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Analytical essay of the novel dracula
Critical theory of dracula
The character of dracula
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More handpicked essays just for you.
Analytical essay of the novel dracula
Critical theory of dracula
The character of dracula
Don’t take our word for it - see why 10 million students trust us with their essay needs.
It is a remote and foreboding environment, foreign to the daily lives of Stoker's English readers. It creates an atmosphere of folklore, superstition, and primal horror, creating a sense of the primitive as the uncanny and threatening, with the potential to erupt into the rational ordered lives of the modern European. The travel of Dracula to England shows the disruptive potential of the irrational erupting into an almost stereotypical vision of the peaceful ordered life of the English village. As is typical of the sensation novel, it creates horror by suggesting that even the most peaceful, orderly, rational, and innocent lives are not safe from external threats.” CRITIC.
In the captivating stories Dracula by Bram Stoker and Station Eleven by Emily St. John Mandel, the authors express the power of sensory details and mood to forge a deeper understanding for the readers to enjoy. Through vivid and suggestive descriptions that engage our senses, Stoker and Mandel make us feel like we understand the story more, capturing our emotions with a sense of fear, suspense, desolation, and nostalgia. Stoker's masterful usage of imagery and mood is shown through the pages, as the rising wind "moaned and whistled," and the branches of trees crashed, intensifying our sense of near danger. These spine-tingling sounds coil around us, intensifying the tension to its breaking point, perfectly capturing the mounting danger experienced by the protagonist, Jonathan Harker. Furthermore, Stoker's skillful use of visual imagery immerses us in a haunting atmosphere, where "great frowning rocks" loom and falling snow blankets everything in an icy shroud.
The central idea of this excerpt from Dracula was the fear of the prisoner living in the castle of Count Dracula who felt trapped and alone. The authors use of first person point of view of the prisoner was able to develop this central idea of fear because prisoner was able to describe his feelings first hand living in the castle with the Count as well as emphasize the thoughts that were scattered inside of his head during this time. An example of the author using first person point of view to help develop the central idea of fear was when the prisoner had realized that he was helpless in the situation of his current living conditions. The prisoner said "I think I must have been mad for the time, for I have behaved much as a rat does in a trap" (lines 4-5).
Stoker's novel portrays a society in the midst of profound transformation, as the encroachment of modern scientific and technological advancements poses a formidable challenge to established ways of life. Through his narrative, he raises pertinent questions regarding the perilous implications of such a societal shift away from traditional norms and values. One of the ways in which Stoker expresses his concern about the loss of tradition is through the character of Dracula himself. Dracula is presented as an ancient creature, rooted in the traditions and beliefs of the past, and he is portrayed as a threat to the modern world. Dracula represents a force of darkness and decay that is opposed to the new scientific and technological advancements of the modern world.
Dracula’s lust for Jonathan is seen through the use of illustrative language and symbolism in passage one. Stoker describes the Count having "eyes blazed with a sort of demoniac fury" due to the sight of blood. Stoker's utilization of ‘demoniac fury‘ frames Dracula’s behaviour as frighteningly inhumane. Supplementary to his use of red, fiery eyes which symbolizes the
Bram Stoker, describes one of the verbal taboos of the Victorian era, violence, through the representation of vampires as “monsters” through the point of view of their victims in his novel Dracula. Stoker portrays violence in three distinct categories- physical, visual and psychological. Each one of these categories is described by one of the antagonists in the Novel, with Count Dracula as the physical aspect of violence, his underlings, the female vampires as the visual and Renfield, the patient at Dr. Seward’s mental asylum, as the psychological aspect of violence. This essay looks at the portrayal of such Categorical violence as different renditions of a “monster” and considers why Stoker would segregate violence in such a manner.
