Gender Roles During The 19th Century Essay

The Victorian Era was a period from the early 1800’s to the very early 1900’s. During this time period the role of men and women became very distinct. Women had to hold perfect expectations so that they could get married in their early 20’s, however not focusing too much on this because they couldn’t show their sexuality (Hughes). Women showing their sexuality during this time period was thought of as vulgar and unnatural. Men however, were allowed to do pretty much whatever they wanted until married, even participate in prostitution (Hughes). Dracula portrays this idea of women being less superior then man and having more social standards in which they need to maintain.

This essay will attempt to discuss the two gothic tales ‘Carmilla’ and ‘Dracula’ in relation to cultural contexts in which they exist as being presented to the reader through the gender behaviour and sexuality that is portrayed through the texts. Vampire stories always seem to involve some aspect of sexuality and power.

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

The truly shocking and terrible, blood-sucking-monster we once  knew have now changed into beautiful, perfect,and healthy human beings. This paper will discuss the change and the reason why  the change of idea many still accept and like the modern picture of vampires.In order to answer this, I will examine the differences between Bram Stoker's Dracula , the typical figure of horror before, and the soft light just before sunrise or after sunset's Edward Cullen, the obvious example of the 21st century vampire. From this, I will be able to decide out what changed in the features of the vampires we know today.Many would think about Edward Cullen as a "shockingly disrespectful behavior of the vampire old example" (Mole).

Though it appears on the surface to be an engaging horror story about a blood-sucking Transylvanian man, upon diving deeper into Bram Stoker's novel Dracula, one can find issues of female sexuality, homoeroticism, and gender roles. Many read Dracula as an entertaining story full of scary castles, seductive vampires, and mysterious forces, yet at the same time, they are being bombarded with descriptions of sex, images of rape, and homosexual relationships. In Francis Coppola's Bram Stoker's Dracula, Stoker's presentation of homoeroticism is taken, reworked, and presented in a different, stronger light. Coppola does much in the area of emphasizing a homoerotic relationship between Mina Harker and Lucy Westerna: a relationship Bram Stoker

Stoker’s novel Dracula, presents the fear of female promiscuity, for which vampirism is a metaphor. Such fear can be related to the time in which Dracula was written, where strict Victorian gender norms and sexual mores stipulated

The story of Dracula is well documented and has stood the test of time since it’s Victorian age creation. More times than not, literature writings are a reflection of the era from which they are produced. In the case of Dracula, Vampire literature expresses the fears of a society. Which leads me to the topic I chose to review: sexuality. The Victorian Era was viewed as a period diluted in intense sexual repression and I believe that Dracula effectively exploited this as the fear of sexuality was commonplace in the society. In this paper I will examine Bram Stoker’s Dracula and highlight his use of sexuality. I will analysis the female sexuality that is prevalent throughout the book, the complexities are at work within the text, and the

In the late nineteenth century, women were beginning to take a stand for their equal rights in society. The term “new woman” was used to describe these women, openly proclaiming their independence from men. It was a woman’s way to threaten the conventional ideas of society, and to bring about their own changes (Buzwell). Following their well-known suffrage movement, women claimed their freedom sexually, physically, and in the workplace. For many years’ prior, women were expected to be the typical housewife, watching over the house, cooking, and cleaning. They were property of their husbands. During their equal rights revolution, women pursued careers like doctors or lawyers and fulfilling their sexual desires for purposes other than bearing children. As today’s society may never know the struggles and misfortunes during the Victorian era, Dracula leaves a time capsule behind to elaborate on the realities during such a prominent generation (Podonsky). Considering this given criteria, a new woman comes in a variety of forms; some women represent a stronger sexual desire while others demonstrate character traits on equality in work and education. In the case of Dracula, the two main female characters take two different forms; one blatantly sexual and one chaste (Humphrey). Bram Stoker’s novel Dracula portrays the ideas of a “new woman” in a modern society, utilizing Mina’s and Lucy’s characters to display opposite characteristics of the feminist movement which draw attention to

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.

    Perhaps no work of literature has ever been composed without being a product of its era, mainly because the human being responsible for writing it develops their worldview within a particular era.  Thus, with Bram Stoker's Dracula, though we have a vampire myth novel filled with terror, horror, and evil, the story is a thinly veiled disguise of the repressed sexual mores of the Victorian era.  If we look to critical interpretation and commentary to win support for such a thesis, we find it aplenty "For erotic Dracula certainly is.  'Quasi-pornography' one critic labels it.  Another describes it as a 'kind of incestuous, necrophilious, oral-anal-sadistic all-in-wrestling matching'.  A

In Carmilla, Sheridan Le Fanu uses vampires to identify and challenge gender roles of women in the Victorian age. From the outset, Carmilla and Laura’s relationship appears to transcend mere homosocial characteristics; Carmilla awakens sensations in Laura which she has never known before because her sexuality has always been suppressed. This suppression is inherently motived by the dominant ideology in Victorian culture that lesbianism, and homosexuality more generally, are “unnatural” forms of sexuality. According to Colleen Damman, “as a woman, Carmilla can only claim her sexuality after death” (). This is an interesting statement because it provides context for the idea that vampirism is the only way Carmilla can express her own carnal desires; She too is then subject to the constraints of Victorian culture. This to say that, for Le Fanu, the only way to have an open discussion concerning homosexual desire is to employ the vampire. Bearing this concept in mind, by analyzing certain key passages and elements of Carmilla and by applying some modern conceptualizations on gender and sexuality, one can see that Carmilla and Laura are merely byproducts of a period rife with sexual desire, frustration, and tension.

The relationship that exists between gender, sexuality and sexual practice is one that is not static, but is ever changing and shifting dependent upon the society in which it exists (Brickell, 2007). This essay aims to describe how Bram Stoker’s 1897 novel, Dracula, presents a “characteristic, if hyperbolic, instance of Victorian anxiety over the potential fluidity of gender roles” (Craft, 111-112), whilst also inverting and subverting conventional Victorian gender patterns through the characterisation and portrayal of the vampire women residing in Count Dracula’s castle, Mina, and Lucy as well as the ‘feminine’ passivity and submissive depiction of Jonathan Harker.

In the mid to late nineteenth century, America was full of potential. Settlers were cultivating the west, blacks that were once captive were no longer enslaved, and a woman’s role in society was undergoing a transformation. The reality of this all was, blacks were not considered equal status with whites, American Indians were being pushed out west and women were still considered second-class citizens.

At the end of the 18th century and during the 19th century, there were many changes to public ideology that affected the way that women perceived their roles in society. Prior to these changes, women had adopted the beliefs of separate “spheres” separating work into public life and their duties as mothers at home1. Women stayed at home to take care of the children and provide a warm, welcoming home for their husbands to take refuge from public life. Women became aware of their lack of legal and political power after the American Revolutionary War ended as they were denied the right to the same freedoms that granted the right to vote to the white, property-owning male population2. Despite granting women more liberty to run businesses, farms,

In a particular addition of Bram Stoker’s novel Dracula, Maurice Hindle had suggested that “sex was the monster Stoker feared most.” This essay will examine the examples of this statement in the Dracula text, focusing on female sexuality. The essay will also briefly look at an article Stoker had written after Dracula which also displays Stoker’s fear.