comfort her, “Hey, hey, hey now. Are you alright?” I grab a cup of blood from the minibar nearby. “Here, take a drink”, she sips then spits it out on the floor. When she finally opens her eyes, she jumps and grab a knife from the sink of the minibar coming back to me with it to my neck. “Who are you!?” I try to calm her down.

Dracula is a novel that indulges its male reader’s imagination, predominantly on the topic of female sexuality. When Dracula was first published, Victorian women’s sexual behaviour was extremely restricted by social expectations. To be classed as respectable, a women was either a virgin or a wife. If she was not either, she was considered a whore. We begin to understand once Dracula arrives in Whitby, that the novel has an underlying battle between good and evil, which will hinge on female sexuality. Both Lucy Westenra and Wilhelmina “Mina” Murray embody two-dimensional virtues that have been associated with female. They are both virgins, whom are innocent from the evils of the world and that are devoted to their men. Dracula’s arrival threatens those virtues, threatening to turn Lucy and Mina into the opposites, noted for their voluptuousness, which could lead to an open sexual desire.

As one of the most attractive and enduring figures in the Gothic literature, the vampires have moved from being a peripheral element with the genre to a place near the center and are capable of generating its own massive tradition now. In the recent literary history, they have already been adapted to play a role of a rebel against the moral, social, religious, and even sexual taboos. Put simply, the vampires are now a metaphor of human beings in the modern society and life.

An empire forged of blood, a heated romance between a royal vampire and his exotic concubine.