DOCSLIB.ORG

Adaptation for Audio Production

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Adaptation for Audio Production Adaptation for Audio Production This free download is provided on the understanding and agreement that the script is for personal use only and may not be copied, distributed and / or performed unless written permission is granted by Evcol Entertainment. All rights reserved by the author. DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 1 Based on the novel by Bram Stoker Written, Directed & Produced by Simon James Collier Assistant Director: Helen Elliott Original Music & Sound Design: Zachary Elliott-Hatton Co-Producer: Adam Dechanel Graphic Design: Clockwork Digital Studios Recorded at The Umbrella Rooms Studio, London Engineer: Ben Robbins AUDIO MINI-SERIES – 12 X 20 MINUTE EPISODES DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 2 ‘Dracula’ -- CHARACTER BREAKDOWN: Actor 1: Count Dracula – CRISTINEL HOGAS Count Dracula: A Transylvanian noble who bought a house in London and asked Jonathan Harker to come to his castle to do business with him. Actor 2: Jonathan Harker -- CARL DOLAMORE Harker: A solicitor sent to do business with Count Dracula; Mina's fiancé and prisoner in Dracula's castle. Actor 3: Wilhelmina ‘Mina’ Harker [née Murray] – HARRIET CLARE MAIN Mina: A schoolteacher and Jonathan Harker's fiancée. Actor 4: Lucy Westenra / Bride of Dracula 1 – GEORGIE MONTGOMERY Lucy: A 19-year-old aristocrat; Mina's best friend; Arthur's fiancée and Dracula's first victim. Dracula Bride 1: One of the 2 Vampires chastising Harker in Dracula’s castle. Actor 5: Dr Abraham Van Helsing – MITCH HOWELL Van Helsing: A Dutch professor; John Seward's teacher and Vampire hunter. Actor 6: Arthur Holmwood – J. B. NEWMAN Holmwood: Lucy's suitor and later fiancé. Actor 7: Mrs Evans / Bride of Dracula 2 / Sister Agatha / Helga – KIMBERLEY ENSORE Mrs Marjorie Evans: Housekeeper and ‘confidante’ of Lucy Westenra. Sister Agatha: Runs the hospice where Jonathan goes to after escaping. Dracula Bride 2: One of the 2 Vampires chastising Harker in Dracula’s castle. Actor 8: John Seward – ZACHARY ELLIOTT-HATTON Seward: A doctor, with an interest in the human brain, one of Lucy’s suitors and a former student of Dr Abraham Van Helsing. Actor 9: Renfield – GRANT LEAT Renfield: A lawyer whom Dracula turned mad. Actor 10: Mr Ronald Moorfoot / Carriage Driver / Gypsy – RICHARD WARRICK Moorfoot: The Solicitor who sends Harker to meet with Count Dracula. Actor 11: Voice – the voice that Jonathan Harker hears in the castle. DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 3 Prologue A soundscape of a ferocious battle begins to get louder and louder. There is the sound of crashing thunder accompanied by strikes of lightning. DRACULA (Cradling his love) Iubirea vietii mele……totul pentru tine. Dusmanii pe care i-am ucis, pamantul pe care calc – imbibat cu sangele celor care mi-au amenintat tara, poporul – nimic nu mai conteaza acum. Esti departe, te-au luat de langa mine. Lasi care nu au avut curajul sa ma infrunte cu demnitate. As fi luptat cu ei pana la capat ca sa te protejez de marsavia lor, iubirea vietii mele. Blestemati sa fie! Cu totii! O sa le beau sangele pana la ultima picatura! O sa-I starpesc de pe fata pamantului! O sa le distrug iubirile, familiile si chiar Dumnezeii lor! Pana ma simt razbunat. Nu las nici o piatra neintoarsa, nici o temelie in picioare. Dumnezeu o sa le planga de mila. Declar razboi cu Dumnezeii lor iar eu ma lepad de propriu-mi Dumnezeu.! Vor plati chiar acum. Intreit. Jur pe ce-a mai ramas din sufletul meu. Acum eu sunt Dumnezeu! There is one almighty crash of thunder… Here is the same speech, but translated into English… both need to be recorded in full… DRACULA Love of my life…. everything for you. The enemies I have killed, the soil upon which I stand – soaked by the blood of those who threatened my country, my people – nothing really matters now. You are gone; they took you away from me. Cowards, who didn’t have the courage to face me with dignity! I would have fought with them until the very end so that I could protect you from their injustice, love of my life. I curse them! All of them! I will drink their blood to the last drop, until all cease to walk this earth. I will destroy their loves, their families, even their Gods. Until my vengeance is requited. I will leave no stone unturned, no homestead standing. God will weep at their helplessness. I declare war on their Gods