Dracula 2018 Audience Guide FINAL
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Dracula Free Download
DRACULA FREE DOWNLOAD Bram Stoker | 488 pages | 20 Nov 2014 | Roads Publishing | 9781909399341 | English | Dublin, Ireland Count Dracula Upon publishing extracts of their Dracula for Anno Dracula in an updated version of the first book in the series, author Dracula Newman revealed the film would Dracula the likeness of Peter Cushing to represent the severed head of the deceased Van Helsingestablishing elements of the Hammer Productions Dracula film series as the backdrop for the film adaptation's events, specifically an imagined alternate ending to the Dracula film. Until it sets to-night, that Dracula must retain whatever form he now has. Around the same time, Jonathan Harker arrives from Budapestwhere Mina marries him after his escape, and he and Mina join the campaign against Dracula. Arthur Grant. Dracula leaves Harker trapped in the castle and then, along Dracula 50 boxes of dirt, departs for England. Monster High: Electrified. Likewise Rider is not totally Dracula. Almost any crime, from lying and Dracula to Dracula, could be punished by impalement. Britannica Quiz. Scars of Dracula. Retrieved 2 November Main article: Powers of Darkness. It was, according to most contemporary Dracula, the deleted first or second Dracula from the original Dracula [73] and the one which gave the volume its name, [6] : but which the original publishers deemed unnecessary to the overall story. She dies by the hand of the past, despite the use of modern medical technology. He also learned about his older brother's death Dracula how he had been tortured Dracula buried alive by the boyars of Targoviste. Chapter 18, p. -
This Is One of the Only Scary Stories That Actually Scared Me
"This is one of the only scary stories that actually scared me. This is quite a long book, so I decided to make it in 5 parts. The next 15 questions will come out soon! Test your memory and see how much you remember." 1. Chapter 1: Jonathan Harker's Journal-Where is Mr. Harker travelling to in the beginning of the novel? Budapest Borgo Pass Bucharest Bistritz 2. True or false: When Harker arrived at the lodge, he received a note from Count Dracula himself. True False 3. The horses were driven by "a tall man with a long brown beard." At first what was the only part of his face that Harker could see? his teeth his nose his ears his eyes 4. We now arrive at Dracula's castle. The door is answered by "a tall old man, clean shaven save for a long white moustache, and clad in black from head to foot, without a single speck of colour about him anywhere." What was it about this man that reminded Harker of the carriage driver? his ears his eyes his grip his teeth 5. A couple of nights later, Harker can't sleep much, so he decides to shave. He is startled by Count Dracula due to the fact that he could not see his reflection in the mirror. At the time he was startled, he cut his chin with the razor. How did Dracula react when he saw the blood? He did nothing He tried to hypnotize him He made a grab for his throat He moved slowly toward him 6. -
01:510:255:90 DRACULA — FACTS & FICTIONS Winter Session 2018 Professor Stephen W. Reinert
01:510:255:90 DRACULA — FACTS & FICTIONS Winter Session 2018 Professor Stephen W. Reinert (History) COURSE FORMAT The course content and assessment components (discussion forums, examinations) are fully delivered online. COURSE OVERVIEW & GOALS Everyone's heard of “Dracula” and knows who he was (or is!), right? Well ... While it's true that “Dracula” — aka “Vlad III Dracula” and “Vlad the Impaler” — are household words throughout the planet, surprisingly few have any detailed comprehension of his life and times, or comprehend how and why this particular historical figure came to be the most celebrated vampire in history. Throughout this class we'll track those themes, and our guiding aims will be to understand: (1) “what exactly happened” in the course of Dracula's life, and three reigns as prince (voivode) of Wallachia (1448; 1456-62; 1476); (2) how serious historians can (and sometimes cannot!) uncover and interpret the life and career of “The Impaler” on the basis of surviving narratives, documents, pictures, and monuments; (3) how and why contemporaries of Vlad Dracula launched a project of vilifying his character and deeds, in the early decades of the printed book; (4) to what extent Vlad Dracula was known and remembered from the late 15th century down to the 1890s, when Bram Stoker was writing his famous novel ultimately entitled Dracula; (5) how, and with what sources, Stoker constructed his version of Dracula, and why this image became and remains the standard popular notion of Dracula throughout the world; and (6) how Dracula evolved as an icon of 20th century popular culture, particularly in the media of film and the novel. -
The Story a Ballet by David Nixon
