{FREE} the Vampyre and Other Tales of the Macabre
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Vampyre Gone Wild
vampyre gone wild Lord Ruthven Strikes Again FSU College of Law 5th Annual Civil Mock Trial Competition B y r o n v . V a m p y r e H o l d i n g C o . , L L C , a n d D r . P o l i d o r i March 3-5, 2017 Table of Contents Acknowledgment ....................................................................................................................... 1 Rules .......................................................................................................................................... 2 Competition Agenda ............................................................................................................... 10 College of Law Map ................................................................................................................ 11 Advocacy Center Floor Plans ................................................................................................ 12 Scoresheet ................................................................................................................................. 13 Complaint ................................................................................................................................. 14 Answer ...................................................................................................................................... 21 Reply ........................................................................................................................................ 24 Depositions Clairmont ..................................................................................................................... -
Catriona Helen Miller
Vlood Spirits A cjungian Approach to the Vampire JKyth Catriona Helen Miller Submitted for the degree of Doctor of Philosophy University of Stirling Stirling Scotland December 1998 r., 4. , Dedication To my parents, Irene and Jack Miller, without whom.... For all the support, guidance and encouragement above and beyond the call of parental duty. Your many favours can never be repaid. Acknowledgements I would like to thank Dr. John Izod for the skillful and unfailingly tactful supervision of this thesis, and for the companionshipon the j ourney. To Lari, for the chair; the commas and comments;the perpetual phone calls; and for going to Santa Cruz with me all those years ago. To everybody in the Late Late Service for sustenanceof various kinds. And everyone else who asked about my thesis and then listened to the answer without flinching. I also acknowledge the kind financial support of the Glasgow Society for Sons and Daughters of Ministers of the Church of Scotland, and, of course, my parents. Contents Page Acknowlegements i Abstract .v INTRODUCTION PART ONE APPROACH & CONTEXT 10 " The Study of Myth & the Cartesian/Newtonian Framework 11 " The Advent of Psychology 13 " Freud & the Vampire Myth 17 " Beyond Descartes & Newton: the New Paradigm 21 " Jung & the New Model 24 " Archetypes & the Collective Unconscious 31 " The Study of Myth After Freud & Jung 35 The Vampire Myth 40 " I " Jung & the Vampire Myth 41 " Symbols: A Jungian Definition 44 PART TWO ENCOUNTERS WITH SHADOW VAMPIRES 49 " Folklore & Fiction 49 " The Vampire in Folklore 51 " Vampirý Epidemics? 54 " The Shadow Archetype 57 " The Dead 58 " The Living Dead 61 " The Shadow Vampire in the Twentieth Century 65 " Nosferatu: A Symphony of Horror (Dir: F. -
The Castle of Otranto a Gothic Novel 1St Edition Ebook
THE CASTLE OF OTRANTO A GOTHIC NOVEL 1ST EDITION PDF, EPUB, EBOOK Horace Walpole | 9780486434124 | | | | | The Castle of Otranto A Gothic Novel 1st edition PDF Book Battle of Acre Deprived of the front cover, the title page all before lacking is soiled, creased and ragged at edges. Proceed to Basket. Many of the early gothic movies, such as a Nosferatu, are still hailed as classics to this day, while Bram Stoker's Dracula has repeatedly been adapted for film. Humor, the Gothic, and the Supernatural. Lownds, [but ] The Castle of Otranto, a story. From: Peter Harrington. Gothic Shakespeares. I'd wanted to read Vathek for ages, and I can't say I'm disappointed because I honestly didn't know what to expect. The vision directed him to a forest where he met a hermit. I know, I know, it's taken me an AGE to get through this book. I'm beginning to realise that it's hard for me to rate Gothic fiction, because I read it for fun. There have also been television series such as Lost - which, despite being set on a tropical island, nonetheless follows Walpole's example of placing ordinary people in extraordinary situations, with survivors struggling to avoid the "smoke monster". The core elements of The Castle of Otranto quickly became staples of gothic fiction. It is a pity that he did not apply his talents to what they were evidently proper for—the theatre. Before The Castle of Otranto , Walpole published the biographical compendia Anecdotes of Painting in England —71 , and he was considered an expert source on antiquarian artifacts and Gothic architecture. -
I the DECADENT VAMPIRE by JUSTINE J. SPATOLA a Thesis Submitted to the Graduate School-Camden Rutgers, the State University of N
