TABLE of CONTENTS BACKGROUND 2 Tracking Down the Lost Hot Water Springs
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From Woods and Water to the Gran Bazaar: Images of Romania in English Travelogues After Wwi
LINGUACULTURE 2, 2015 FROM WOODS AND WATER TO THE GRAN BAZAAR: IMAGES OF ROMANIA IN ENGLISH TRAVELOGUES AFTER WWI ANDI SÂSÂIAC Alexandru Ioan Cuza University of Iasi, Romania Abstract Although globalization brings different countries and cultures in closer and closer contact, people are still sensitive when it comes to aspects such as cultural specificity or ethnicity. The collapse of communism and the extension of the European Union have determined an increase of interest in Romania’s image, both on the part of foreigners and of Romanians themselves. The purpose of this paper is to follow the development of Romania’s image in English travelogues in the last hundred years, its evolution from a land of “woods and water” in the pre-communist era to a “grand bazaar” in the post- communist one, with clear attempts, in recent years, to re-discover a more idyllic picture of the country, one that should encourage ecological tourism. The article is also intended to illustrate the extra-textual (historical, economic, cultural) factors that have impacted, in different ways, on this image evolution. Key words: image, cliché, stereotype, travel writing, travelogue, history, power relations Introduction According to Latham jr. (25), immediately after WWI, Romania remained a subject of interest to the English-speaking world because of its war debts and because it was a member of the Little Entente (also comprising Czechoslovakia and Yugoslavia). Both the cultural and political life of Romania and its relations with the Western countries took a rather paradoxical turn after the accomplishment of the long standing ideal of Romanian unity in 1918. -
Body, Soul, Spirits and Supernatural Communication
Body, Soul, Spirits and Supernatural Communication Body, Soul, Spirits and Supernatural Communication Edited by Éva Pócs Body, Soul, Spirits and Supernatural Communication Edited by Éva Pócs This book first published 2019 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2019 by Éva Pócs and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-2231-8 ISBN (13): 978-1-5275-2231-2 Style edited by Andrew Rouse Index prepared by Ágnes Maléth Editorial assistant: Andrea Zombory The publication of this volume has received funding from the European Research Council under the European Union’s Seventh Framework Programme (FP7/2007-2013) / ERC grant agreement № 324214. TABLE OF CONTENTS List of Illustrations .................................................................................. viii Preface ........................................................................................................ x Éva Pócs 1. Body, Soul, Double On Hungarian Lélek “Spirit, Soul” and the Finno-Ugric “Soul” or “Breath” or Simply “Steam” .................................................................. 2 Vilmos Voigt Eyes, Hair and Singing: Soul Concepts -
Vampires: Breathing Life Into the Undead “Monsters” of Mythology Lauren Sieberg Chapman University, [email protected]
Chapman University Chapman University Digital Commons Student Scholar Symposium Abstracts and Posters Center for Undergraduate Excellence Fall 12-5-2018 Vampires: Breathing Life into the Undead “Monsters” of Mythology Lauren Sieberg Chapman University, [email protected] Follow this and additional works at: https://digitalcommons.chapman.edu/cusrd_abstracts Recommended Citation Sieberg, Lauren, "Vampires: Breathing Life into the Undead “Monsters” of Mythology" (2018). Student Scholar Symposium Abstracts and Posters. 305. https://digitalcommons.chapman.edu/cusrd_abstracts/305 This Poster is brought to you for free and open access by the Center for Undergraduate Excellence at Chapman University Digital Commons. It has been accepted for inclusion in Student Scholar Symposium Abstracts and Posters by an authorized administrator of Chapman University Digital Commons. For more information, please contact [email protected]. Vampires: Breathing Life into the Undead “Monsters” of Mythology Presenter: Lauren Sieberg Advisor: Dr. Eileen Jankowski Course: FFC-100-27 Variations by Region & Period What Makes Monsters? Asia mon·ster • Ancient China: The legend of Jiang Shi, known as the Chinese “hopping” vampire, tells /ˈmänstər/ of a stiff type of zombie-esque creature incapable of walking normally, hence the noun “hopping” label noun: monster; plural noun: monsters • They rest in coffins during the day and feast on unsuspecting victims at night aMost Common Traits 1. an imaginary creature that is typically large, ugly, and frightening. • Like in the Mesopotamian myths, they only feed on their victims’ life force 2. an inhumanly cruel or wicked person. Vampire Myths in Accordance With Individual Traits (out of 153)* 3. a person, typically a child, who is rude or badly behaved. -