and I disown my God. They’ll pay three-fold right now. This I swear on what is left of my soul. Now I am God! DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 4 ACT ONE: Scene 1 Four Centuries Later… Interior, solicitor’s office – soundscape of a quiet office, clock ticking MOORFOOT (Sees Harker and beckons him in) Aaah, Harker… how are you? HARKER Well, thank you Mr Moorfoot… MOORFOOT (Cutting in) Good… very good. Now, I’ve heard exceptional things about you and I don’t see why a smart young fellow like yourself shouldn’t become a junior partner very quickly… I know my colleagues feel the same way. HARKER Why, thank you Mr Moorfoot, I will endeavour to do my very best… MOORFOOT (Cutting in again) Yes, I’ve little doubt of that… Now during your time with us have you come across our Mr Renfield? HARKER I don’t believe I have had the pleasure… his name is familiar to me, but he seems to have been away… MOORFOOT Quite… yes, well Mr Renfield has been away, in Europe, handling a matter that requires… required his full attention. (Beat) Now… this matter remains unresolved and I believe you are absolutely the right person to continue where he left off! HARKER Certainly, it would be an honour… if you feel I am suited and ready for the challenge… DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 5 MOORFOOT Well-suited you are and only you can decide whether you’re up for the challenge as you say… if you were able to bring the matter to a successful conclusion then I’m sure my partners would agree with me when I say it will ‘secure’ your position with us. HARKER Then I will make it my priority… MOORFOOT Good… you will of course have to travel to Europe for a brief spell, to Transylvania to be precise. I am aware of your engagement to Ms Murray; I hope that arrangement will not hinder your task! HARKER Wilhelmina understands my commitment to my career… to this firm and the need for me to travel from time to time… MOORFOOT Good… now here are the papers concerning this matter, but to put you in the picture, our client is one Count Dracula, his Castle is in the midst of the Carpathian Mountains. HARKER I see… MOORFOOT There are no maps or documentation regarding the exact locality of Castle Dracula but looking through Mr Renfield’s notes it appears to be close Bistritz. (Beat) The Count has a desire to purchase property here in England and has tasked this firm with making that happen… Mr Renfield was making great progress but then… well, yes… HARKER May I ask what happened to him… is there something I should know before meeting with the Count? MOORFOOT Oh, goodness, no… this has nothing to do with the Count, of that I can assure you… it’s just that, well… how can one put this… well, delicately… Mr Renfield simply ‘lost his mind’! HARKER That is tragic to hear… DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 6 MOORFOOT Indeed, regrettable but I’m afraid there’s very little that we could do for the man… we’ve done all we can… HARKER And may I be permitted to ask when I shall be leaving for Castle Dracula? MOORFOOT On the morning tide. As mentioned, the Count is an important client and we would all like to see this matter brought to a swift and satisfying conclusion. (Beat) I trust you are able to leave tomorrow? HARKER Indeed… I shall leave presently and pack my personal items… MOORFOOT Very good… now Harker, I trust you with this business, do not on any account let me down… HARKER Your trust is well-placed Mr Moorfoot… Segue to next scene, domestic interior… Act One: Scene 2 Harker and Mina, interior, Mina’s house MINA Oh, Jonathan, do you really have to leave? It seems so far away! There is no map of this place, how will you know where to go? HARKER My dear Mina, you know what my work means to me… to us! I cannot support you on the wage of a junior solicitor. (Beat) The Count has made all preparations and assures me that I will not have to concern myself with anything other than the business at hand. (Looks into her eyes) My wonderful Mina let me look at you and have your beauty captured in my mind for all the days and nights that we are apart. DRACULA • based on the novel by Bram Stoker • This adaptation © Simon James Collier 2018 – Evcol Entertainment 7 MINA And how long you will be away? HARKER Mr Moorfoot seems to think it will take no longer than two weeks, at the very most – a Mr Renfield has taken care of all the preliminaries, it is simply a matter of signatures and then I will race home to you my darling.