In Stoker’s novel Dracula, Renfield is a patient in Dr. Seward’s mental asylum who has a desire to gain the life of small, living organisms (e.g., flies, spiders, and rats) by consuming their souls. Although the purpose of Renfield’s character may be considered irrelevant to the central plot of Dracula, it is of utmost significance. To elaborate, the Renfield sub-plot functions as an “abstract representation for a better understanding” and in-depth knowledge to the character of Count Dracula through Renfield’s actions (Dracula). According to Gray, the character of Renfield “parallels aspects of Dracula 's livelihood,” such as his need to consume life. The dark relationship that Renfield and Dracula share is evident in the scene when Renfield
Feminist Reading: Dracula between Beauvoir’s and Roth’s Ideas In her article, “Suddenly Sexual Women in Bram Stoker’s Dracula” Phyllis Roth argues that Dracula is a misogynistic novel which is obvious in the system of power in which men are dominant and active figures whereas women are just followers and obedient to their system. She draws on Simon de Beauvoir’s idea that “ambivalence as an intrinsic quality of Eternal Feminine”, in order to show that women are victims to men powers. In her chapter, “Myth and Reality”, Beauvoir discusses the way that anybody in the society, specially men, doesn’t do their job in taking a step towards the oppressed women, but to act just like what the system of myth impose them to act.
The horror genre of Bram Stoker’s Dracula, combined with mild eroticism is able to draw in readers due to the fact that Stoker is able to intricately weave suspenseful sexual scenes/scenes of desire throughout the novel—making it clear that
At first glance, the novel Dracula by Bram Stoker appears to be a typical gothic horror novel set in the late 1890s that gives readers an exciting look into the fight between good and evil. Upon closer inspection, it becomes apparent that Dracula is a statement piece about gender roles and expectations for men and women during the Victorian age. Looking at the personalities, actions, and character development of each of the characters in Dracula bring to light startling revelations about Victorian society and how Stoker viewed the roles of men and women during this time period. To really understand Dracula, it is important to note that this novel was written during a time “of political and social upheaval, with anxieties not just about the
1. Introduction Madness as a theme plays an important role in Bram Stoker 's “Dracula”, almost every character at some point exhibits some kind of behaviour which could be connected with mental instability. “The working notes for the novel show that the idea of madness was present from an early stage; a cast list dating from the spring of 1890 includes a mad doctor and a mad patient who has ‘a theory of perpetual life’.” (Pedlar136). Even though, male and female characters are equally susceptible to madness, their actions and states which are similar in their nature are seen and dealt with in different ways.
Seeing is believing, especially when it comes to the supernatural. Throughout Dracula, by Bram Stoker, the clash between science and the supernatural is a recurring theme. At the time, London, England, was in the middle of modernizing society and the science behind it. This included the invention of the phonograph, typewriter, and the way people were thinking. Because of this new era, the English began to discharge the ideas of superstitions.
Gothic horror novel Dracula, the title character makes only several relatively short appearances, some of which are while in disguise. Throughout the novel, Stoker keeps Count Dracula in the shadows, both literally and figuratively. This essay will describe these appearances and analyze Stoker’s use of them to determine what effect they might have on the impression of the character and the novel overall. It will be claimed that by keeping his title character hidden for much of the novel, Stoker’s Dracula is made much more frightening to the reader. Human beings tend to fear the unknown, and by leaving Dracula to the imagination,
“Fear can challenge our sense of humanity and understanding of the world” This is a broad statement and in a book with over 300 pages, I will be focusing on certain parts in each of the books. Proving that fear can and really does challenge our sense of humanity and understanding in the world, from the start of the book where they tried to make up a rational solution to make this all seem like it wasn’t real, to actively fight against the evil they had so vehemently protested against existing. Bram stokers 19th-century fictitious Gothic novel 'Dracula ' is incredibly complex with many different characters from the meek and underestimated Mina, to the courageous and respected Van Helsing.
This man belongs to me!’”(48.) This fury and possessive behavior are in no means typical in a healthy relationship, but perhaps Stoker chooses to represent Dracula in this way, as to show the jealous rage sometimes associated in obsessive, forbidden love, and the anger surrounding the acceptance of one 's