Revampings of Dracula in Contemporary Fiction
Revampings of Dracula in Contemporary Fiction Margaret L Carter [Margaret L Carter, author of The Vampire in Literature: A Critical Bibliography and editor of Dracula: The Vampire and the Critics, has recently published Different Blood: The Vampire as Alien (www.xlibris.com/DifferentBlood.html).] Although Count Dracula is slain in the final pages of Bram Stoker’s 1897 novel, throughout the subsequent century he has enjoyed innumerable resurrections in film and literature. Many of these incarnations might be unrecognizable to Stoker as the character he created. Fictional treatments of Dracula, especially those that have appeared within the past thirty years, reflect changes in attitudes toward vampires in general. In contrast to the characterization of vampires in Stoker’s own fiction and that of his contemporaries, in recent decades various authors have rendered these “monsters” sympathetically. Earlier nineteenth-century works do contain a few hints of sympathy for their vampire characters. They inspire sympathy or attraction, however, despite their inhuman nature rather than because of it. They still must be destroyed. The eponymous monster in Varney the Vampyre (1847) displays remorse for his bloodthirsty past and finally commits suicide by leaping into a volcano. Carmilla, in J Sheridan Le Fanu’s novella (1872), presents herself initially as victim rather than predator, and the narrator, Laura, finds her attractive, yet Carmilla’s existence nevertheless ends in violent destruction. Nina Auerbach characterizes pre-Stoker vampires as “not demon lovers or snarling aliens ... but singular friends” in a literary period when “it was a privilege to walk with a vampire” (13). This “sinister, superior sharer” enjoys an “intimate intercourse with mortals,” even though a “dangerously close” one (13). -
Folkloric Aspects of the Romanian Imaginary and Myth
Folkloric Aspects of the Romanian Imaginary and Myth Folkloric Aspects of the Romanian Imaginary and Myth By Claudia Costin Folkloric Aspects of the Romanian Imaginary and Myth By Claudia Costin This book first published 2018 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2018 by Claudia Costin All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-1111-1 ISBN (13): 978-1-5275-1111-8 TABLE OF CONTENTS Foreword ................................................................................................... vii Chapter One ................................................................................................. 1 Calendar Holydays: The Mythical Dimension and the Spectacular The Custom of the Lads from Şcheii Braşovului: Mythical Reminiscences and Symbolical Valences ........................................ 1 From Mythic-ritualistic Gesture to Popular Show Căluşarii ................ 12 The Sânziene—Between Tradition and Actuality ................................ 21 Chapter Two .............................................................................................. 25 The Woman in Historical Romania The Imaginary of the Female Body -
In Search of Dracula
SI M-A 2006 pgs cut 1/23/06 2:49 PM Page 25 NOTES ON A STRANGE WORLD MASSIMO POLIDORO In Search of Dracula recently had the opportunity to Ironically, though the novel was first travel through Europe in search of published in English in 1893, Romania’s Ithe reality behind some famous most famous fictional resident, Count ancient legends. I was part of a team of Dracula, was almost unknown there investigators for a TV show called until 1992. Only with the fall of com- “Legend Detectives,” which subse- munism was Bram Stoker’s classic finally quently aired in December 2005 by translated and published in Romania. Discovery Channel Europe. But the question remained, could I was particularly interested in the Vlad Tepes have been the model for legend that was scheduled for May: Stoker’s infamous Count? Count Dracula, the world’s most What is known of Vlad the Impaler famous vampire. Such is the enduring comes from a series of lurid stories dat- power of Bram Stoker’s classic horror ing back to the late fifteenth and early story, first published in 1897 and never sixteenth centuries. They depict a man out of print, that modern-day surrounded in corpses, a tyrant and Transylvania in Northern Romania has madman, who literally drank the blood become a tourist Mecca. of his enemies. There are good reasons Fans of the fictional count flock there to think that Stoker was struck by this A bust of Vlad Tepes in Bucharest, Romania. by the coachload persuaded that in the evil character and borrowed his sur- land of mist-shrouded mountains, they Son of the Devil name, “Dracula,” because he thought it meant “son of the devil,” to create his will find clues to the source of the great- Bram Stoker’s Dracula was by no means est vampire of them all: the Transylvanian own vampire. -
Introduction a Bloodline Rarely Known Outside Of
