Expressionism and Bram Stoker╎s Dracula on the Stage
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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. -
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. -
Bram Stoker's Dracula
Danièle André, Coppola’s Luminous Shadows: Bram Stoker’s Dracula Film Journal / 5 / Screening the Supernatural / 2019 / pp. 62-74 Coppola’s Luminous Shadows: Bram Stoker’s Dracula Danièle André University of La Rochelle, France Dracula, that master of masks, can be read as the counterpart to the Victorian society that judges people by appearances. They both belong to the realm of shadows in so far as what they show is but deception, a shadow that seems to be the reality but that is in fact cast on a wall, a modern version of Plato’s Allegory of the Cave. Dracula rules over the world of representation, be it one of images or tales; he can only live if people believe in him and if light is not thrown on the illusion he has created. Victorian society is trickier: it is the kingdom of light, for it is the time when electric light was invented, a technological era in which appearances are not circumscribed by darkness but are masters of the day. It is precisely when the light is on that shadows can be cast and illusions can appear. Dracula’s ability to change appearances and play with artificiality (electric light and moving images) enhances the illusions created by his contemporaries in the late 19th Century. Through the supernatural atmosphere of his 1992 film Bram Stoker’s Dracula, Francis Ford Coppola thus underlines the deep links between cinema and a society dominated by both science and illusion. And because cinema is both a diegetic and extra-diegetic actor, the 62 Danièle André, Coppola’s Luminous Shadows: Bram Stoker’s Dracula Film Journal / 5 / Screening the Supernatural / 2019 / pp. -
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. -
Guide to Bram Stoker Holdings in the Rosenbach Museum & Library 29
Guide to Bram Stoker holdings in the Rosenbach Museum & Library 29 January 2021 HISTORICAL NOTE: The Rosenbach began its Bram Stoker collection in 1970 with the purchase of Stoker’s notes and outline for Dracula. The Rosenbach continues to collect works by and about Stoker and the guide is updated as new material is acquired. Objects acquired since 2014 are marked with a “+”. SCOPE AND CONTENT This guide contains only the manuscripts and books written by Bram Stoker in the Rosenbach collections. For source and inspiration material related to Dracula and other vampire literature, please see our Dracula-Vampire guide. Bram Stoker (1847-1912) The Bram Stoker holdings at the Rosenbach consist of I.Manuscripts II.Books I. Bram Stoker Manuscripts EL3 .S874d MS Dracula: notes and outline, [ca. 1890 ca. 1896]. ca. 119 l. in case; 29 cm. Summary: Manuscript and typescript notes, photographs, and a newspaper clipping, comprising both background research and an outline for the book. The first section consists of 49 leaves of manuscript: a list of characters, notes on vampires, outlines for the whole book and for most chapters (all 7 chapters for each of books 1 3 and ch.26 27), chronologies, and miscellaneous notes on characters and events. The second section consists of 30 manuscript leaves tipped onto 10 sheets, 2 photo-graphs, and a clipping: reading notes on vampires and werewolves; and shipwrecks, weather, geography, and language in the area of Whitby, North Yorkshire, where part of the story takes place. The last section consists of 37 leaves of typescript notes with manuscript corrections, being reading notes on various works about the history and geography of the Carpathians, dream theory, and tombstones at Whitby. -
Dracula's Guest, by Bram Stoker
The Project Gutenberg eBook, Dracula's Guest, by Bram Stoker This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org Title: Dracula's Guest Author: Bram Stoker Release Date: November 20, 2003 [eBook #10150] This revision released November 7, 2006. Most recently updated: November 10, 2014 Language: English Character set encoding: ISO-8859-1 ***START OF THE PROJECT GUTENBERG EBOOK DRACULA'S GUEST*** E-text prepared by Bill Keir, Susan Woodring, and the Project Gutenberg Online Distributed Proofreading Team and revised by Jeannie Howse DRACULA'S GUEST by Bram Stoker First published 1914 To MY SON CONTENTS Dracula's Guest 9 The Judge's House 26 The Squaw 50 The Secret of the Growing Gold 67 The Gipsy Prophecy 84 The Coming of Abel Behenna 96 The Burial of the Rats 120 A Dream of Red Hands 152 Crooken Sands 165 PREFACE A few months before the lamented death of my husband—I might say even as the shadow of death was over him—he planned three series of short stories for publication, and the present volume is one of them. To his original list of stories in this book, I have added an hitherto unpublished episode from Dracula. It was originally excised owing to the length of the book, and may prove of interest to the many readers of what is considered my husband's most remarkable work. -
To Date Directed Its Broadway Version, Also Directed the Movie; and Eileen Heckart Repeats Her Role As the Mother
his "powers of statesmanship" (?) to put an end to the slave trade. Dracula, of course, will have none of this and vamps Mamuwalde, seals him in a coffin, dooms him to lust eternally after etc. His home is 200 later in lth:i:i::,''WmiK:,.ll!ir. blood, etc., opened years Los Angeles by two interior decorators who plan to make a fortune sellina the furnishings of Castle Dracula in the states. Thus unleashed, he begins his reign of terror, etc. Through it all William Marshall, who has had some experience with Shakespearian stage, is good at going "Aargh! Aargh!," and turning into a bat. Vonetta McGee as his wife Luva and her reincarnation Tina, does a fine job wandering around in a daze and saying "No, Mamuwalde! Help!" Thalmus Rasulala, as the brave Dr. Thomas, is at his best his 11 ,1'" unbuttoning sportcoat and putting his hands on his hips. ML The extras are great at wearing purple face make-up- , clip-o- n fangs and stumbling around looking menacing and possessed. ''.11,' The movie is more than corny, though. It is embarrassing. Your reviewer, who is white, was embarrassed by the racism which forms the fiim's foundation. Blacula ought to be subtitled, "Amos n' Andy Grow Teeth." It was produced by a white man, directed by a white man, written by a white woman, financed by a white-owne- d company. It is a white man's idea of what would appeal to the mind of a black man. The idea is that if detective thrillers like Shaft and Cotton Comes to Harlem succeed in drawing black crowds and green money, why not see if a black vampire movie will do as well? If your big brother liked Shaft, you're supposed to dig Blacula.