THE DECADENT VAMPIRE by JUSTINE J. SPATOLA A thesis submitted to the Graduate School-Camden Rutgers, The State University of New Jersey in partial fulfillment of the requirements for the degree of Master of Arts Graduate Program in English written under the direction of Dr. Ellen Malenas Ledoux and approved by ___________________________________ Dr. Ellen Malenas Ledoux ___________________________________ Dr. Timothy Martin ___________________________________ Dr. Carol Singley Camden, New Jersey October 2012 i ABSTRACT OF THE THESIS The Decadent Vampire By JUSTINE J. SPATOLA Thesis Director: Dr. Ellen Malenas Ledoux John William Polidori published "The Vampyre" in 1819, and, as the first person to author a work of English vampire fiction, he ultimately established the modern image of the aristocratic vampire, which writers such as Bram Stoker later borrowed. The literary vampire, exemplified by Lord Ruthven, reveals the influence of Burkean aesthetics; however, the vampire's portrayal as a degenerate nobleman and his immense popularity with readers also ensured that he would have a tremendous impact on nineteenth century culture. "The Vampyre" foreshadows the more socially-aware Gothic literature of the Victorian period, but the story's glorification of the perverse vampire also presents a challenge to traditional morality. This essay explores the influence of the literary vampire not just on broader aspects of nineteenth century culture but also its influence on the Decadent Movement (focusing on the works of writers such as Charles Baudelaire, Théophile Gautier, and Oscar Wilde) in order to show how it reflects the decadent abnormal. In doing so, however, this essay also questions whether decadence ought to be understood as a nineteenth century European phenomenon, as opposed to a ii movement that was confined to the late Victorian period; the beliefs shared by decadent writers often originated in Romanticism, and the Romantics' fascination with the supernatural suggests that they were perhaps as interested in perverse themes as the Decadents. -
1 the Contribution of “Dracula Untold” to The
THE CONTRIBUTION OF “DRACULA UNTOLD” TO THE EVOLUTION OF BRAM STOKER’S DRACULA: A COMPARATIVE ANALYSIS OF THE PROTAGONISTS Natalija Pop Zarieva1, Krste Iliev2 1Lector Natalija Pop Zarieva, University “Goce Delcev”, [email protected] 2Lector Krste Iliev, University “Goce Delcev”, [email protected] Abstract Byron’s “Fragment of a Novel” was one of the English pioneer novels featuring the vampire theme. It remained unfinished, but served as a starting point for John Polidori, his physician and friend, in the creation of “The Vampyre”. This novel generated the thematic elements linked with one of the most famous revenants in literature. Since then, his descendants have been the main characters of many novels and media interpretations, imbuing popular culture in various guises and appearances. Bram Stoker’s “Dracula” was based on Polidori’s vampire novel, and it is considered to represent “the greatest and most influential vampire novel ever written”(Frost, 1989, p.52)This essay aims at critically analysing the evolution of the protagonist and discovering how the one portrayed in the film has diverged from Bram Stoker’s legendary Dracula. The conclusion will be based on the type of deviation and transformation with regards to their manifestations in both the novel and the film. Key words: Dracula, Vlad the Impaler, adaptation, protagonist, deviance Introduction Bram Stoker’s “Dracula” has lived to see more than two hundred film adaptations, thus creating a new genre. Its cinematic life started with Friedrich Wilhelm Murnau’s “Nosferatu” in 1922, continued among many others with the successful “Bram Stoker’s Dracula” by Francis Ford Coppola in 1992, and led to the latest adaptation “Dracula Untold” by director Gary Shore. -
GREECE AS the UNCANNY of MODERNITY Álvaro García Marín
THE ORIGIN IS ALREADY HAUNTED: 1 GREECE AS THE UNCANNY OF MODERNITY Álvaro García Marín Consejo Superior de Investigaciones Científicas In (Western) modernity “Greece” has always been associated with the con- cepts of repetition and return. Greece’s appearance in modern times is al- ways already a re-appearance, problematizing the very ideas of originality, continuity and metaphysical presence it had come to reinforce in the line- age of the West. From this perspective, its appearance can rather be said to represent an apparition haunting the process of European self-definition. The construction of the new Greek nation, first in theoretical Philhel- lenism and then in political practice, is directly related to this logic of spec- trality. As an implicit reverse of the beneficial re-generation it was intended to bring to European culture, this restoration also evoked the disturbing no- tion of resurrection and “undeadnesss”. In this sense, Greece embodied the (displaced) return of the same as other inherent in the Freudian theory of the uncanny. This paper explores such unsettling connections by analyzing the mu- tually constitutive and reciprocal haunting between Europe and Greece through some narrative and discursive structures that allegorize repetition and uncanniness in figures and forms of revenance. HAUNTING (THE) SELF: THE PROBLEMATIC INSTITUTION OF ORIGINS hat we call somewhat loosely “theory” today has primarily de- voted its existence to investigate, or rather to problematize, the W question about origins: Can an origin ever be just an origin? Can an origin ever just be? At the present, after several decades, this issue might seem outmoded, a hackneyed and long-ago elucidated question with no potential to yield any new meaningful considerations. -
