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Us Versus Them, Or We? Us versus Them, or We? Post-2000 Vampiric Reflections of Family, Home and Hospitality in True Blood and The Originals Dissertation zur Erlangung des akademischen Grades eines Doktors der Philosophie der Philosophischen Fakultät der Universität des Saarlandes vorgelegt von Verena Bernardi aus Saarbrücken Saarbrücken, November 2018 Dekan: Prof. Dr. Heinrich Schlange Schöningen Erstberichterstatterin: Prof.in Dr.in Astrid M. Fellner, Universität des Saarlandes Zweitberichterstatterin: Dr.in Stacey Abbott, University of Roehampton, London, Great Britain Tag der letzten Prüfung: 7. November 2018 Verena Bernardi, M.A. Grenzweg 12 66130 Saarbrücken Deutschland Saarbrücken, den 17.09.2018 Eigenständigkeitserklärung Gemäß § 5 Absatz 4a der Promotionsordnung der Philosophischen Fakultät (P) / Gemeinsame Promotionsordnung der Fakultät 3 (Philosophische Fakultät I – Geschichts- und Kulturwissenschaften) und der Fakultät 4 (Philosophische Fakultät II – Sprach-, Literatur- und Kulturwissenschaften) der Universität des Saarlandes vom 11. Juli 2011 versichere ich – Verena Bernardi, geboren am 28.11.1982 in Saarbrücken – dass ich mich in der Vergangenheit keinem anderen Promotionsverfahren unterzogen habe. Gemäß § 5 Absatz 4b der Promotionsordnung erkläre ich hiermit, dass ich die vorliegende Dissertation selbstständig verfasst habe. Es wurden keine anderen Quellen und Hilfsmittel verwandt als die, die von mir in dieser Dissertation angegeben wurden. Ich versichere, dass ich alle Stellen, die wörtlich oder inhaltlich aus den angegebenen Werken entnommen wurden, kenntlich gemacht habe. Gemäß § 5 Absatz 4c der Promotionsordnung erkläre ich darüber hinaus, dass ich bei der Anfertigung der Arbeit nicht die entgeltliche Hilfe von Vermittlungs- und Beratungsdiensten in Anspruch genommen habe. _______________________________ Verena Bernardi Acknowledgements After three and a half years, numerous international conferences, much research and even more reading and writing, I am happy and proud to see this dissertation has come to fruition. I could not have done this without the support and help of many wonderful people whom I would like to take a moment to thank. My biggest debt is to my supervisor, Prof. Dr. Astrid M. Fellner, to whom I want to direct the following: After my beloved father, my best friend and pillar of strength, passed away, you took on my project and offered me the diversion and change in my life I so desperately needed. You were supportive of my research from the very beginning, although vampires were not really your thing. I am grateful for your support, constructive criticism, and constant encouragement. You have always believed in my abilities, pushed me, and guided me to become a better researcher. I hope that somewhere in this process I was able to change your mind about vampires just a little bit. I am also highly indebted to Dr. Stacey Abbott whom I first met at the “Daughters of Fangdom” conference in London in April 2015. Stacey, your enthusiasm and fascination for all things vampire and supernatural were like sparks flying across the room and ignited a fire in me that convinced me to take on this project. I am eternally grateful to have you as my second advisor. You offered insight and guidance throughout the process of this dissertation, always willing to pass on your extensive expertise and knowledge. A big ‘Thank You’ goes to many of my colleagues at the English Department at Saarland University for their organizational, but above all emotional support. You all were there when I needed you the most, offering thought-provoking exchanges, warm friendship and the occasionally oh-so-necessary cup of coffee. This dissertation would not be what it is without you who are not only my colleagues, but my friends. Of course, I am eternally grateful to my family. Thank you Dad, for always believing in me although you had no idea what I was doing. I wish you could be with me today and I hope you are proud of me wherever you are. Thank you to my mother and husband for supporting me and making all this possible. Without your help I could not have attended the many international conferences which helped shape this dissertation. Thank you for taking great care of our wonderful little girl, Lola, when I was away. You are the best! Last, but certainly not least, I want to thank my daughter Lola. I am so very proud of you. Although you were just a little girl you showed strength and understanding for when I went abroad or had to work late. Although the past three years have been exhausting, you always managed to brighten my day upon waking up in the morning. You are the best thing that has happened to me and I am looking forward to accompanying you on your way to becoming a smart, strong and beautiful woman. Always keep in mind: “If you can dream it, you can do it!” (Walt Disney). For Dad and Lola, with Love. Table of Contents Introduction – Are Vampires Better Humans? 1 1. Intersected American / Southern Gothic - Post-2000 American Vampire Humanity, or Rather Human Monstrosity? 23 1.1 True Blood and The Originals – A Dichotomy of American / Southern Gothic 39 1.2 Vampire Humanity or Human Monstrosity? 