The Case of the Count Formerly Known As Dracula 1
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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. -
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). -
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. -
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. -
Hellsing Free Download
Hellsing free download click here to download Hellsing Episode List. Watch Full Episodes of Hellsing at Soul-Anime. Hellsing is the best website to watch Hellsing!!! download or watch full episodes for free. Watch Full Episodes of Hellsing Subbed at Soul-Anime. Hellsing Ultimate 9 website to watch Hellsing Subbed!!! download or watch full episodes for free. Watch Hellsing Ultimate Episode 4 English Dub, Sub Full Movie, Episodes - KissAnime. Watch and Download Free Anime Streaming Online Kiss Anime. Watch Hellsing Ultimate Episode 10 English Dub, Sub Full Movie, Episodes - KissAnime. Watch and Download Free Anime Streaming Online Kiss Anime. Hellsing Ultimate Ova Background For Free Download. Hellsing Ultimate Abridged quotes >>> it's funny bc he was talking about the frikin nazi in this scene. hellsing ringtones for mobile phones - most downloaded last month - Free download on Zedge. Download Hellsing volume (manga) www.doorway.ru NOTE: The songs on the "Shuffle Day To Day EP" are in extra high mp3 quality ( kbs/s and 44 KHz) so the file is pretty big ( mb)! But we think it's worth it! download free! DOWNLOAD LINK ===> www.doorway.ru Transcript of cor ova hellsing ultimate download free! www.doorway.ru Download Hellsing Ultimate Uncensored Bluray [BD] p MB | p MB MKV Soulreaperzone | Free Mini MKV Anime Direct Downloads. English. Book 1 of 10 in the Hellsing - in English (Dark Horse Manga) Series . Don't have a Kindle? Get your Kindle here, or download a FREE Kindle Reading App. In , it was announced that Geneon, along with the co-operation and blessing of Hellsing creator Kohta Hirano, would produce an OVA series based on the. -
JGP Vol 2 No 2.Pdf
ADAM MICKIEWICZ UNIVERSITY IN POZNAŃ Journal of Gender and Power Vol. 2, No. 2, 2014 POZNAŃ 2014 Journal of Gender and Power is aimed at providing an international forum for discussing vari‐ ous issues and processes of gender construction. It is a scholarly, interdisciplinary journal, which features articles in all fields of gender studies, drawing on various paradigms and ap‐ proaches. We invite scholars to submit articles and reviews reporting on theoretical considera‐ tions and empirical research. Journal of Gender and Power is published by Faculty of Educational Studies, Adam Mickiewicz University (Poznań – Poland). Editorial Board Editor‐in‐Chief Agnieszka Gromkowska‐Melosik Adam Mickiewicz University, Poland Editorial Assistant Michał Klichowski Adam Mickiewicz University, Poland Cecilia Åsberg (Linköping University, Sweden), Zygmunt Bauman (University of Leeds, England), Francesca Bettio (University of Siena, Italy), Mary Blair‐Loy (University of California, USA), Doris Chang (Wichita State University, USA), Miranda Christou (University of Cyprus, Cyprus), Lorraine Dowler (Pennsylvania State University, USA), Catherine Driscoll (University of Sydney, Australia), Virgínia Ferreira (University of Coimbra, Portugal), Eva Fodor (Central European University, Hungary), Eleanor Gordon (University of Glasgow, Scotland), Lawrence Grossberg (University of North Carolina at Chapel Hill, USA), Anita Harris (Monash University, Australia), Beata Kowalska (Jagiellonian University in Cracow, Poland), Michael A. Messner (University of Southern -
Language and the Construction of Power and Knowledge in Vampire Fiction
A “Truth Like This”: Language and the Construction of Power and Knowledge in Vampire Fiction Jutta Schulze Hannover, Germany Abstract : The paper examines the relationship between power, knowledge, and language in Bram Stoker’s Dracula and Stephenie Meyer’s Twilight from the vantage point of discourses on vampirism. Based on Michel Foucault’s notion of power as a localized, ubiquitous, and heterogeneous set of social strategies, it discusses the constitutive role of language in the construction of power relationships, focusing on gender and sexual relationships in both novels. In Dracula , the patriarchal system functions as a dominant discourse which prescribes legitimate sexual relations for women, while vampirism threatens this order by pointing out its gaps and inconsistencies. Revealing the ‘in-between’ of this order’s dichotomous relations, the rupture of its supposed coherence and ‘naturalness’ manifests itself