Out of what crypt they crawl, I cannot tell But every night I see the rubbery things Black, horned, and slender, with membraneous wings And tails that bear the bifid barb of hell. They come in legions on the north wind’s swell, With obscene clutch that titillates and stings, Snatching me off on monstrous voyagings To grey worlds hidden deep in nightmare’s well. —H.P. Lovecraft, “Night-Gaunts” Introduction A bloodline rarely known outside of Romanian folklore, the Strigoi have existed for countless centuries, a primordial branch of the Nosferatu haunting the wilderness of Transylvania and Wallachia. Long divorced from the clan which spawned them, the Strigoi have become an isolated strain, a self-contained race of vampires unconnected to the vast world of the Kindred glittering beyond their impenetrable forests. And yet this isolation has molded them in ways far more terrible than the influences of Kindred society, for the Strigoi still possess the ability to transform into monstrous beings; winged demons that haunt the night sky like relics from a mythological past. Description The Strigoi are a terrifying—but fortunately regional!—bloodline, and while their origins have never been directly traced back to the Nosferatu, one could hardly draw any other conclusion. The Strigoi are hideously deformed, possess a high degree of Obfuscation, and share a common geographical origin and mythology with the Nosferatu. But unlike their more prolific cousins, the Strigoi do not reproduce or create ghouls in the traditional vampiric fashion. Like all Kindred, a Nosferatu is free to inflict the curse of the Embrace upon any poor soul he desires; but for reasons likely more superstitious than supernatural, the Strigoi may only Embrace a select group of mortals: witches who have already been made into Strigoi ghouls, and humans who have committed suicide. -
Gothic Genesis 6.5 MB
Mythos #3 Winter, 2019 In the beginning…Bob created the Batman. But, Batman was battle against the evil forces of society…his identity remains un- unformed and unfinished. And so, Bob brought his new creation known.” 2 This was a basic detective murder mystery thriller, in to his writer-friend Bill, who looked upon Batman and pondered which Batman tracked down a corporate criminal named Alfred the potential and possibilities of what could be. Bill suggested Stryker, who schemed to murder his two partners in the Apex Majestic and grandiose are the two terms by which I would Batman truly was. Like the Dark Knight, his influential and some adjustments and alterations inspired by the bat motif, Chemical Corporation before he would have to buy them out. personally describe the remarkable talent of maestro scribe, inspiring work has been mantled in the mists of mystery and which Bob incorporated into Batman’s unique and uncanny In the climatic scene, Batman punched Stryker so powerfully Gardner Francis Fox. For the most part, his life, his vast myth since the genesis of the character. For Gardner was image. Bob and Bill looked upon their collaborative effort and that the blow caused him to break through the protective railing mind-boggling body of work, and perhaps most importantly right there, front and center from nearly the very beginning, behold, Batman was very good! Bob presented Batman to and fall into a tank of acid. Finger’s second effort in Detec- of all, his immeasurable influence upon the wild and wacky taking over the script writing duties from Bill Finger as early as DC Comics’ senior editor Vincent A. -
Project Work
PROJECT WORK Legacy of the Damned Late-Victorian Ideas of Religious and Racial Degeneration in Bram Stoker's Dracula Erik Fredriksson Bachelor of Arts English Luleå University of Technology Department of Arts, Communication and Education Table of Contents Introduction............................................................................................................................................. 1 Chapter one: Historical Background........................................................................................................ 3 Chapter two: Purity of Faith.................................................................................................................. 14 Chapter Three: Race.............................................................................................................................. 27 Conclusion ............................................................................................................................................. 32 Works Cited ........................................................................................................................................... 34 1 Introduction Bram Stoker’s Dracula is a novel that brings up many issues that were relevant at the time of its writing. During the story of a group of friends who come into contact with a Transylvanian vampire, Stoker weaves in contemporary issues and developments in late-Victorian England. The book is a period piece in the horror genre. It deals with science, religion, feminism and technology and -
