Interview With The Vampire

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

Since the beginning of time vampires have been categorized into different "types” and are portrayed in different ways throughout several books. This paper will focus on three vampires from the following books: Dracula by Bram Stoker, and I am Legend by Richard Matheson. Dracula is considered to be the traditional vampire, where it all started, and the vampires in Matheson’s book, follow somewhat Stoker’s concept, but is more of a modern “type” of vampires. Certain vampire elements have been presented, but others have been completely removed or altered. In addition, elements along with appearances are used to infer if the vampire is a form of “the other”. There are two types of vampires; the traditional or modern vampire which can be distinguished based on the elements present in their storyline.

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).

They shun the light and crave the taste of blood. The mere thought of them could make a grown man tremble. But what if a vampire wasn’t just a horrific creature of the night? What if they were completely human, enabling them to hide in plain sight? Wouldn’t that make them more dangerous? Due to popular Gothic literature, vampires are commonly romanticized to be pale bloodsuckers that hide in the dark, waiting for their next meal. This version of a vampire makes them easy to spot in literature, but is also very limiting in that it only lends itself to that specific genre. However, a different version, laid out by Thomas Foster, shows how anyone, whether they be fictional or nonfictional, can be considered a vampire through analysis of

In Dicken’s book, Lucie Manette is absorbed by caring for her father, as well as her husband Charles, and does not see the secret love Carton has for her. He frequently visits their home, and has placed himself in the position of an uncle to Lucie’s child. Through these actions, as well as his confession in chapter thirteen, the audience sees his devotion to her. Lucie is completely, or at least appears to be,unaware of this deep obsession. To her, Carton is a dear friend. This devotion is mirrored in the way Eponine sees Marius. As she chases after him, he is turned in the opposite direction, searching for Cossette. As he sings “ In My Life”, Marius shares how in his life “ she has burst like the music of angels/ the light of the sun/ and my life seems to stop” ( Les Mis ). By only one glance at her, he has declared Cosette a goddess, and his one true purpose. Eponine led him to her and watches as he meets her. Clearly tearing her to pieces inside, yet she does it for him out of love. Marius and Lucie are blinded by love for someone else, while Carton and Eponine live to make their person happy, no matter the pain it may cause them. They both go to great extents to be the reason their person of interest smiles, laughs, or is

This scene brings about dramatic changes in the couple’s lives after the death of Louis grandmother, whereby suspicion and

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.

Dracula by Bram Stoker is the original vampire book, the one that started it all. From it derived the now so beloved and famous teen-romance vampire genre, with novels like Twilight. However, Dracula is not remotely like the sparkle-in-the-sunlight, falling-in-love-with-mortals vampire any more than Harry Potter is like the Wicked Witch of the West. Dracula is a gothic horror novel set in Transylvania and England during the Victorian Era. Letters, diary entries, and newspaper clippings from the viewpoint of several characters tell the story, allowing for a wide variety of viewpoints that highlight happenings in Dracula as well as present the social issues pertained within. While it contains action, suspense, horror, and romance, it also displays the corruption within the everyday society. The way the women are presented, interacted with, and how Count Dracula affects them brings forth the issues within the Victorian society, especially the men’s treatment of women and the different social and gender roles, which Stoker uses to highlight the situational irony found within the novel.

Vampires are very present in today’s society. Many novels and shows, like Twilight and The Vampire Diaries, show that vampires are still integral to our culture. However, the birth of such a cultural phenomenon would not have happened without Dracula. Without Bram Stoker’s novel, there would be no stereotypical vampires that capture the culture’s conscious. Aside from telling a story on vampires, Dracula also explores ideals about the women of the time in which it was written, which is the Victorian Era.

The first relationship explored in the novel, that of Dracula and Jonathan, defies the constraints of heteronormative sexuality. Dracula’s interest in seducing, penetrating and draining another male are desires that are acted out in the novel, however not solely by the Count himself, but instead by his three vampiric paramours. The homoerotic desire between Dracula and Jonathan is offered a feminine form for the masculine penetration that is being detailed (Craft,

An example is when Lestat teaches his daughter, Claudia, what it means to be a true vampire. Claudia begins to kill a large number of human beings, that soon form a pile of decaying bodies that are found lying on her bed. She does not feel remorse for what she has done because she is naive and does not understand or accept Louis view on the subject. Louis feels disgusted that Lestat would teach Claudia how to manipulate and feed on human beings. Lestat praises Claudia for killing whole families by telling Louis she is : " Infant death....sister death....and sweet death" (Rice 104).

Different depictions of vampires are commonly exhibited in vampire folklore in past and present literature and film. The diversity of different variations of vampire legends are prominently seen in most literature, but the main ideas and attributes are generally the same. This is not that case when focusing on specific novels discussed in class. The novels I Am Legend by Richard Matheson and Fledgling by Octavia Butler are two contrasting works of vampire folklore. The novels are about different societies of vampires. They both emerged in different ways, the survive and feed in contrasting ways, and they both represent completely different forms of vampires. This essay will examine the characterizations of the contrasting the vampire species in both I Am Legend and Fledgling, as well as, investigating how these different species of vampires relate to human species.

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 important part of the novel is Louis’ refusal to kill human to satiate his blood thirst. Giving in to his blood thirst is the equivalent of becoming like the stereotypical vampire. At one point in the novel the vampires Louis and Claudia journey to Eastern Europe on a quest to find others like themselves. Elegant, intelligent, and beautiful, Louis and Claudia are shocked to find that the fabled vampires of Romania are little more than zombies, rotten half-eaten corpses who suffer the fate of being animated. "I had met the European vampire, the creature of the Old World," Louis pronounces as he kills the last of these. "He was dead." (Pg. 322). The previous passage is literally a comparison of monsters.

Punter and Byron reinforce this claim by stating that, “Dracula is associated with disruption and transgression of accepted limits and boundaries” (231). It is relevant to consider the aggressive behavior of Dracula towards his victims while he is on the prowl to fulfill his thirst for blood, especially with Lucy and Reinfield and the image of female vampires feeding on young children (Lucy). This bolsters the notion that the depiction of vampires in early portrays was violent. Also, as a sexually powerful creature, he preyed on men and women to fulfill his desires. The sexual representation of vampires is also evident from Ernest Jones’ early analysis of folktales, including the vampire. He proceeded to conclude that vampire’s and their counterparts, namely the Churel (India) and the Drud (vampires that prey exclusively on other vampires), do not confine themselves to sucking blood; rather “in the unconscious mind, blood is commonly associated with semen” (106). It would be inaccurate to associate these references to anything but the erotic nature of older folktales. Even in Dracula, the Count is portrayed as a seductive aristocrat who sucks on the blood of men and women, alike. The homosexual aspect of vampire tales is also apparent in “Carmilla” (Joseph le- Fanu 1872). As pointed out by Punter and Byron, Laura experiences intense erotic advances from the female vampire, to the extent of being puzzled