The Role of the Venetian Oligarchy in Reformation, Counter-Reformation, Enlightenment, and the Thirty Years’ War
Against Oligarchy (http://tarpley.net Website of Webster Griffin Tarpley) MIA 1 | P a g e May 22, 2011 Against Oligarchy (http://tarpley.net Website of Webster Griffin Tarpley) Venice The Venetian Conspiracy Address delivered to the ICLC Conference near Wiesbaden, Germany, Easter Sunday, 1981; (appeared in Campaigner, September, 1981) Periods of history marked, like the one we are living through, by the convulsive instability of human institutions pose a special challenge for those who seek to base their actions on adequate and authentic knowledge of historical process. Such knowledge can come only through viewing history as the lawful interplay of contending conspiracies pitting Platonists against their epistemological and political adversaries. There is no better way to gain insight into such matters than through the study of the history of the Venetian oligarchy, the classic example of oligarchical despotism and evil outside of the Far East. Venice called itself the Serenissima Republica (Serene Republic), but it was no republic in any sense comprehensible to an American, as James Fenimore Cooper points out in the preface to his novel The Bravo. But its sinister institutions do provide an unmatched continuity of the most hideous oligarchical rule for fifteen centuries and more, from the years of the moribund Roman Empire in the West to the Napoleonic Wars, only yesterday in historical terms. Venice can best be thought of as a kind of conveyor belt, transporting the Babylonian contagions of decadent antiquity smack dab into the world of modern states. The more than one and one-half millennia of Venetian continuity is first of all that of the oligarchical families and the government that was their stooge, but it is even more the relentless application of a characteristic method of statecraft and political intelligence. -
Total of 10 Pages Only May Be Xeroxed
CENTRE FOR NEWFOUNDLAND STUDIES TOTAL OF 10 PAGES ONLY MAY BE XEROXED (Without Author's Permission) •. "CONGERIES OF PLEASING HORRORS" : FANTASMAGORIANA AND THE WRITINGS OF THE DIODATI GROUP by Stephanie E. Lewis A thesis submitted to the School of Graduate Studies in partial fulfillment of the requirements for the degree of Master of Arts Department of English Memorial University of Newfoundland August 1995 St. John's Newfoundland National Library Bibliotheque nationals 1+1 of Canada du Canada Acquisitions and Direction des acquisitions et Bibliographic Services Branch des services bibliographiques 395 Wellington Street 395, rue Wellington Ottawa. Ontario Ottawa (Ontario) K1AON4 K1A ON4 Your file Volre 11!ft!rence Our file Nolte relt!rence The author has granted an L'auteur a accorde une licence irrevocable non-exclusive licence irrevocable et non exclusive allowing the National Library of permettant a Ia Bibliotheque Canada to reproduce, loan, nationale du Canada de distribute or sell copies of reproduire, preter, distribuer ou his/her thesis by any means and vendre des copies de sa these in any form or format, making de quelque maniere et sous this thesis available to interested quelque forme que ce soit pour persons. mettre des exemplaires de cette these a Ia disposition des personnes interessees. The author retains ow~1ership of L'auteur conserve Ia propriete du the copyright in his/her thesis. droit d'auteur qui protege sa Neither the thesis nor substantial these. Ni Ia these ni des extraits extracts from it may be printed or substantiels de celle-ci ne otherwise reproduced without doivent etre imprimes ou his/her permission. -
The Origins and Genesis of Shelley's Frankenstein And
FACULTAD de FILOSOFÍA Y LETRAS DEPARTAMENTO de FILOLOGÍA INGLESA Grado en Estudios Ingleses TRABAJO DE FIN DE GRADO “UNDEAD MONSTERS OF ROMANTIC LITERATURE”: THE ORIGINS AND GENESIS OF SHELLEY’S FRANKENSTEIN AND POLIDORI’S THE VAMPYRE Laura Portela Martín Tutor: Berta Cano Echevarría Curso 2017-2018 ABSTRACT It was one of those cold summer nights of 1816 in Lake Geneva that marked the birth of two of the great myths that nurture our popular culture: Frankenstein and the vampire. It was Byron’s ghost story-telling challenge what awakened the imagination of two strangers: William Polidori and Mary Shelley. The first with The Vampyre and the second with Frankenstein achieved the milestone of having presence to this day, but how did these monsters take shape? Like any story, it all started before. Much had to do that both were born during the Romanticism, considered the time of explosion of the imagination, of the rise of sciences, and of recovery of mythology and folklore. The purpose of this paper is to show how the romantic ideas, as well as the authors’ personal experiences, were the responsible of the genesis of these creatures, and to reflect through a comparison that these monsters are more similar than what people think. Keywords: Frankenstein, vampire, science, folklore, John Polidori, Mary Shelley Fue una de esas frías noches del verano de 1816 en Lake Geneva la que marco el nacimiento de dos de los grandes mitos que alimentan nuestra cultura popular: Frankenstein y el vampiro. Sería la proposición de Byron de escribir un cuento de terror lo que despertó la imaginación de dos desconocidos: William Polidori y Mary Shelley. -
