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The character of Dracula embodies Victorian fears about the consequences of unbridled sexuality and the idea of the foreigner as a corrupting influence. The novel also highlights the idea of science versus the supernatural, as Van Helsing and his allies use their scientific knowledge to combat Dracula's supernatural powers. Milbank, Alison (1998). " 'Powers Old and New': Stoker's Alliances with Anglo-Irish Gothic". In Hughes, William; Smith, Andrew (eds.). Bram Stoker: History, Psychoanalysis and the Gothic. Basingston: Macmillan Press. ISBN 978-1-349-26840-5. The image of Van Helsing and his allies being 'ministers of God’s own wish', creates a righteous tone. They are carrying out God’s will by hunting down and destroying Dracula. This righteous tone is further emphasised by the metaphor that they 'go out as old knights of the Cross,' likening the group to chivalrous knights, willing to lay down their lives to defeat an evil being.

Lisa Hopkins reproduces the previous quotation, and confirms Farson's relation to Stoker, in her 2007 book on Dracula. [27] Other critics have concurred with Miller. Mathias Clasen describes her as "a tireless debunker of academic Dracula myths". [24] In response to several lines of query as to the historical origin of Dracula, Benjamin H. Leblanc reproduces her arguments in his critical history on the novel. [14] on a pile of newly dug earth, lay the Count! He was either dead or asleep. I could not say which, for eyes were open and stony, but without the glassiness of death, and the cheeks had the warmth of life through all their pallor. The lips were as red as ever. But there was no sign of movement, no pulse, no breath, no beating of the heart. I bent over him, and tried to find any sign of life, but in vain... I thought he might have the keys on him, but when I went to search I saw the dead eyes, and in them dead though they were, such a look of hate, though unconscious of me or my presence, that I fled from the place, and leaving the Count's room by the window. [44]

Drastic measures

Dracula, Gothic novel by Bram Stoker, published in 1897, that was the most popular literary work derived from vampire legends and became the basis for an entire genre of literature and film. Summary Orava Castle . This castle was used to shoot many scenes of the 1922 German expressionist movie Nosferatu, which did perhaps more than any other work of visual media to popularise Bram Stoker's story. Mark Gatiss and Steven Moffat likewise chose this castle to shoot their 2020 Dracula adaptation. ( updated Apr 2021) you, their best beloved one, are now to me, flesh of my flesh, blood of my blood, kin of my kin, my bountiful wine-press for a while, and shall be later on my companion and my helper. You shall be avenged in turn, for not one of them but shall minister to your needs. But as yet you are to be punished for what you have done. You have aided in thwarting me. Now you shall come to my call. When my brain says 'Come!’ to you, you shall cross land or sea to do my bidding. [40] Nandris, Grigore (1966). "The Historical Dracula: The Theme of His Legend in the Western and in the Eastern Literatures of Europe". Comparative Literature Studies. 3 (4): 367–396. ISSN 0010-4132. JSTOR 40245833. Farson, Daniel (1975). The Man Who Wrote Dracula: A Biography of Bram Stoker. London: Michael Joseph. ISBN 0-7181-1098-6. OCLC 1989574.

Dearden, Lizzie (20 May 2014). "Radu Florescu dead: Legacy of the Romanian 'Dracula professor' remembered". The Independent. London, England . Retrieved 14 September 2017.he was in life a most wonderful man. Soldier, statesman, and alchemist. Which latter was the highest development of the scientific knowledge of his time. He had a mighty brain, a learning beyond compare, and a heart that knew no fear and no remorse... there was no branch of knowledge of his time that he did not essay. [15] Stuart, Roxana (1994). Stage Blood: Vampires of the 19th Century Stage. Popular Press. ISBN 978-0-87972-660-7.

