Castlevania Jumpchain - Less Rough Edition by Wild Card
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Castlevania Symphony of the Night Hack Castlevania: Symphony of the Night Hack
castlevania symphony of the night hack Castlevania: symphony of the night hack. This is a hack that serves as a fanmade sequel to the iconic Symphony of the Night, as such it not only features a brand new story but also features a returning cast of characters such as Richter,Maria,Shaft,Dracula,Succubus, and Alucard. Another it also features is returning items,weapons, and armors from the game as well. There has also be other features carried over from previous Castlevania games such as Maxim Kischine’s legendary Stellar Sword, Dark Pain from the Lords of Shadow series, and the Laser Sword from Curse of Darkness. Another thing that has been added is changes to the majority of the music ingame using various fan favorite tracks from previous CV games such as Bloody Tears,Divine Bloodlines,Dracula’s Castle, Nocturne, and many more, also there has been a there has been changes made to the ingame difficulty to make this metroidvania more challenging for the players since metroidvanias are traditionally rather easy. V1.1 of the hack features new changes from the previous release such as, 1.Changes to the whip knuckle, mach punch, cestus and poison fist animations. 2.Changes to the Dark Pain weapon and Hrunting weapons actually resembling their respective item icons. Castlevania: symphony of the night hack. Castlevania: Symphony of the Night is an action role playing game for the PlayStation. This game in the Castlevania series departs from the designs of the others, and takes the series into an RPG approach. Known in Japan as Akumajou Dracula X: Gekka no Yasoukyoku (Demon Castle Dracula X: Nocturne in the Moonlight), this game takes place after the first Dracula X game (specifically, “Dracula X: Rondo of Blood”). -
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. -
Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula
Droch Fhola: Sexuality, Blood, Imperialism and the Mytho-Celtic Origins of Dracula Author: Joseph A Mendes Persistent link: http://hdl.handle.net/2345/399 This work is posted on eScholarship@BC, Boston College University Libraries. Boston College Electronic Thesis or Dissertation, 2005 Copyright is held by the author, with all rights reserved, unless otherwise noted. 1 Introduction: Dracula. Drac-ula . It is hard to ignore the menace in the name, the morbid delight one gets in pronouncing a name that is riddled with such meaning. At some level, human society is fascinated with the notion of a vampire: a revenant that ret urns from beyond the grave to extract the blood of the living in order to extend its unholy life. It plays on our basic fears as humans, the fear of the dead, the fear of dying, the fear of the unknown, and a fascination with this substance consisting of p lasma, platelets, and cells that runs through our veins. Bram Stoker took all of these fears to new heights when he wrote Dracula , one of the most enduring horror stories to ever be composed. The novel has generated enormous criticism that has chiefly been divided into the camps of Irishness, colonialism/imperialism, and sexuality. Whether it was intentional or not, Stoker’s novel is a breeding ground for almost every sexual fetish, deviance, and perversion that is known to mankind. Characters in the novel engage in mutilation, blood-drinking, perverted fellation, sexual acts in front of their spouse, female domination, male domination, group rape, homosexuality, male penetration, and sadomasochism. -
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). -
Talking Book Topics November-December 2016
Talking Book Topics November–December 2016 Volume 82, Number 6 About Talking Book Topics Talking Book Topics is published bimonthly in audio, large-print, and online formats and distributed at no cost to participants in the Library of Congress reading program for people who are blind or have a physical disability. An abridged version is distributed in braille. This periodical lists digital talking books and magazines available through a network of cooperating libraries and carries news of developments and activities in services to people who are blind, visually impaired, or cannot read standard print material because of an organic physical disability. The annotated list in this issue is limited to titles recently added to the national collection, which contains thousands of fiction and nonfiction titles, including bestsellers, classics, biographies, romance novels, mysteries, and how-to guides. Some books in Spanish are also available. To explore the wide range of books in the national collection, visit the NLS Union Catalog online at www.loc.gov/nls or contact your local cooperating library. Talking Book Topics is also available in large print from your local cooperating library and in downloadable audio files on the NLS Braille and Audio Reading Download (BARD) site at https://nlsbard.loc.gov. An abridged version is available to subscribers of Braille Book Review. Library of Congress, Washington 2016 Catalog Card Number 60-46157 ISSN 0039-9183 About BARD Most books and magazines listed in Talking Book Topics are available to eligible readers for download. To use BARD, contact your cooperating library or visit https://nlsbard.loc.gov for more information. -
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. -
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. -
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). -
Castlevania Judgment Sequel to Kid Dracula
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Castlevania Judgment Vampire Killer
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Cultural Stereotypes: from Dracula's Myth to Contemporary Diasporic Productions Ileana F
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by VCU Scholars Compass 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: http://scholarscompass.vcu.edu/etd Part of the English Language and Literature Commons © The Author Downloaded from http://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