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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.

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

“Sometimes the really scary bloodsuckers are entirely human” (Foster 18). In How To Read Literature Like a Professor, Foster argues that vampires in literature are not always actual vampires, but can be figurative as well: “Using other people to get what we want. Placing our desires above the needs of others...as long as people act toward their fellows in exploitative and selfish ways, the vampire will be” (Foster 22). In essence, Foster illustrates that the act of using others to attain one’s personal goal is analogous to a vampire sucking the blood out of it’s victim. Foer’s protagonist in Extremely Loud and Incredibly Close, Oskar, also shows these vampiric tendencies in his goal of learning about his father’s key. “‘Actually, I’m diabetic

“He wanted to sleep inside her lungs and breathe her blood and be smothered. He wanted to her to be a virgin and not a virgin, all at once. He wanted to know her. Intimate secrets-why poetry? Why so Sad? Why the grayness in her eyes? Why so alone? Not lonely, just alone-riding her bike across campus or sitting off by herself in the cafeteria. Even dancing, she danced alone-and it was aloneness that filled him with love. (O’Brien 435).”

Jonathan Harker, Mina Murray’s fiancé, represents a typical human dealing with sexual desires. He knows for certain that he wants to marry and spend the rest of his life with Mina but still struggles with natural, sexual urges. The reader clearly detects Jonathan’s struggle when he encounters the three vampire ladies in Dracula’s castle. As he lies there, Jonathan feels “an agony of delightful anticipation,” and also describes one of the ladies as having “a deliberate voluptuousness which was both thrilling and repulsive” (38-39). Here Jonathan uses contrasting words to describe his encounter with the vampires. In his mind, he knows this is wrong, but his body is telling him otherwise: “[T]he skin of my throat began

This must become clear that, even if they have been rejected along with combated, separate kinds of oppression may not be totally erased along with their consequences obliterated, neither in human nor within vampire society. But, this must be noticed that protagonist within Fledgling deconstructs dominant binaries, shows black female empowerment as well as symbolises the feasible change for the upcoming without oppression.

In the stories “A Small Good Thing” by Raymond Carver and “The Birthmark” by Nathaniel Hawthorne there are obvious differences between the two tales. While “A Small Good Thing” has to do with a family dealing with the injury and then loss of their “The Birthmark” is a scientific quest to remove a birthmark. The analysis of these two stories show both similarities as well as the differences between the main themes of Vampirism, Communion. These two main themes come from How to Read Literature like a Professor by Thomas C. Foster. Foster describes Vampirism as not only true vampires but the idea and concepts included with them. These concepts vary from parasitic ideals to how vampires can be as old as time. The other main theme is Communion which by definition is the sharing of food or drink. Foster connects communion to having a bond or event take place during a meals which can be either good or bad. The main themes of Vampirism and Communion in “A Small Good Thing” and “The Birthmark” have both commonalities as well as variances that perfectly reflect the ideas representing in Fosters book.

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,

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.

The figure of the vampire has become inherently familiar in Western culture, experiencing an enduring popularity in literature, film, and television, particularly since the fin de siècle. Though they appear to be human, they are radically Other, an ‘undead’ species which preys on the human for survival. As such, the vampire has come to embody a multiplicity of meanings, to represent various social anxieties. This is indeed the case with the eponymous vampire of J. Sheridan Le Fanu’s ‘Carmilla’ (1872), whose monstrosity derives not least from the fact that she female. Similarly, the title characters of Edgar Allan Poe’s short stories ‘Berenicë’ (1835) and ‘Ligeia’ (1838), though not actual vampires, are vampiric figures, whose presence ‘preys’ on the mind of their narrators. All three stories, then, can be read in terms of the anxieties surrounding the authority of patriarchal order in the early-mid Victorian period. The female vampire (figure) encroaches on male space, both physically and mentally, and engenders a male instinct to attempt to contain them in various ways. Through a lens of psychoanalysis, this essay will consider the possible reasons behind these attempts, the processes by which they are enacted, and ultimately, will question whether or not these aims are successful.

The hospital was able to help Barry because whether Barry fell on a commercial property or homeowner property, these properties has insurance which will be responsible for his injury. Many properties has insurance coverage that provides coverage to pay medical bills, up to a certain amount regardless whether the property owner was responsible for the injury or not.

With the publication and popularity of The Vampire Chronicles, especially that of Interview with the Vampire, Anne Rice innovates the Gothic tradition in the western literature successfully, for comparatively speaking, the vampires in her novels are more sympathetic and humanized than the terrible and emotionless monsters before. As it is said by both Jan Gordon and Veronica Hollinger, the vampires also stand for some border anxieties, since they penetrate boundaries by their own special and complicated nature, that is to say, between life and death, between love and fear, between power and persecution. Furthermore, sensitive to the social issues very much, Anne Rice expresses the sentimental feelings of the vampires in great detail and by exquisite words and describes vividly the existing state of the outsiders of the modern times as well. Therefore, in the case of Interview with the Vampire, there is a quite highly rational and philosophical probe into the life and the existence of human beings.

World War II is ongoing. With the Axis Powers occupying more countries, citizens of India are worrying for when the battle comes to India, but they're already fighting another war. People are trying to fight Britain's rule over India, but even helping a protestor could result in suffering the consequences. Fifteen-year-old Vidya's appa (father) did. Trying to save a woman who was trying to save her freedom resulted in him not being able to remember his own family. This causes great distress to Vidya, who believes her father's injury is her fault. Her extended family members, who she had to move in with due to her father not being able to work anymore, call her father an idiot, not just because of his brain damage but because he even dared to

her senses, but he refused to let her go. He pulled her closer to him