Throughout the excerpt from Bram Stoker’s Dracula, Stoker utilizes diction to convey the central idea that peoples’ worst fears lie in the unknown. In this section, the narrator is being held captive by an unknown entity. He begins to feel that his only hope is to understand the captor and starts to question the manner of the individual. In an effort to express the central idea, Stoker employs diction.
Furthermore, issues of racism are highly evident in all three texts, but especially Frankenstein and Dracula. Critic John Allen Stevenson states in Vampire in the Mirror that “Color, in fact, which is commonly used in attempts at racial classification, is a key element in Stoker’s creation of Dracula’s foreignness. Here, and throughout the novel, the emphasis is on redness and whiteness” (141). “Lucy and Mina take on this coloration as Dracula works his will on them. There is first of all the reiterated image of red blood on a white nightgown (103, 288), a signature that Dracula leaves behind after one of his visits (and a traditional emblem of defloration)”
Vlad Drakul was born in approximately 1430 in the town of Sighișoara in central Romania. His first of three reigns as Prince of Wallachia began after he briefly seized the throne from his half-brother, Alexander, in 1448. Drakul was quickly unseated and spent eight years plotting to retake the throne, which he did again in 1456. In a battle with the Turks he was taken prisoner and regained the throne a third time after his release in 1476. Vlad Drakul was arguably the most famous vampire to ever live, known even to Muggles although they dismiss much of his story as simply a reign of cruelty.
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.
You might expect Frankenstein, Dracula or Wolfman as the earliest horror movies, but the truth is nothing that creepy as Nosferatu: A Symphony of Horror was ever made before. Dating back to 1922, this movie reflects the bleak and frightening interwar years in Germany. Featuring a vampire called Count Orlok with the unforgettable Max Schreck, who was so tall, that in one scene he barely fits through a doorway. In order to maximize the rhetorical effect of mystery or uncanny – Murnau, in particular, is focusing at the lifeless becoming alive or the dead claiming life, as in the sequence of the vampire coming out of the shadow and slowly filling the screen with its horrific glance. (Lucchese, 2014).
Peaceful resistance to laws positively impacts a free society. Rather than having violent movements and harming citizens, it is better to peacefully resist. Once a violence is used, the resistance to the law becomes nulled. People tend to not follow a violence protester. Jonathan Harker is a “quiet, business-like gentleman” (Stoker ) who is very devoted to his fiancée, Mina.
The major theme in the novel Dracula by Bram Stoker is the threat of female sexual expression. During this time period, female sexual behavior was frowned upon. Women were said to have to be either a virgin or a wife and mother. Social standards were very strict during this time, making it unheard of for women to show sexual expressions. In is era, the main concern was the role women had in society.
Last weekend I attended the play Dracula, based on the novel of the same title by Bram Stoker. This version was a moveable play by Chesapeake Shakespeare Company, located in nearby Ellicott City in the Ruins. Already having read the book, I noticed many differences between the book Dracula and the play itself being a moveable play made it a different, and very enjoyable, experience. In one part, the characters are inside their house, and one part of the building looks like a house. When they move outside, instead of changing around the set in the one room, they will move the entire play, including the audience, outside the building, adding a completely different setting.
Humans have relied on interaction with other humans since the creation of man; without human interaction, one does not learn the social expectations and civilized manners required to survive in this world. Dracula’s view as an anti hero build the claim to his lonely existence. Loneliness can be attributed to any of the main characters within Dracula and can even explain the motivations behind their actions. Moreover, the characters, at times, not only feel physically separated from the others in the story, as well as society, but they also feel emotionally isolated. Also, Count Dracula leads the loneliest existence out of all of the characters in the novel, and is therefore motivated the most by his feelings of isolation and desire for companionship
Vampires are a classic and incredibly versatile kind of monster across all kinds of media, certainly not just limited to videogames. A big part of that undoubtedly stems from how many cultures around the world have variations on the vampire present in their folklore – usually in the form of some sort of otherworldly something that swoops in and saps the life force of humans and/or animals before slipping off into the night when they've finished. Sometimes these beings are little more than monstrous animals, sometimes they're overdramatic goth fashion plates, and sometimes they're just regular people who like to chill out with a bloody mary every now and then. You can find a pretty diverse range of vampires in games of course. Maybe too diverse,
A battle between good and evil is a common plot to Dracula. The forces of evil, Count Dracula and other vampires (the un-dead), try to take over Britain. The novel heroes Dr. Van Helsing, Dr. John Seward, Johnathan Haker, Quincy Morris, and Arthur Holmwood are the first responders for this evil invasion of the British Empire. In the novel the characters Dracula and Van Helsing play a major role for being the leaders of their respective groups, therefore they controlled the actions of their groups. Dracula’s actions in the novel have the purpose to flourish the rise of the un-dead, while Van Helsing’s actions aim to preserve and protect the human race.
Word Count: 1188 5. Describe the appearances Dracula makes throughout the novel. What does Stoker achieve by keeping his title character in the shadows for so much of the novel? In Bram Stoker’s 1897
The topic I have chosen for my essay is how Dracula is meant to remind society of the importance of religion, specifically Christianity, in Stoker’s time. I intend to do this through analyzing symbols in Dracula, drawing connections between these symbols and Christianity, and analyzing the implications Stoker attempts to make. I chose this topic because vampires and their sacrilegious implications, such as burning when touching a cross, have always been of interest to me, hence why I chose to study Dracula in the first place. My thesis is: Stoker uses Count Dracula as symbol to represent what society may become if they abandon religious beliefs.
In order to defeat Dracula, the protagonists use both religion and rationalism; as a result, arguments in favour of both sides of the debate are presented, which makes it impossible to reduce Dracula to one side or the other. The vampire hunters rely heavily on faith and religious objects, such as crucifixes and the eucharist, which presents an argument in favour of looking beyond rationalism and science to faith. As noted above, Dracula, by his fantastic nature, is something that defies reason, and thus religion is necessary to explain what rationalism cannot. Van Helsing makes a case for this when he urges “I want you to believe… in things you cannot.…I heard once of an American who so defined faith: ‘that which enables us to believe things
When Louisa agreed to marry Bounderby to help her brother, Dickens describes Sissy looking at Louisa I wonder, pity, sorrow, and doubt. From then, Louisa became very cold and distant towards her dear friend and their relationship changed greatly. Even after Louisa’s failed marriage, Sissy stood by her. After nursing her back to health, Sissy tells Louisa, “I have always loved you, and have always wished that you should know it” (169; bk. 3, ch. 1).