Darkness” (1816)
Paula Alexandra Varanda Ribeiro Guimarães ‘The sun shall be darkened’: Eco-critical Byron and the Feminine Apocalyptic Sublime in “Darkness” (1816) In terms of the representation of apocalyptic vision in modern English literature, there is a set of texts produced around 1816 by a group of Romantic authors that constitutes the most immediate response to climate change – a sense of the end of the world caused by untimely darkness and stormy weather. A brief three-year period of reduced sunlight in the northern hemisphere, caused by a major volcanic eruption, suggested to Byron a world in which human civilization, having lost every vestige of social contract, was finally extinguished in cannibalism. Though less famous than Mary Shelley’s novel, and its scenery of frozen Alpine wastes, Byron’s poem “Darkness” (1816) expresses in even more vivid imagery the sense of impending doom, the imminent collapse of social order, and the consequent threat to the human species that pervades Frankenstein (1818). The poem has been read both as a dream- vision with references to the Apocalypse and the De Rerum Natura of Lucretius and as a kind of figurative biography, an unfiltered response to the chaotic upheavals that rocked Byron’s personal life during the year of its composition. A more political dimension may also be derived from this text if we have in consideration its historical context of the aftermath of the Napoleonic wars in Europe. Indeed, within the artistic framework of the lyric in blank verse, Byron’s personal, political and ecological visions of the world are here jointly presented. -
Re-Reading the Vampire from John Polidon to Anne Rice: Structures of Lmpossibility Among Three Narrative Variations in the Vampinc Tradition
Re-Reading the Vampire from John Polidon to Anne Rice: Structures of lmpossibility Among Three Narrative Variations in the Vampinc Tradition PETER LEONARD PAOLUCCI A thesis submitted to the Faculty of Graduate Studies in partial fuifiliment of the requirements for the degree of Doctor of Philosophy Graduate Program in English York University Toronto, Ontario Apnl, 2000 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395, nie Wellington Ottawa ON KlA ON4 Ottawa ON KI A ON4 Canada Canada Your file Voire réfé,ence Our file Noire refdrence The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microfom, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïlm, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts from it Ni la thèse ni des extraits substantiels may be printed or otheMrise de celle-ci ne doivent être imprimés reproduced without the author7s ou autrement reproduits sans son permission. autorisation. Re-Reading the Vampire from John Polidori to Anne Rice: Structures of Impossibility Among Three Narrative Variations in the Vampiric Tradition by PETER LEONARD PAOLUCCI a dissertation subrnitted to the Faculty of Graduate Studies of York University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY O 2000 Permission has been granted to the LIBRARY OF YORK UNIVERSITY to lend or set1 copies of this dissertation. -
The Vampyre by John William Polidori: an Introduction to Lord Ruthven
UNIVERSIDAD DE JAÉN EDUCACIÓN Facultad de Humanidades y Ciencias de la Educación LA Trabajo Fin de Grado The Vampyre by John William Polidori: An Introduction to Lord Ruthven Alumno/a: María Almudena Torres Medina. Tutor/a: Prof. D. Eugenio Manuel Olivares Merino. Dpto.: Filología Inglesa. Junio, 2017 1 FACULTAD DE HUMANIDADES Y CIENCIAS DE DE CIENCIAS Y HUMANIDADES DE FACULTAD TABLE OF CONTENTS. 0. ABSTRACT/RESUMEN………………………………………….........…....3 1. INTRODUCTION………………………..………………………….........…..4 1.1.AUTHORSHIP……………………….………………………….........…..4 1.2.VILLA DIODATI……………………………...…………………............6 1.3.AUTHOR’S BIOGRAPHY…………………………………….........……7 2. BEFORE POLIDORI: PRECEDENTS.................................……….................9 2.1 FOLKLORIC VAMPIRE……………..…………………………….........15 3. ANALYSIS OF THE ARISTOCRATIC VAMPIRE: LORD RUTHVEN.......17 3.1. COMPARISON BETWEEN LORD RUTHVEN AND AUBREY.........22 3.2. ANALYSIS OF WOMEN CHARACTERS............................................26 4. LORD RUTHVEN AND 19TH CENTURY ENGLISH SOCIETY..................29 5. AFTER POLIDORI: INFLUENCES................................................................31 6. CONCLUSIONS...............................................................................................33 7. BIBLIOGRAPHY.............................................................................................35 7.1WEBOGRAPHY…………………………………………………………..36 8. APPENDIX…………………………………………………………………….37 2 0. ABSTRACT/ RESUMEN The aim of this literary essay is to show and to analyze the model of the vampire