55 2. Post-2000 Vampires and Family – Eternal Blessing or Eternal Curse? 61 2.1 Non-Vampire Families in True Blood and The Originals: Traditional Values and Happiness Be Gone 70 2.2 Vampire Families – Loyalty Beyond the Grave? 92 2.2.1 Eternal Commitment: The (Adaptable) Relationship between Maker and Progeny in True Blood 96 2.2.2 The Originals: From Monstrous Patriarchy to Unruly Modern Family 120 2.3 Consanguinity: A Dichotomy of Life and Death, of Unity and Corruption 148 2.3.1 “I Hereby Release You.” Blood Relations and Dominion in True Blood 155 2.3.2 Blood Wars: Sirelines, Belonging and Corruption in The Originals 166 3. The Power of Hospitality: (Re-)Claiming One’s Home 185 3.1 Home and Identity 191 3.1.1 “Coming out of the Coffin” and the Question of Belonging in True Blood 206 3.2 Home and Hospitality, Marking Humanity or Monstrosity? 217 3.2.1 Whose Home Is It? The Originals and the Fight for New Orleans 235 Conclusion and Outlook 261 Bibliography 272 Filmography 286 German Summary 291 Introduction – Are Vampires Better Humans? We are all humans, but some of us are just more mortal than others. (Rosi Braidotti, The Posthuman 15) That humanity can be monstrous is not a new fact. Human history is proof of that. Ever since the first recordings of historical events, writers of all genres have chronicled both the horrors and terrors that tormenting events such as raids, battles and wars conjured up in the minds of people, portraying the effects these events had on later generations. The invention of the moving picture (television and cinema) in the 19th and 20th century respectively greatly contributed to and enhanced the possibility to reach larger audiences, enabling the dissemination and discussion of societal and political issues across national boundaries, even around the whole globe. Throughout history, it has become common practice to displace social or political criticism onto fictional characters in order to prevent the loss of reputation or societal standing. Nowadays, this practice is continued on the small and big screen as it enables screenplay writers and producers to explore issues and ideas in more creative ways while ideally although not always simultaneously reaching a mass audience and making large financial profits. The figure of the vampire is one of the best-known figures used to express anxieties and criticism and has done so in rather explicit terms for a long time.1 As their formerly although no longer human existence has presented a brightly lit stage for the negotiation of an almost inexhaustible repository of societal and political ills of its times, vampires have presented a means to reach a large audience with their exploration of issues and ideas which occupied the audience of their times. Already in the first paragraph of her influential work Our Vampires, Ourselves, Nina Auerbach comments on the versatility of representations when she states, “there are many Draculas – and still more vampires who refuse to be Dracula or to play him” (1). Auerbach voices these 1 See, e.g. Nina Auerbach’s assertion that “[i]n England (at least until the coming of Dracula), vampires offered an intimacy that threatened the sanctioned distance of class relationships and the hallowed authority of husbands and fathers” (6), while “[v]ampires in the American century embody seditious urbanity rather than dangerous intimacy . gravitat[ing] to leadership, aping the tyrants they parody” (7). 1 figures’ strong connection with Anglo-American culture as she continues, “what vampires are in any given generation is a part of what I am and what my times have become” (1). I agree with Auerbach’s assertion that vampires are a product of their time, embodying discourses that characterize the period, location and context in which they were created (as texts, not as vampires). As they essentially also reflect on humankind in its current stages, the present work focuses on the discourses of family, and home and hospitality as presented in the two vampire-themed television series True Blood (2008-14) and The Originals2 (2013-18), which will serve as case studies to show how the discourses of these concepts have changed in the twenty-first century. Supporting my argument with examples from the small-screen and film, I assert that vampires – especially from the post-9/11 era – do substantial cultural work around the changing understanding of humanity in post-2000 Western society as demonstrated by both series, thus creating an awareness of the similarities between the former monsters and humans and using these similarities to ultimately advocate for greater tolerance and acceptance. Ever since their literary debut in John William Polidori’s short story “The Vampyre” (1819), vampires have continuously stood in for the trials and tribulations of humanity.3 Now readying themselves to celebrate two hundred years of literary existence, these creatures are acknowledged and appreciated for their mutability in appearance and behavior, as well as for their constant adaptation to the culture and era in which they find themselves.
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