Load more

Recommended publications
  • 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.
    [Show full text]
  • 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.
    [Show full 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).
    [Show full text]
  • 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.
    [Show full text]
  • Renfield – in the Shadow of the Vampire at the Bakehouse Theatre, 2020
    FRINGE REVIEW: RENFIELD – IN THE SHADOW OF THE VAMPIRE AT THE BAKEHOUSE THEATRE, 2020 English theatrical company Grist To The Mill Productions have a number of shows running throughout this year’s Adelaide Fringe. Renfield: In The Shadow Of The Vampire, is the newest addition to their repertoire and it had its world premiere at the Bakehouse Theatre on Thursday night. Written and performed by British actor, Ross Ericson, and directed by Michelle Yim, the play is a harrowing exploration of an individual’s descent into madness, presented through the experiences of the delusional character, Renfield, who featured in Bram Stoker’s classic gothic horror novel, Dracula. The action is set in the Carfax lunatic asylum run by Dr. John Seward as described in the original source text. Renfield, in this production, is first seen fronting a panel of medical experts and influential dignitaries, including Dr. Abraham Van Helsing and Quincy Adams, and British nobles. They are gathered together to assess whether Renfield can be considered as being cured and declared sane, so that he can subsequently be tried in court for his crimes against society. It’s a solo piece for Ericson. He plays the role of ‘narrator’, who cleverly contextualises events for the audience in extended rhyming verse, as well as assuming the part of Renfield, both in the present, as he argues his case to the panel, and in the past, as he relates his journey to self- understanding in a series of vivid flashbacks. Addressing the audience briefly after the show, Ericson suggested that the work is, to some degree, still in progress; and at times during the performance, the flow of dialogue in the frequent shifts between his character’s internal perspectives, did come across as tentative and the changes were not always clearly defined, This suggested that the writer/performer is still experimenting with the piece and is, as yet, undecided about how best to deliver the material he has written to achieve its optimal effect.
    [Show full text]
  • Rosemary Ellen Guiley
    vamps_fm[fof]_final pass 2/2/09 10:06 AM Page i The Encyclopedia of VAMPIRES, WEREWOLVES, and OTHER MONSTERS vamps_fm[fof]_final pass 2/2/09 10:06 AM Page ii The Encyclopedia of VAMPIRES, WEREWOLVES, and OTHER MONSTERS Rosemary Ellen Guiley FOREWORD BY Jeanne Keyes Youngson, President and Founder of the Vampire Empire The Encyclopedia of Vampires, Werewolves, and Other Monsters Copyright © 2005 by Visionary Living, Inc. All rights reserved. No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For information contact: Facts On File, Inc. 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data Guiley, Rosemary. The encyclopedia of vampires, werewolves, and other monsters / Rosemary Ellen Guiley. p. cm. Includes bibliographical references and index. ISBN 0-8160-4684-0 (hardcover : alk. paper) ISBN 978-1-4381-3001-9 (e-book) 1. Vampires—Encyclopedias. 2. Werewolves—Encyclopedias. 3. Monsters—Encyclopedias. I. Title. BF1556.G86 2004 133.4’23—dc22 2003026592 Facts On File books are available at special discounts when purchased in bulk quantities for businesses, associations, institutions, or sales promotions. Please call our Special Sales Department in New York at (212) 967-8800 or (800) 322-8755. You can find Facts On File on the World Wide Web at http://www.factsonfile.com Printed in the United States of America VB FOF 10 9 8 7 6 5 4 3 2 1 This book is printed on acid-free paper.
