Dracula's Guest, by Bram Stoker
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
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. -
Bram Stoker's Dracula
Danièle André, Coppola’s Luminous Shadows: Bram Stoker’s Dracula Film Journal / 5 / Screening the Supernatural / 2019 / pp. 62-74 Coppola’s Luminous Shadows: Bram Stoker’s Dracula Danièle André University of La Rochelle, France Dracula, that master of masks, can be read as the counterpart to the Victorian society that judges people by appearances. They both belong to the realm of shadows in so far as what they show is but deception, a shadow that seems to be the reality but that is in fact cast on a wall, a modern version of Plato’s Allegory of the Cave. Dracula rules over the world of representation, be it one of images or tales; he can only live if people believe in him and if light is not thrown on the illusion he has created. Victorian society is trickier: it is the kingdom of light, for it is the time when electric light was invented, a technological era in which appearances are not circumscribed by darkness but are masters of the day. It is precisely when the light is on that shadows can be cast and illusions can appear. Dracula’s ability to change appearances and play with artificiality (electric light and moving images) enhances the illusions created by his contemporaries in the late 19th Century. Through the supernatural atmosphere of his 1992 film Bram Stoker’s Dracula, Francis Ford Coppola thus underlines the deep links between cinema and a society dominated by both science and illusion. And because cinema is both a diegetic and extra-diegetic actor, the 62 Danièle André, Coppola’s Luminous Shadows: Bram Stoker’s Dracula Film Journal / 5 / Screening the Supernatural / 2019 / pp. -
Powers of Darkness Aquisition Release 4.8.16
THE OVERLOOK PRESS PETER MAYER PUBLISHERS, INC 141 Wooster Street NYC 10012 212-673-221 www.overlookpress.com Lost Icelandic version of Bram Stoker’s DRACULA to be published by Overlook, in authorized, annotated edition FOR IMMEDIATE RELEASE NEW YORK—APRIL 8, 2016 The Overlook Press has acquired world English language rights to POWERS OF DARKNESS: THE LOST VERSION OF DRACULA from Allison Devereux at Wolf Literary Services. This major literary rediscovery by noted Dracula scholar Hans de Roos is a thrilling and essential new addition to the Dracula canon. Overlook will publish POWERS OF DARKNESS in North America in September 2016, and its sister company Duckworth will publish in the UK, also in Autumn 2016. The book features the original preface by Bram Stoker himself as well as a new foreword by Stoker’s great-grand-nephew, Dacre Stoker, and an afterword by John Edgar Browning. In 1901 Icelandic publisher and writer Valdimar Ásmundsson set out to translate Bram Stoker’s classic novel. Called Makt Myrkranna, this version was unnoticed outside the country until 1986 when Dracula scholar Richard Dalby astonishingly discovered Stoker’s original preface to the book. It was not until 2014, however, that Hans de Roos realized that Ásmundsson hadn’t merely translated Dracula but—apparently with Stoker’s blessing—had rather published an entirely new version of the story, with all-new characters and a totally re-worked plot. The resulting narrative is one that is shorter, punchier, more erotic, and perhaps even more suspenseful than the original. POWERS OF DARKNESS is, incredibly, the first time Makt Myrkranna has ever been translated, studied, or read outside of Iceland. -
By Hans Corneel De Roos, MA Email: [email protected] Dedicated to Richie, Jane and Jiven, Who Shared the Excitement of This Strange Discovery with Me
WAS THE PREFACE TO THE SWEDISH DRACULA VERSION WRITTEN BY A PRIEST? BERNHARD WADSTRÖM AND THE “WHITE LADY” by Hans Corneel de Roos, MA Email: [email protected] Dedicated to Richie, Jane and Jiven, who shared the excitement of this strange discovery with me. Note: References to the Swedish text of the Dagen variant of Mörkrets makter are given in [square brackets], indicating the page numbers as given in the newspaper serialization. For the section describing Harker’s adventures in Transylvania (up to the middle of page 196), the Dagen and the Aftonbladets Halfvecko- upplaga variants have the same text and identical page numbers; in fact, these serializations must have been printed from the same matrices. The Tip-Top republication of 1916-1918 was typeset in a different format, without continuous page numbers. Note: The Icelandic text of Makt myrkranna and the Swedish text of the variants of Mörkrets makter are in the public domain; my translations of these texts and my comments are protected by international copyright laws. Hans Corneel de Roos | 26 May 2018 | Vamped.org | World Dracula Day Special | Was the Preface to the Swedish Dracula Version Written by a Priest? Bernhard Wadström and the “White Lady” | Page 2 WAS THE PREFACE TO THE SWEDISH DRACULA VERSION WRITTEN BY A PRIEST? BERNHARD WADSTRÖM AND THE “WHITE LADY” by Hans Corneel de Roos, MA For 52 months now, the question whether Bram Stoker personally contributed to the modified plot and the changed style of Makt myrkranna, the Icelandic version of Dracula, has haunted me. A surprising discovery I made at the start of May 2018 now throws a new light on the matter and dramatically narrows down the options. -
'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”. -
Expressionism and Bram Stoker╎s Dracula on the Stage
Susquehanna University Scholarly Commons Senior Scholars Day Apr 28th, 12:00 AM - 12:00 AM At the Mercy of Monsters: Expressionism and Bram Stoker’s Dracula on the Stage Nicholas Cardillo Follow this and additional works at: https://scholarlycommons.susqu.edu/ssd Part of the Dramatic Literature, Criticism and Theory Commons, Literature in English, British Isles Commons, and the Theatre History Commons Cardillo, Nicholas, "At the Mercy of Monsters: Expressionism and Bram Stoker’s Dracula on the Stage" (2020). Senior Scholars Day. 32. https://scholarlycommons.susqu.edu/ssd/2020/posters/32 This Event is brought to you for free and open access by Scholarly Commons. It has been accepted for inclusion in Senior Scholars Day by an authorized administrator of Scholarly Commons. For more information, please contact [email protected]. Cardillo 1 Nick Cardillo Dr. Andes Dramatic Theory & Criticism 16 April 2019 At the Mercy of Monsters: Expressionism and Bram Stoker’s Dracula on the Stage Bram Stoker’s novel, Dracula, is today considered a cornerstone of horror fiction. From its pages sprang one of literature’s most enduring creations and today Count Dracula is known the world over as a figure of not only the printed word, but the silver screen and beyond. Count Dracula has taken on a life of his own; a character so clearly defined in the public consciousness that he is no longer tethered to the Gothic genre alone and who has become a figure of both parody and horrific reverence. Among Dracula’s many forays into mediums of visual art are several plays all of which seek to put Bram Stoker’s characters (if not his entire original story) on the stage and dramatize horror. -
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.