The Story ACT I Jonathan Harker, a young lawyer, travels to Transylvania to conclude some business with the mysterious old nobleman, Count Dracula. A ballet by David Nixon OBE One night at the Count’s castle, three female Duration: approx. 115min + 20min interval vampires – the Brides of Dracula – try to seduce Harker. Angry, Dracula intervenes, feasts on Harker himself and is transformed into a younger man. Sponsored by Dracula Javier Torres Old Dracula Riku Ito Dracula travels to England, where Harker’s fiancée, Mina Murray Abigail Prudames Mina, is awaiting her beloved’s return. Meanwhile Lucy Westenra Antoinette Brooks-Daw Mina’s friend Lucy is choosing between two potential Taking Northern Ballet Jonathan Harker Lorenzo Trossello suitors, finally accepting the dashing Arthur Holmwood from stage to screen Dr Jack Seward Joseph Taylor over the morose Dr Seward. Arthur Holmwood Matthew Koon Renfield Kevin Poeung Dracula visits Dr Seward’s mental patient, Renfield, Dr Abraham Van Helsing Ashley Dixon and recruits him to do his bidding. He then lures Brides of Dracula Rachael Gillespie Lucy to a cemetery and bites her before feeding Sarah Chun her his own blood. The next day, Mina is concerned by Lucy’s odd behavior, but when Minju Kang she tries to help, she meets Dracula and the two are immediately drawn to each other. Tortured by the grasp Mina has on him, Dracula enacts his revenge on Lucy. Holmwood, Choreography, David Nixon OBE Seward and his mentor Van Helsing try to rescue her but are too late. Direction, Scenario & Costume Design 20 minute intermission, including a ‘behind the scenes’ featurette Set Design Ali Allen ACT II While everyone is mourning the loss of Lucy at her funeral, Mina can’t escape her Lighting Design Tim Mitchell thoughts of Dracula. -
A Retrospective Diagnosis of RM Renfield in Bram Stoker's Dracula
Journal of Dracula Studies Volume 12 Article 3 2010 All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula Elizabeth Winter Follow this and additional works at: https://research.library.kutztown.edu/dracula-studies Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Film and Media Studies Commons Recommended Citation Winter, Elizabeth (2010) "All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula," Journal of Dracula Studies: Vol. 12 , Article 3. Available at: https://research.library.kutztown.edu/dracula-studies/vol12/iss1/3 This Article is brought to you for free and open access by Research Commons at Kutztown University. It has been accepted for inclusion in Journal of Dracula Studies by an authorized editor of Research Commons at Kutztown University. For more information, please contact [email protected],. All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula Cover Page Footnote Elizabeth Winter is a psychiatrist in private practice in Baltimore, MD. Dr. Winter is on the adjunct faculty at Johns Hopkins where she lectures on anxiety disorders and supervises psychiatry residents. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol12/ iss1/3 All in the Family: A Retrospective Diagnosis of R.M. Renfield in Bram Stoker’s Dracula Elizabeth Winter [Elizabeth Winter is a psychiatrist in private practice in Baltimore, MD. Dr. Winter is on the adjunct faculty at Johns Hopkins where she lectures on anxiety disorders and supervises psychiatry residents.] In late nineteenth century psychiatry, there was little consistency in definition or classification criteria of mental illness. -
Making Sense of Mina: Stoker's Vampirization of the Victorian Woman in Dracula Kathryn Boyd Trinity University
Trinity University Digital Commons @ Trinity English Honors Theses English Department 5-2014 Making Sense of Mina: Stoker's Vampirization of the Victorian Woman in Dracula Kathryn Boyd Trinity University Follow this and additional works at: http://digitalcommons.trinity.edu/eng_honors Part of the English Language and Literature Commons Recommended Citation Boyd, Kathryn, "Making Sense of Mina: Stoker's Vampirization of the Victorian Woman in Dracula" (2014). English Honors Theses. 20. http://digitalcommons.trinity.edu/eng_honors/20 This Thesis open access is brought to you for free and open access by the English Department at Digital Commons @ Trinity. It has been accepted for inclusion in English Honors Theses by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. Despite its gothic trappings and origin in sensationalist fiction, Bram Stoker's Dracula, written in 1897, is a novel that looks forward. At the turn of the nineteenth century, Britons found themselves in a world of new possibilities and new perils –in a society rapidly advancing through imperialist explorations and scientific discoveries while attempting to cling to traditional institutions, men and woman struggled to make sense of the new cultural order. The genre of invasion literature, speaking to the fear of Victorian society becoming tainted by the influence of some creeping foreign Other, proliferated at the turn of the century, and Stoker's threatening depictions of the Transylvanian Count Dracula resonated with his readers. Stoker’s text has continued to resonate with readers, as further social and scientific developments in our modern world allow more and more opportunities to read allegories into the text. -
