Sexuality In Carmilla

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

Wilton refers to Monique Wittig, a French author and feminist theorist, who states “our survival demands that we contribute all our strength to the destruction of the class of women within which men appropriate women.” Thus, Wittig expresses that “heterosexuality is a social system” (Wilton 165). Why heterosexuality is forced upon the majority, however, is still unclear. Emily Martin, in her article, “The Egg and the Sperm: How Science has Constructed a Romance Based on Stereotypical Male-Female Roles,” explains why this is so. Procreation can only occur upon the union of sperm and egg and their behaviors have created stereotypes which “imply not only that female biological processes are less worthy than their male counterparts but also that women

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

Throughout history the predominant family has been the nuclear family, consisting of a white father, mother, and two children. In the article “Family” As A Site of Contestation, Owen explains that lesbians have endured a great amount of controversy when being observed as a family. “Lesbians challenge the concept of “family” by having and

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.

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.

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.

In order to reinforce as loudly and clearly as possible the patriarchal message that in Victorian society, New Women were to be regarded as social pariahs, the ultimate destruction of these literary characters had to be performed in the most savage manner feasible, the brutality of which is almost beyond belief. In Carmilla, prior to her slaughter, the male characters, representative of the Victorian patriarchy, dehumanize the vampire Carmilla, by no longer referring to her by name; Carmilla is simply reduced to being referred to as “the vampire” and “the body.” Dehumanization eliminates Carmilla’s individuality, metaphorically suggesting that her fate is the destiny that awaits all New Women. Carmilla’s execution is described as follows:

Adrienne Rich also speak compulsory heterosexuality in her work, Compulsory Heterosexuality and Lesbian Existence. Compulsory heterosexuality as discussed by Rich is how we view heterosexuality as a part of institution of capitalism that maintains power through the ideas of heterosexuality being acceptable to society and how we do not allow for differences in the binary system. As Rich states, “the failure to examine heterosexuality as an institution is like failing to admit that the economic system called capitalism or the caste system of racism is maintained by a variety of forces, including both physical violence and false consciousness” (Rich, 135). Meaning that we understand how heterosexuality is maintained by our capitalism system just as we understand oppression of classism, racism, and gender differences. Heterosexuality becomes institutionalized by maintaining through the normalization of forcing us to believe in the capitalism

The heterosexual imaginary is immensely ingrained in our everyday experience that most people, including feminist sociologists, has become inclined to conceptualize and theorize based around the heteronormative. The heterosexual imaginary acts as an invisible framework at play that structures our thinking processes and in which constructs our social identity. For instance, the inquiry of a survey taker’s marital status in most social science surveys come to show that our recognized and appropriate social identity is formed around heterosexuality. That is, any deviation from this heterosexual norm would be considered abnormal and be marginalized. To a minimal extent, this focus has served the interests of women because of the lack of activism

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

Carmilla rebels against Victorian society gender roles and this concept of representing homosexuality through a vampire “monster” shows that men fear women showing power through sexuality and feel the need to destroy it.

Bram Stoker's novel Dracula, published in 1897, explores various sexual erotic possibilities in the vampire's embrace, as discussed by Leonard Wolf. The novel confronts Victorian fears of homosexuality; that were current at the time due to the trial of playwright Oscar Wilde. The vampire's embrace could also be interpreted as an illustration of Victorian fears of the changing role of women. Therefore it is important to consider: the historical context of the novel; the Victorian notion of the `New Woman' specifically the character of Lucy Westenra; the inversion of gender roles; notions of sexuality; and the emasculation of men, by lessening their power over women; in the novel Dracula. In doing this I will be able to explore the effects