Why So Vampirism Isnt About Vampires

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.

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.

With several illicit subjects listed throughout Bram Stoker’s Dracula, the book becomes a playground for psychoanalysts. Whether it be to see a subjects as simple as the conscious take over a character, or a character’s surroundings corrupting its victims, Dracula intrigues in more ways than just its vampiristic features. The following is a psychoanalytic study with a focus on vampirism imitating sexual practice and drug usage today while shining a light on the complex psychology of characters, and how even the author can influence the course of its story.

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

-Ghosts and vampires are never only about ghosts and vampires. There’s a thin line between the ordinary and the monstrous.

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

    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

If there is one thing that has not changed in the past one hundred years it is the populations love for a thrilling, eerie story; including those about vampires. However, what has changed in the last one hundred years is cultural appropriation and the idea of vampirism itself. So despite being written in two entirely different centuries with two entirely different vampire etiquettes, the novels Twilight by young adult author Stephanie Meyer and Dracula by 19th century gothic author Bram Stoker, both use of the matter of sexuality through characters actions and to help develop the good vs. evil based plot throughout the stories.

The first record of vampires’ undead activity was in Sebia (Butler 77). The local inhabitants’ lives were uneasy, because they were confused about their identities and what they should follow (Butler 77). In this circumstance, vampire myth appeared to express the society’s anxiety by their irregularities, such as upsetting healthy sexuality and destroying normal patterns of reproduction (Butler 78). Places like back alleys and hidden recess provide opportunities for vampires to gain their powers and their exotic influence

Monstrous desires are not as exclusive as one might think, and in Karen Russell’s short story “Vampires in the Lemon Grove,” we come to recognize that, despite the fact that the two main characters, Clyde and Magreb, are actual vampires, their “monstrous” urges are all too familiar- perhaps even quintessentially human. In fact, with careful analysis, specifically through psychological criticism, we, as readers of “Vampires in the Lemon Grove,” can see that by understanding psychological urges of the subconscious (in accordance to Freud’s theories), that the “monsters” are just as vulnerably human as the rest of us. We come to understand specific psychological needs such as desire, hunger, and the psychological need for hope and

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,

The generalization for vampires has been displayed in films and literature for hundreds of years. The stereotypical versions of vampires are that they have long fangs, sleep in coffins during the day, and suck the blood out of humans. Both novels contradict those stereotypes in different ways. To understand the diversity of the vampires described in both novels, one must examine the characteristics that the vampires display and the meaning and purpose behind them. David D. Gilmore’s book “Monsters” analyzes monsters and other mythical creatures. Gilmore describes why humanity invented the idea of

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.

For these reasons, vampirism in Bram Stoker's Dracula can be interpreted as metaphor representing the basic human drives, contained in the id of Freud's model of the psyche. However, to insinuate a deliberate implication of the Freudian id by Stoker would be a misconception, since Dracula was written thirty-six years prior to the publication of Freud's structural model. Their correspondence in this matter should rather be understood as a depiction of a universal truth about the human nature, executed in different literary