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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. -
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. -
Blood and Images in Dracula 2000
Journal of Dracula Studies Volume 8 2006 Article 3 2006 "The coin of our realm": Blood and Images in Dracula 2000 Alan S. Ambrisco University of Akron, Ohio Lance Svehla University of Akron, Ohio 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 Ambrisco, Alan S. and Svehla, Lance (2006) ""The coin of our realm": Blood and Images in Dracula 2000," Journal of Dracula Studies: Vol. 8 , Article 3. Available at: https://research.library.kutztown.edu/dracula-studies/vol8/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],. "The coin of our realm": Blood and Images in Dracula 2000 Cover Page Footnote Alan S. Ambrisco is an Associate Professor of English at The University of Akron. His research interests include medieval literature and the history of monsters. Lance Svehla is an Associate Professor of English at the University of Akron. He has published work in such journals as Teaching English in the Two-Year College and College Literature. This article is available in Journal of Dracula Studies: https://research.library.kutztown.edu/dracula-studies/vol8/ iss1/3 “The coin of our realm”: Blood and Images in Dracula 2000 Alan S. Ambrisco and Lance Svehla [Alan S. -
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 -
'Nosferatu' Revisted
Fewster: 'Nosferatu' Revisted What is it about the Dracula narrative that is attractive dramatically? Its format is hardly exciting in that it is written as a series of letters. Similarly what could one possibly do in a theatrical production that has not been done? This would form the key research question that underlined my own subsequent production i.e. how does one approach such a classic? Indeed, when I ran a research seminar on the intended production, I was met with initial scepticism and resistance with a general response of “Why bother?” This is a fair question when one considers the plethora of dramatic renditions on stage and screen, in particular the ubiquitous vampire television series. Ultimately the answer to this question could only be explored through practice: textual in adapting the script, and physical in rehearsing the play. The capacity for Dracula and the vampires to turn into—variously—wolves, bats, rats and from smoke into the flesh of the living dead stimulated my creative thinking about how one might stage these transformations. I also began to imagine how an audience might literally follow the story’s protagonist, Jonathan Harker and his journey to Transylvania and back through everyday spaces such as corridors, café, paths and old buildings on the University Campus where I work. I re-read the Stoker novel and re-examined the two German films Nosferatu (1922 Dir. Friedrich Murnau) and the remake: Nosferatu the Vampyre (1979 Dir. Werner Herzog). As a playwright, I chose these sources for two reasons: I did not want to overload my creative sensibility with too much source material and the novel and the 1922 film are in my view historically the key transmitters of the Dracula fable. -
The Use of History in Dracula Tourism in Romania
doi:10.7592/FEJF2014.57.hovi THE USE OF HISTORY IN DRACULA TOURISM IN ROMANIA Tuomas Hovi Abstract: Dracula tourism in Romania combines fiction with history. It is centred on either the fictional Western vampire Count Dracula or the historical Dracula, the fifteenth-century Romanian ruler Vlad the Impaler. These two characters are also often conflated, or sometimes even forged together, into one Dracula figure in Dracula tourism. Besides the history concerning the ruler, Vlad the Impaler, through Dracula tourism the guides and travel agencies also tend to offer much more history and tradition of Romania in their tours. In this article I will exam- ine what kind of history is told and what is left out. I am especially interested in the history and tradition (as it is manipulated) that is not connected to Vlad or Dracula. I look at the types and eras of history used and emphasised in Dracula tourism in Romania, and the reasons for the choices. I am also interested in the idea of how the seemingly superficial and fictitious Dracula tourism can be used as a gateway into Romanian history and culture. Keywords: Dracula tourism, local heritage, Romania, the use of history, tour narrations, tradition Dracula tourism in Romania is an interesting combination of history, tradi- tion and fiction. In Dracula tourism tourists visit locations connected to the historical Dracula, Vlad the Impaler, the ones described in Bram Stoker’s novel Dracula, and some other locations in Romania that the different tourist agen- cies want to show to the tourists. There are many foreign and domestic tourist agencies that offer different kinds of Dracula-themed tours around Romania. -
Dracula Synopsis Audience Advisory