through the notion of desire. Desire shares important features with language, as it is characterized by difference and deferral. Despite its appearance as an alternative social order, the interplay between power, knowledge, and language in Twilight suggests similar restrictions to female sexuality. This discourse on vampirism and sexuality is constructed by Edward and Bella, but is decisively mediated through Bella’s narrative voice. Their collaboration establishes a relationship of power which casts Bella in a state of weakness and submissiveness but also shows how language and knowledge may transform power relationships. ampires have captivated the attention of readers, writers, and critics for centuries. As literary figures, vampires fascinate due to the powerful but subtle Vmanner in which they reflect upon a particular societal order—its precepts, prohibitions, and fears—and thus make visible the cultural and social dynamics in relation to the individual subject. -
To Date Directed Its Broadway Version, Also Directed the Movie; and Eileen Heckart Repeats Her Role As the Mother
his "powers of statesmanship" (?) to put an end to the slave trade. Dracula, of course, will have none of this and vamps Mamuwalde, seals him in a coffin, dooms him to lust eternally after etc. His home is 200 later in lth:i:i::,''WmiK:,.ll!ir. blood, etc., opened years Los Angeles by two interior decorators who plan to make a fortune sellina the furnishings of Castle Dracula in the states. Thus unleashed, he begins his reign of terror, etc. Through it all William Marshall, who has had some experience with Shakespearian stage, is good at going "Aargh! Aargh!," and turning into a bat. Vonetta McGee as his wife Luva and her reincarnation Tina, does a fine job wandering around in a daze and saying "No, Mamuwalde! Help!" Thalmus Rasulala, as the brave Dr. Thomas, is at his best his 11 ,1'" unbuttoning sportcoat and putting his hands on his hips. ML The extras are great at wearing purple face make-up- , clip-o- n fangs and stumbling around looking menacing and possessed. ''.11,' The movie is more than corny, though. It is embarrassing. Your reviewer, who is white, was embarrassed by the racism which forms the fiim's foundation. Blacula ought to be subtitled, "Amos n' Andy Grow Teeth." It was produced by a white man, directed by a white man, written by a white woman, financed by a white-owne- d company. It is a white man's idea of what would appeal to the mind of a black man. The idea is that if detective thrillers like Shaft and Cotton Comes to Harlem succeed in drawing black crowds and green money, why not see if a black vampire movie will do as well? If your big brother liked Shaft, you're supposed to dig Blacula. -
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 -
Kamron Klitgaard Big Dog Publishing
Kamron Klitgaard Inspired by the 1922 silent film Nosferatu: a Symphony of Horror Cover photo of Max Schreck in his film 1922 role as Count Orlok Big Dog Publishing Nosferatu 2 Copyright © 2010, Kamron Klitgaard ALL RIGHTS RESERVED Nosferatu: A Vampire Symphony of Horror is fully protected under the copyright laws of the United States of America, and all of the countries covered by the Universal Copyright Convention and countries with which the United States has bilateral copyright relations including Canada, Mexico, Australia, and all nations of the United Kingdom. Copying or reproducing all or any part of this book in any manner is strictly forbidden by law. No part of this book may be stored in a retrieval system or transmitted in any form by any means including mechanical, electronic, photocopying, recording, or videotaping without written permission from the publisher. A royalty is due for every performance of this play whether admission is charged or not. A “performance” is any presentation in which an audience of any size is admitted. The name of the author must appear on all programs, printing, and advertising for the play. The program must also contain the following notice: “Produced by special arrangement with Big Dog Publishing Company, Sarasota, FL.” All rights including professional, amateur, radio broadcasting, television, motion picture, recitation, lecturing, public reading, and the rights of translation into foreign languages are strictly reserved by Big Dog Publishing Company, www.BigDogPlays.com, to whom all inquiries should be addressed. Big Dog Publishing P.O. Box 1400 Tallevast, FL 34270 Nosferatu 3 To my daughter Kati, who wouldn’t mind being a vampire. -
'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.