Dracula's Truth Claim and Its Consequences
Journal of Dracula Studies Volume 16 Number 1 Article 3 2014 Dracula's Truth Claim and Its Consequences Hans de Roos 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 de Roos, Hans (2014) "Dracula's Truth Claim and Its Consequences," Journal of Dracula Studies: Vol. 16 : No. 1 , Article 3. Available at: https://research.library.kutztown.edu/dracula-studies/vol16/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]. Dracula's Truth Claim and Its Consequences Cover Page Footnote Hans Corneel de Roos studied Political and Social Sciences in Amsterdam and Berlin. In 2012, he published The Ultimate Dracula. Together with Dacre Stoker, he wrote Dracula by Bram Stoker - The Travel Guide. He just finished his translation of Makt Myrkranna, the Icelandic version of Dracula, to English and German. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol16/ iss1/3 Dracula’s Truth Claim and Its Consequences Hans de Roos [Hans Corneel de Roos studied Political and Social Sciences in Amsterdam and Berlin. In 2012, he published The Ultimate Dracula. Together with Dacre Stoker, he wrote Dracula by Bram Stoker - The Travel Guide. He just finished his translation of Makt Myrkranna, the Icelandic version of Dracula, to English and German.] “Begin at the beginning," the King said gravely, "and go on till you come to the end: then stop.” Lewis Carroll, Alice in Wonderland Although its name suggests otherwise, the preface of a book is usually written when all of its content has been completed. -
Introduction
Introduction othic as we know it today is a term that is both hybrid and hybrid- Gising, simultaneously morphing to refer to an increasingly wider span of new cultural productions whilst also continuously expanding retrospectively to appropriate more materials from the past. Gothic as a genre has become more amorphous and difficult to contain. As Fred Botting has written: ‘The diffusion of Gothic forms and figures […] makes the definition of a homogenous generic category very difficult’ (Botting, 1996: 9). Though the first burgeoning of Gothic novels is easy to locate chronologi- cally, the Gothic leaches acquisitively backwards and forwards in time whilst also crossing generic borders. For example, David R. Castillo writes of Julián de Medrano’s La Silva Curiosa / The Strange Wood, published in 1583, nearly two centuries before the first commonly accepted date for the appearance of Gothic writing: ‘The story has all ingredients of a full-blown gothic fantasy: Faustian motives, visions of damnation, voices from the dead, restless corpses […] as is so often the case in classic gothic fiction beginning with Horace Walpole’s The Castle of Otranto (1764), this is ultimately a story about the crushing weight of the past’ (Castillo, 2010: 69). If critics have started to note the proleptic nature of early modern literature in terms of anticipating the Gothic, theoret- ical descriptions of the ‘domestic Gothic’ of the 1860s onwards and the late Victorian Gothic of the 1890s have helped give weight to Richard J. Hand’s confident instatement of German Expressionism within the area of Gothic influence (Hand, 2013: 271). The primacy of Bram Stoker’s vampire novel for F. -
Adaptable Monsters: the Past, Present, and Future of the Vampire
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2015 Adaptable Monsters: The aP st, Present, and Future of the Vampire Narrative as a Metaphor for Marginalized Groups Alexa Wei Scripps College Recommended Citation Wei, Alexa, "Adaptable Monsters: The asP t, Present, and Future of the Vampire Narrative as a Metaphor for Marginalized Groups" (2015). Scripps Senior Theses. 678. http://scholarship.claremont.edu/scripps_theses/678 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. ADAPTABLE MONSTERS: THE PAST, PRESENT, AND FUTURE OF THE VAMPIRE AS A METAPHOR FOR MARGINALIZED GROUPS by ALEXA WEI SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR NICOSIA PROFESSOR BHATTACHARYA 24 APRIL 2015 Wei 1 Abstract This thesis paper gives a brief history of the vampire narrative and its role in representing the collective anxieties of an age as well as serving as a metaphor for oppressed peoples. It uses Bram Stoker’s Dracula and J. Sheridan le Fanu’s Carmilla as historical examples of how the vampire adapts to suit issues of the day such as reverse colonization and female sexuality, respectively. The latter part of this paper speculates on the future role of the vampire in literature and proposes that the vampire could be used to discuss transgender issues as well as challenge the gender binary. It addresses the suitability of the vampire narrative in particular for representing gender as a spectrum using the lenses of Foucault’s heterotopias, Kristeva’s abject, and Freud’s uncanny and pulls examples of early evidence of this trend from Anne Rice’s Vampire Chronicles.