DRACULA SYNOPSIS AUDIENCE ADVISORY Professor Van Helsing, a notable expert in the occult, PLEASE NOTE: This show includes effects such as fog, traps moving in the floor causing sudden changes to the stage, noise and strobe light mimicking arrives at the estate of an old friend, Dr. Seward, amid thunder and lightning, the use of fire, simulated explosions, gunshots, whispers of gruesome attacks and strange goings-on. use of fake blood, wolves howling and the use of flashlights in the dark. Seward’s fiancée, Mina, has recently died of a sudden and Violence includes fighting and physical combat that may be accompanied by bloodshed. Content includes suicidal intent and murder. Characters mysterious illness, and Mina’s friend, Lucy, has begun to frequently move throughout the theatre and interact with the audience in display the same symptoms. Could it be that Mina, and ways that can be scary or surprising. When characters are possessed, their voices will become distorted and their movements will become strange now Lucy, have suffered at the hands of a vampire? How to mimic them being unable to control their bodies. During the show, will Van Helsing and Seward fight this supernatural characters are in emotional states during which they may scream or make fiend? a lot of noise, including slamming doors and slamming items on surfaces. SENSORY & EMOTIONALLY INTENSE MOMENTS ACT I – 68 MINUTES Fog on stage with blackout and possible audience screams. Monster attacks OPENING MONTAGE 0-3 and bites. Screams are heard. Floor traps move to allow furniture to rise. 5 Renfield enters and screams. -
Step 1. Place Garlic Near Every Entrance of the Room. This Will Keep Him Away. Step 2. Hold Onto a Cross Or Other Religious Symb
Step 1. Place garlic near every entrance of the room. This will keep him away. Step 2. Hold onto a cross or other religious symbol. He will not touch you as long as you keep it on your person. Step 3. Wait until sunrise. His powers will be nulled then and only during the day. Step 4. Place a wild rose stem and holy water on his coffin lid. This will prevent escape. Step 5. Drive a wooden stake into his heart Step 6. Decapitate the un-dead fiend. What a horrible night to have a curse, and what a wonderful night to bring back Creature Feature! After my Molyneaux meltdown in the last Creature Feature, I promised everyone a creature feature on the Prince of Darkness, himself. The Immortal Count. Nosferatu. The Impaler. The Night Walker. Vlad. The Vamp. That’s absolutely right! Today, I will be covering Count Dracula! You got your wooden stakes and crosses? Then, let us go out this evening for pleasure; the night is still young. Now, I should preface this by stating that the character of Count Dracula is NOT exclusive to video games. In fact, he didn’t even originate in the young form of media! The Count has his twisted roots in an actual person, a man named Vlad III of Wallachia—which is currently known as Romania. Vlad “Dracula” Tepes was a sadistic voivode (voy-vood), the equivalent of a prince. He was known for, among other things, impaling his victims on stakes slowly and painfully. This practice, meant to strike fear into any potential invaders and enemies, earned him the nickname “The Impaler”. -
Nosferatu: the Legend of Dracula
NOSFERATU: THE LEGEND OF DRACULA A Thriller in Two Acts Adapted from the Bram Stoker novel By L. Don Swartz Performance Rights It is an infringement of the federal copyright law to copy this script in any way or to perform this play without royalty payment. All rights are controlled by Eldridge Publishing Co., Inc. Contact the publisher for additional scripts and further licensing information. On all programs and advertising the author’s name must appear as well as this notice: “Produced by special arrangement with Eldridge Publishing Co.” PUBLISHED BY ELDRIDGE PUBLISHING COMPANY www.histage.com © 2000 by L. Don Swartz Download your complete script from Eldridge Publishing https://histage.com/nosferatu-legend-of-dracula Nosferatu: The Legend of Dracula - 2 - DEDICATION For my big brother Tim Swartz who introduced me to DRACULA on the Friday Fright Night Late Late Show The Playwright STORY OF THE PLAY No modern-day monster can equal the chill factor than that of Dracula and his nosferatu, the undead who must feed on the blood of the living to exist. Their lust, shown only in the darkest hours, haunts even the bravest of us mortal souls. This adaptation of Bram Stoker’s 1897 novel is done with a sure and steady hand by frightmesiter L. Don Swartz. We encounter Dracula's horror from his centuries-old castle in Europe, to the ship he travels on, and finally to his new feeding grounds near an English asylum. When Dracula causes the death of a young woman named Lucy, her fiancé Holmwood, her friend Mina, Mina's husband Jonathan Harker, a physician Dr. -
The 15Th International Gothic Association Conference A