SLAV-T230 Vampire F2019 Syllabus-Holdeman-Final
The Vampire in European and American Culture Dr. Jeff Holdeman SLAV-T230 11498 (SLAV) (please call me Jeff) SLAV-T230 11893 (HHC section) GISB East 4041 Fall 2019 812-855-5891 (office) TR 4:00–5:15 pm Office hours: Classroom: GA 0009 * Tues. and Thur. 2:45–3:45 pm in GISB 4041 carries CASE A&H, GCC; GenEd A&H, WC * and by appointment (just ask!!!) * e-mail me beforehand to reserve a time * It is always best to schedule an appointment. [email protected] [my preferred method] 812-335-9868 (home) This syllabus is available in alternative formats upon request. Overview The vampire is one of the most popular and enduring images in the world, giving rise to hundreds of monster movies around the globe every year, not to mention novels, short stories, plays, TV shows, and commercial merchandise. Yet the Western vampire image that we know from the film, television, and literature of today is very different from its eastern European progenitor. Nina Auerbach has said that "every age creates the vampire that it needs." In this course we will explore the eastern European origins of the vampire, similar entities in other cultures that predate them, and how the vampire in its look, nature, vulnerabilities, and threat has changed over the centuries. This approach will provide us with the means to learn about the geography, village and urban cultures, traditional social structure, and religions of eastern Europe; the nature and manifestations of Evil and the concept of Limited Good; physical, temporal, and societal boundaries and ritual passage that accompany them; and major historical and intellectual periods (the settlement of Europe, the Age of Reason, Romanticism, Neo-classicism, the Enlightenment, the Victorian era, up to today). -
The Dracula Film Adaptations
DRACULA IN THE DARK DRACULA IN THE DARK The Dracula Film Adaptations JAMES CRAIG HOLTE Contributions to the Study of Science Fiction and Fantasy, Number 73 Donald Palumbo, Series Adviser GREENWOOD PRESS Westport, Connecticut • London Recent Titles in Contributions to the Study of Science Fiction and Fantasy Robbe-Grillet and the Fantastic: A Collection of Essays Virginia Harger-Grinling and Tony Chadwick, editors The Dystopian Impulse in Modern Literature: Fiction as Social Criticism M. Keith Booker The Company of Camelot: Arthurian Characters in Romance and Fantasy Charlotte Spivack and Roberta Lynne Staples Science Fiction Fandom Joe Sanders, editor Philip K. Dick: Contemporary Critical Interpretations Samuel J. Umland, editor Lord Dunsany: Master of the Anglo-Irish Imagination S. T. Joshi Modes of the Fantastic: Selected Essays from the Twelfth International Conference on the Fantastic in the Arts Robert A. Latham and Robert A. Collins, editors Functions of the Fantastic: Selected Essays from the Thirteenth International Conference on the Fantastic in the Arts Joe Sanders, editor Cosmic Engineers: A Study of Hard Science Fiction Gary Westfahl The Fantastic Sublime: Romanticism and Transcendence in Nineteenth-Century Children’s Fantasy Literature David Sandner Visions of the Fantastic: Selected Essays from the Fifteenth International Conference on the Fantastic in the Arts Allienne R. Becker, editor The Dark Fantastic: Selected Essays from the Ninth International Conference on the Fantastic in the Arts C. W. Sullivan III, editor Library of Congress Cataloging-in-Publication Data Holte, James Craig. Dracula in the dark : the Dracula film adaptations / James Craig Holte. p. cm.—(Contributions to the study of science fiction and fantasy, ISSN 0193–6875 ; no. -
Gender Roles in Jane Eyre, Dracula, and Middlemarch
Gender roles in Jane Eyre, Dracula, and Middlemarch Simone Buijsman 1809075 MA Thesis Literary Studies: English Literature and Culture, Leiden University Supervisor: Prof. dr. P.Th.M.G. Liebregts Second Reader: Dr. M.S. Newton 23 June 2017 Buijsman 1809075/1 Table of Content Introduction ............................................................................................................................................. 2 Chapter 1: Gender Roles in the Victorian Era ......................................................................................... 5 Chapter 2: Gender Roles in Jane Eyre .................................................................................................. 10 Chapter 3: Gender Roles in Middlemarch ............................................................................................. 18 Chapter 4: Gender Roles in Dracula ..................................................................................................... 30 Conclusion ............................................................................................................................................. 41 Works Cited ........................................................................................................................................... 44 Buijsman 1809075/2 Introduction During the Victorian Era, the gender roles by which men and women were supposed to live were rigid. Masculinity and femininity were seen as separate categories, and people were not supposed to mix the two. In theory, men were hard workers -