Understand [ edit ] The 1930s Hollywood adaptation of Dracula with Bela Lugosi is probably one of the most widely known adaptations of the story “ Raymond McNally's Dracula Was A Woman (1983) suggests another historical figure as an inspiration: Elizabeth Báthory. [16] McNally argues that the imagery of Dracula has analogues in Báthory's described crimes, such as the use of a cage resembling an iron maiden. [17] Gothic critic and lecturer Marie Mulvey-Roberts writes that vampires were traditionally depicted as "mouldering revenants, who dragged themselves around graveyards", but—like Báthory—Dracula uses blood to restore his youth. [18] Recent scholarship has questioned whether Báthory's crimes were exaggerated by her political opponents, [19] with others noting that very little is concretely known about her life. [20] A book that Stoker used for research, The Book of Were-Wolves, does have some information on Báthory, but Miller writes that he never took notes on anything from the short section devoted to her. [21] In a facsimile edition of Bram Stoker's original notes for the book, Miller and her co-author Robert Eighteen-Bisang say in a footnote that there is no evidence she inspired Stoker. [22] In 2000, Miller's book-length study, Dracula: Sense and Nonsense, was said by academic Noel Chevalier to correct "not only leading Dracula scholars, but non-specialists and popular film and television documentaries". [23] [d] There are items which afflict him to the point he has no power and can even calm him from his insatiable appetite for blood. He is repulsed by garlic, as well as sacred items and symbols such as crucifixes and sacramental bread. Later interpretations of the character, and vampires in general, would amplify this trait into an outright fatal weakness, making it so that even the first rays of sunrise are capable of reducing a vampire to ash. [ citation needed] Stoker’s descriptions of the setting develop suspense and indicate danger throughout the novel, forming a key aspect of Dracula's gothic genre. This is most evident in the novel’s opening, as Jonathan describes his journey into the Carpathian Mountains, recounting both the natural beauty and foreboding aspects of the scenery.Ruins of Whitby Abbey in Whitby. As a creature resembling a large dog which came ashore at the Whitby headland, Count Dracula runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the abbey ruins Dracula has been interpreted as an expression of anxiety about eastern Europeans invading western Europe, as represented by a Transylvanian who arrives in London and terrorizes its residents. Others see Stoker’s novel as an exploration of suppressed sexual desire and a reaction to the patriarchal and conservative norms broadly prevalent in Britain during the Victorian period. Notably, it inverts the era’s stereotypical gender roles through the highly sexualized actions of the female vampires. Yet Dracula can also be seen as the evil of temptation personified as he preys on women who must then be protected by the men around them (though those men still fail, particularly in Lucy’s case). The novel’s complexity, especially in its representation of gender, allows numerous, sometimes contradictory, interpretations.

Stephanou, Aspasia (2014). Reading Vampire Gothic through Blood: Bloodlines. Houndmills: Palgrave Macmillan. ISBN 9781137349224. OCLC 873725229. Dracula leaves his castle and boards a Russian ship, the Demeter, taking along with him 50 boxes of Transylvanian soil, which he needs to regain his strength and rest during daylight. During the voyage to Whitby, a coastal town in northern England, he sustains himself on the ship's crew members. Only one body is later found, that of the captain, who is found tied up to the ship's helm. The captain's log is recovered and tells of strange events that had taken place during the ship's journey. Dracula leaves the ship in the form of a dog and runs up the 199 steps to the graveyard of St Mary's Church in the shadow of the Whitby Abbey ruins. Read more about fear of women’s sexuality in Shakespeare’s Antony and Cleopatra. The Promise of Christian Salvation Dearden, Lizzie (20 May 2014). "Radu Florescu dead: Legacy of the Romanian 'Dracula professor' ". The Independent. Archived from the original on 12 January 2021. The novel's depiction of Slovaks and Romani people has attracted some, albeit limited, scholarly attention. [78] [j] Peter Arnds wrote that the Count's control over the Romani and his abduction of young children evokes real folk superstitions about Romani people stealing children, and that his ability to transform into a wolf is likewise related to xenophobic beliefs about the Romani as animalistic. [80] Although vagrants of all kinds were associated with animals, the Romani were victims of persecution in Europe due to a belief that they enjoyed "unclean meat" and lived among animals. [81] Stoker's description of the Slovaks draws heavily from a travel memoir by a British major. Unlike the major's description, Harker's description is overtly imperialistic, labelling the people as "barbarians" and their boats as "primitive", emphasising their perceived cultural inferiority. [82]Spencer, Kathleen L. (1992). "Purity and Danger: Dracula, the Urban Gothic, and the Late Victorian Degeneracy Crisis". ELH. 59 (1): 197–225. doi: 10.2307/2873424. ISSN 0013-8304. JSTOR 2873424. Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name ( Count Wampyr) that he had originally intended to use for his villain. Some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name "Dracula" and some miscellaneous scraps of Romanian history. [54] Also, there are no comments about Vlad III in the author's working notes. [55] Sideshow presents the Dracula Premium Format™ Figure, inspired by the frightful and famous Dracula (1958) by Hammer Horror. Buzwell, Greg (14 May 2014). "Bram Stoker's stage adaptation of Dracula". The British Library . Retrieved 13 June 2021. For further reading on the last point, Zygmunt Bauman writes that the perceived "eternal homelessness" of the Jewish people has contributed to discrimination against them. [76]