The 15th International Gothic Association Conference Lewis University, Romeoville, Illinois July 30 - August 2, 2019 Speakers, Abstracts, and Biographies A NICOLE ACETO “Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut”: The Terror of Domestic Femininity in Shirley Jackson’s The Haunting of Hill House Abstract From the beginning of Shirley Jackson’s The Haunting of Hill House, ordinary domestic spaces are inextricably tied with insanity. In describing the setting for her haunted house novel, she makes the audience aware that every part of the house conforms to the ideal of the conservative American home: walls are described as upright, and “doors [are] sensibly shut” (my emphasis). This opening paragraph ensures that the audience visualizes a house much like their own, despite the description of the house as “not sane.” The equation of the story with conventional American families is extended through Jackson’s main character of Eleanor, the obedient daughter, and main antagonist Hugh Crain, the tyrannical patriarch who guards the house and the movement of the heroine within its walls, much like traditional British gothic novels. Using Freud’s theory of the uncanny to explain Eleanor’s relationship with Hill House, as well as Anne Radcliffe’s conception of terror as a stimulating emotion, I will explore the ways in which Eleanor is both drawn to and repelled by Hill House, and, by extension, confinement within traditional domestic roles. This combination of emotions makes her the perfect victim of Hugh Crain’s prisonlike home, eventually entrapping her within its walls. I argue that Jackson is commenting on the restriction of women within domestic roles, and the insanity that ensues when women accept this restriction. -
'Dracula' Audition Packet Here
Audition Packet Dracula // from the novel by Bram Stoker Adapted by Steven Dietz Performed at The Underground Theatre: October 3-19, 2019 Director: Justin Peck "I want your fear. For your fear, like a current, rushes through your body. Your fear makes your heart pound, it renders your veins rich and full. Your fear hemorrhages deliciously within you." This 1996 adaptation by Steven Dietz (Ten November, Private Eyes) restores the suspense and seduction of Bram Stoker's classic novel to the stage. As Count Dracula begins to exert his will upon the residents of London, they try to piece together the clues of his appearances in a valiant attempt to save themselves from a hideous fate. Careening from location to location as blood splatters and bodies pile up, this heart- pounding thriller paints a wickedly theatrical picture of Stoker's famous vampire. This production will contain violence, blood, and sexuality. Performers of all races, genders, and ethnicities are encouraged to audition (18+) AUDITION INFORMATION WHEN: Sunday, May 19 10:00am-1:00pm. Sign up for a 5-minute time slot. The sign-up sheet will open 3 weeks prior to auditions: April 27. If you do not know when you can come, feel free to attend without signing up- you will be seen between slots. CALLBACKS: Sunday, May 19 2pm (as needed) *If you cannot make auditions, video auditions are accepted. Submit a monologue and include picture and resume. Forward to [email protected] WHERE: NorShor Theatre Rehearsal Studios. 211 East Superior Street, 3rd floor (skywalk level) FOR THE AUDITION: • Familiarize yourself with the audition sides included at the end of this packet. -
Nosferatu-Display-Posters For-Site
Nosferatu, Dracula, and the Law January 1921: Prana-Film has a grand vision of the future of horror. Films they planned to create included Hollentraume (Dreams of Hell) and Der Sumpfteufel (The Devil of the Swamp). The only titled they created, however, was Nosferatu. Perhaps Albin Grau, the film’s producer and a famed occultist, should not have drawn such inspiration from Dracula. Renaming Jonathan to Hutter, Mina to Ellen, and Dracula to Orlok does not a fair use claim make. Perhaps Prana-Film, who never sought approval from the Stoker family, should not have stated it was “freely adapted” from Bram Stoker’s Dracula. Most importantly, perhaps Prana-Film should not have underestimated the fury of the still-living widow of Bram Stoker: Florence Stoker. April 27th, 1922: Florence Stoker officially joins the British Incorporated Society of Authors, intending for the society to sue on her behalf. February, 1925: Stoker, realizing she will not be receiving any money from this rapidly collapsing film company, argues for the destruction of all copies of Nosferatu—a film she has never seen. July 20th, 1925: The owners of the assets of Prana-Films give in. Withdrawing their appeal, there is nothing to stop Nosferatu from being destroyed. There is no confirmation it actually is destroyed. October, 1925: Florence Stoker is invited to join a newly formed organization, the Film Society, dedicated to preserving and showing important films. This group included the likes of playwright G.B. Shaw and H.G. Wells. On the docket for their first screening? Retitled “Dracula by F.W.