    [Show full text]
  • 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.
    [Show full text]
  • Behold the Beast: Victorian Anxieties and Monstrous Forms
    BEHOLD THE BEAST: VICTORIAN ANXIETIES AND MONSTROUS FORMS By Ben Pascoe A Thesis Submitted in Partial Fulfillment of the Requirement for the Degree MASTER OF ARTS Major Subject: English West Texas A&M University Canyon, Texas May 2019 ABSTRACT This paper seeks to analyze two examples of Victorian Gothic, the 1885 novella The Strange Case of Dr. Jekyll and Mr. Hyde and the 1897 novel Dracula as texts dealing with anxieties of degeneration, medicine, and addiction on the personal scale and a wider societal scale respectively. Both Dracula and Hyde represent monsters constructed as representatives of these anxieties in a direct and actionable form so that the audience could address their concerns. ii ACKNOWLEDGEMETS The Author would like to thank: his major advisor and committee members for their patience, help, and guidance; the various other faculty members who have contributed advice and assistance in the research and formatting of this paper. This thesis is dedicated to my family for their love and support through the attainment of my degree, the friends who have helped me along this journey, and the teachers who have helped me learn the skills to create it. iii Approved: [Chairman, Thesis Committee] [Date] [Member, Thesis Committee] [Date] [Member, Thesis Committee] [Date] [Department Head/Direct Supervisor] [Date] [Dean, Academic College] [Date] [Dean, Graduate School] [Date] iv TABLE OF CONTENTS Chapter Page CHAPTER 1: GOTHIC ANXIETIES .......................................................................... 1 CHAPTER 2: THE BEAST AMONG FRIENDS ...................................................... 30 Sex, Drugs, and Chemicals: The Vice Reading ................................................................ 34 Dr. Jekyll and Dr. Hyde: The Medical Reading ............................................................... 44 The Savage Gentleman: The Degenerative Reading ........................................................ 49 CHAPTER 3: THE BEAST AT THE GATES ..........................................................
    [Show full text]
  • Chapter 1 Chapter 2
    Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282.
    [Show full text]
  • Brides: Voluptuous Devils Or Fallen Angels? the Transgressive Sexuality of Female Vampires and Its Subversion in Bram Stoker's D
    Brides: Voluptuous Devils or Fallen Angels? The Transgressive Sexuality of Female Vampires and its Subversion in Bram Stoker's Dracula Introduction From the nineteenth century on, a vampire is by definition a highly erotic creature carrying in itself a strange mixture of nourishment, disease and sexuality, making it so threatening. It feeds on living people through an act of oral sexuality while spreading its own contagious illness. Especially if it is a female, it is highly likely that she would be depicted as a lecherous beast. Throughout the text, dozens of sexualised images can be encountered of both sexes but here the focus is limited to sexuality of vampire women. In this paper, I will analyse how feminine sexuality is conceived of and I will pay special attention to the subversive aspect of female vampiric sexual power in Bram Stoker’s Dracula. Vampire -woman – a Fallen Angel? To begin with, one ought to note that there are indeed vampirised women in Dracula, a fact usually forgotten by readers of the novel and often left untouched by critics in connection with this masculine late-Victorian text. However, vampirism of the “weaker sex” is worth investigating especially in this specific repressive Victorian context. Turning women into vampires is seen as an extremely erotic feature because vampire women can be considered the most dreaded kind in this era: fallen women. Fallen women are the total opposite of the spiritual ideal, the “angel in the house” who has no body at all, hence creating what is “often referred to as the virgin/whore dichotomy” (Dionisopoulos and Leah 209).
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligrunent can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Xnfonnation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 SYMPATHY FOR THE DEVIL; FEMALE AUTHORSHIP AND THE LITERARY VAMPIRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor o f Philosophy in the Graduate School of The Ohio State University By Kathy S.
    [Show full text]
  • 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”.
    [Show full text]