In Adriana Craciun's Dacre: A Necessary Evil

The writer states “certain cultural moment – of a time, feeling, and a place. The monster’s body quite literally incorporates fear, desire, anxiety, and fantasy, giving them life and an uncanny independence. Skloot’s book Chapter 21 it speaks of “Night Doctors” (snatching and testing of black people for medical research), in the 1900’s. Black folks believed this to be fact and stories grew as blacks migrated north to the Washington DC and Baltimore area. This is an example of a monster that struck fear in the people of the community. Did this also control the blacks to the perceived benefit of the surrounding community of whites? This way of thinking kept the black people in at night (on their porches as the story goes). This is in the time of Jim Crow laws. Times were changing, but segregation was rampant and very much a part of Henrietta’s life. Maybe, “Night Doctors” played a role in enforcing racial order thereby not policed or researched further for their validity. Monsters get blurring when we change the lenses we view the world

A common concept used throughout literature is monsters that are based solely off of the differences characters are able to identify between themselves and another character. This relates to the fourth thesis in Jeffrey Jerome Cohen’s essay titled Monster Culture, where he states that monsters are based on differences. These differences can include “cultural, political, racial, economic, and sexual” (Cohen 7) differences, just to name a few. This thesis is exemplified in many medieval poems, including Bisclavret, by Marie de France, and Beowulf. Bisclavret and Beowulf both exemplify Cohen’s idea of monsters lying at the point of difference by showing that people discriminate and create stereotypes based on these differences.

Immediately following the loss of innocence and the gain of knowledge in the soul of the monster, he becomes analogous to Satan, God’s enemy, in Paradise Lost. “I gazed upon my victim, and my heart swelled with exultation and hellish triumph” (144), he states as William lies dead at his feet. The monster even recognizes that he is like Satan. He says, “I ought to be they Adam, but I am rather the fallen angel [Satan], whom thou drivest from joy for no misdeed” (103). Just as the monster parallels Frankenstein in his quest for knowledge, he also does so in his being as Satan. He is the personification of the devil that is inside all in the form of sin. The monster and the devil share an experience in which it is obvious that one parallels the other. In igMalice, and with rapine sweet bereav’d

In contrast, there is a fear of becoming the “Other.” In Bram Stoker’s Dracula, the charismatic figure seems benevolent; however, his deceiving appearance turns out to be a creature that corrupts mankind – his attractiveness acts as a lure to display vice in people. Dracula targets virgins to become his lamias – so that innocent women

Federico Garcia Lorca was born in 1898 and died in 1936, he lived through one of the most troubling times of Spain's history. He grew up in Granada, Spain, and enjoyed the lifestyle and countryside of Spain. His father was a wealthy farmer and his mother was a school teacher and encouraged his love of literature, art, and music. He was an extremely talented man. A respectable painter, a fine pianist, and an accomplished writer. He was close friends with some of Spain's most talented people, including musician Manuel de Falla, and painter Salvador Dali. Lorca was a very liberal man who lived un dictatorship for most of his life. However, in 1931 Spain turned into more of a democracy, and was called "The

In the 19th century, this basis of scary and thriller books started to emerge. This essay will be about who Dracula enticed women, how his detainer was unsettling and demonic. How the era in which the novel was written plays a part in the ideas of Dracula and how behaves; with such things as women, food, and Harker. The Victorian era definitely influenced the writing of the time through reflections of exploitation of women and a certain darkness in ones self, also explains of mystery and suspense.

In Mary Shelley´s Gothic novel, Frankenstein, the Monster once claimed, “The fallen angel becomes a malignant devil. Yet even that enemy of God and man had friends and associates in his desolation; I am alone.” Frankenstein, since the 1910 film adaptation, has known a series of several adaptations that changed drastically, not only the plot but one of the main characters, the Monster, from stealing its creator´s name to being portrayed as a cold villain. Though, in the original storyline, the biggest threat to society is the creator itself, the one pretending to play as God, Victor Frankenstein. This essay will discuss the nature of the main characters of the novel and conclude who is the “real monster” in the end.

The initial connotation of the word daemon brings about thoughts of demons, making mirrored parallels between the characters of Satan in John Milton’s Paradise Lost, and the daemon in Mary Shelley’s Frankenstein legitimate; however, further analysis of the word daemon links itself to Ancient Greeks. They believed a daemon was a being trapped somewhere between being considered a god and a human, or as a fallen hero. Although Milton’s novel sympathizes with Satan as a character, it still acknowledges the fall of Satan for disobeying God and attempting to overthrow him. The characters of the daemon and Satan are characterized as being sympathetic and complex beings, still capable of partaking in evil actions.

In Bram Stoker’s novel Dracula, Stoker’s use of inverted gender roles allows readers to grasp the sense of obscureness throughout, eventually leading to the reader’s realization that these characters are rather similar to the “monster” which they call Dracula. Despite being in the Victorian era, Stoker’s use of sexuality in the novel contributes to the reasoning of obscureness going against the Victorian morals and values. Throughout the novel the stereotypical roles of the Victorian man and woman are inverted to draw attention to the similarities between Dracula and the characters. Vague to a majority of readers, Bram Stoker uses Dracula as a negative connotation on society being that the values of

Bram Stoker’s Dracula is not only a classic story of men and monsters, but a dramatic reactionary work to the perceived threats to Victorian society in nineteenth century England. In modern times there have been many film adaptations of the novel, each developing a unique analysis or criticism of the literary text within the framework of the society and time period in which it was created. The 1972 film Blacula is one of the most culturally specific variations on the story of Dracula, and highlights many of the themes and messages found in Stoker’s original text. Among the primary similarities between the novel and the film is the portrayal of race, sexuality, nationality, and culture, and the characterization in each work speaks to the

ANGUSTIAS: I find him distracted. He always talks to me as if his mind is on something else. If I ask him what’s wrong, he says: ‘We men have our own problems.’

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.

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.

All too often the gothic literature genre is reduced in its interpretation to gloomy weather and archaic haunted houses. These patterns do exist, but they do not define the genre. Gothic literature found its niche in the 18th and 19th centuries, and during the Victorian era it served a more nuanced purpose than simply to scare readers. Many gothic authors used a monster as a vessel to symbolize topics that the Victorian era sensibilities would label as “monstrous.” They are the incarnation of the taboo subjects society is trying to repress. In Bram Stoker’s Dracula and Edgar Allan Poe’s “A Tell-Tale Heart”, the authors use Freudian symbolism along with literary symbolism to demonstrate the repercussions of repressing “id” desires.

villainy in Stoker’s Dracula compare to that of Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde. This Extended Essay comparing the depravity in nature of the antagonists in these classic literary works will provide a better understanding of what constitutes ‘evil’ in society. Further analysis of the villains will reveal how the authors use them as representations of repressed human nature. My own fascination with the topic, as well as my rapport with gothic classic literature, led me to pursue this research topic.