Bram Stoker's Vampire Trap : Vlad the Impaler and His Nameless Double
BRAM STOKER’S VAMPIRE TRAP VLAD THE IMPALER AND HIS NAMELEss DOUBLE BY HANS CORNEEL DE ROOS, MA MUNICH EMAIL: [email protected] HOMEPAGE: WWW.HANSDEROOS.COM PUBLISHED BY LINKÖPING UNIVERSITY ELECTRONIC PREss S-581 83 LINKÖPING, SWEDEN IN THE SERIES: LINKÖPING ELECTRONIC ARTICLES IN COMPUTER AND INFORMATION SCIENCE SERIES EDITOR: PROF. ERIK SANDEWALL AbsTRACT Since Bacil Kirtley in 1958 proposed that Bram Stoker’s Count Dracula, the best known literary character ever, shared his historical past with the Wallachian Voivode Vlad III Dracula, an intense debate about this connection has developed and other candidates have been suggested, like the Hungarian General János Hunyadi – a proposal resurfacing in the most recent annotated Dracula edition by Leslie Klinger (2008). By close-reading Stoker’s sources, his research notes and the novel, I will demonstrate that Stoker’s narrative initially links his Count to the person of Vlad III indeed, not Hunyadi, although the novelist neither knew the ruler’s first name, nor his father’s name, nor his epithet “the Impaler”, nor the cruelties attributed to him. Still – or maybe for this very reason – Stoker did not wish to uphold this traceable identity: In Chapter 25, shortly before the decisive chase, he removes this link again, by way of silent substitution, cloaked by Professor van Helsing’s clownish distractions. Like the Vampire Lord Ruthven, disappearing through the “vampire trap” constructed by James R. Planché for his play The Brides of the Isles in the English Opera House, later renamed to Lyceum Theatre and run by Stoker, the historical Voivode Vlad III Dracula is suddenly removed from the stage: In the final chapters, the Vampire Hunters pursue a nameless double. -
Dracula: Hero Or Villain? Radu R
Dracula: Hero or Villain? Radu R. Florescu racula is the real name of a Left: Portrait of Dracula Wallachian ruler, also known to at Castle Ambras, near DRomanian chroniclers as Vlad lnnsbruck, Austria. The the Impaler. Dracula is a derivative of artist is unknown, but his father's name, Dracul, which in this appears to be a Romanian means the devil. According to copy painted during the those more charitably inclined, the second half of the 16th father was so known because he had century from an earlier been invested by the Holy Roman original that was proba Emperor with the Order of the Dragon, bly painted during dedicated to fighting "the Infidel:' Dracula's imprison Dracula was, therefore, either the son of ment at Buda or evil or the son of good, villain or hero. Visegnid after 1462. Dracula ruled the Romanian princi pality of Wallachia on three separate occasions: in 1448, from 1456 to 1462, Right: The Chindia and, briefly, shortly before his assassina watchtower at Tirgo tion in 1476. These dates correspond to vi~te; a 19th-century one of the most crucial periods in the reconstruction. Apart country's history. Constantinople had from its role as an fallen in 1453, most of the lands south of observation post, it Wallachia had been converted into enabled Dracula to Turkish pashaliks, and the last hero of watch impalements in the Balkan crusades, John Hunyadi, had the courtyard below. died in the plague of Belgrade in 1456. Images courtesy The Danube was thus the frontier of Radu R. Florescu Christendom at a time when Moham med the Conqueror was planning fur chronicle which mentions Dracula, dat Genoese, English, and French chroniclers ther Turkish inroads. -
Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2006 Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions Ileana F. Popa Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1345 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. Cultural Stereotypes: From Dracula's Myth to Contemporary Diasporic Productions A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Commonwealth University. Ileana Florentina Popa BA, University of Bucharest, February 1991 MA, Virginia Commonwealth University, May 2006 Director: Marcel Cornis-Pope, Chair, Department of English Virginia Commonwealth University Richmond, Virginia May 2006 Table of Contents Page Abstract.. ...............................................................................................vi Chapter I. About Stereotypes and Stereotyping. Definitions, Categories, Examples ..............................................................................1 a. Ethnic stereotypes.. ........................................................................3 b. Racial stereotypes.