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Ben-Gurion University of the Negev BEN-GURION UNIVERSITY OF THE NEGEV THE FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF FOREIGN LITERATURES AND LINGUISTICS FEMINIST DISCOURSE AND THE CHANGING FIGURE OF THE VAMPIRE, 1890s-2000s THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS VALERIE KHASKIN UNDER THE SUPERVISION OF: PROF. EITAN BAR-YOSEF November 2014 BEN-GURION UNIVERSITY OF THE NEGEV THE FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF FOREIGN LITERATURES AND LINGUISTICS FEMINIST DISCOURSE AND THE CHANGING FIGURE OF THE VAMPIRE, 1890s-2000s THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS VALERIE KHASKIN UNDER THE SUPERVISION OF: PROF. EITAN BAR-YOSEF Signature of student: ________________ Date: _________ Signature of supervisor: Date: 08/02/2015 Signature of chairperson of the committee for graduate studies: _______________ Date: _________ November 2014 Acknowledgements I would like to thank the McDonald's Committee, whose avid engagement inspired this project. My gratitude also goes to Prof. Eitan Bar-Yosef, Mrs. Elena Pilehin, and Mr. Sagi Felendler, for their incessant support and encouragement. This work is dedicated to Mr. Mark Khaskin. Abstract This thesis will examine vampire literature from the end of the nineteenth century to the 2000s. I argue that substantial aspects of the generic discourse of this literature have been influenced by the contemporaneously active feminist movements, and that the changes undergone by the vampire figure and its mythology reflect changes within each of the three waves of feminism to be discussed in this thesis. I will begin my discussion with an analysis of Bram Stoker's Dracula, which has drawn ample critical attention in this context by its engagement with the figure of the New Woman, the face of first wave feminism in the United Kingdom of the nineteenth century fin de siècle. I will examine the work of previous scholars on the matter, and attempt to breach a gender border maintained by many of them, whereby only female vampires in the novel are examined through the lens of New Womanhood; I will propose here that Dracula himself is as representative of the concept as his female companions. I will then move on to examine the vampiric texts of the 1970s' United States, and draw a correlation between their rhetoric and concerns, and the issues raised and elaborated on throughout second wave feminism. I will show how the conception of femininity changes during this decade, simultaneously generating new modes of vampirism. Finally, in my third and conclusive chapter, I will examine the concerns posed by third wave feminism and demonstrate their correlation with the vampire fiction of the recent two decades, drawing a distinction between the texts of the 1990s and the 2000s due to their decidedly different representations of femininity. Eventually, this thesis demonstrates how the established connection between feminism and literary representations of vampirism opens a further discussion about portrayals of femininity and constructions of feminine identity. Table of Contents Introduction .................................................................................................................... 1 1. Chapter One: Monster as Monster: Vampirism and the New Woman in Bram Stoker's Dracula ........................................................................................................ 5 1.1. Introduction ....................................................................................................... 5 1.2. Mina Harker as the Socially Marginal Non-Vampire ....................................... 7 1.3. Lucy Westenra and the Vampiric New Womanhood ..................................... 44 1.4. Dracula and the Male New Woman ................................................................ 23 1.5. Conclusion ...................................................................................................... 30 2. Chapter Two: From Monster to Human: Vampire Literature and the 'Second Wave' Feminism of the 1970s ................................................................................. 32 2.1. Introduction ..................................................................................................... 32 2.2. Kurt Barlow and Monstrous Sympathy .......................................................... 35 2.3. Vlad Dracula and the Retrieved Voice of the 'Other' ..................................... 41 2.4. Louis, Lestat, and the Gender of the Subjective ............................................. 47 2.5. Saint Germain and Sexual Empowerment ...................................................... 56 2.6. Conclusion ...................................................................................................... 64 3. Chapter Three: From Human to Woman: Vampire Literature and Third-Wave Feminism in the 1990s and the 2000s ..................................................................... 63 3.1. Introduction ..................................................................................................... 63 3.2. Anita Blake, Vicki Nelson and the 1990s Power Feminism .......................... 67 3.3. Bella Swan and Postfeminist Ambiguity ........................................................ 80 3.4. Unlikely Alike: Third Wave Heroines of Vampire Literature ........................ 94 3.5. Conclusion .................................................................................................... 105 Conclusion ................................................................................................................. 107 Bibliography .............................................................................................................. 440 Khaskin 4 Introduction The significance of the vampire figure in the Western culture, and literature in particular, has been widely explored by such scholars as Nina Auerbach's Our Vampires, Ourselves (1995), Ken Gelder's Reading the Vampire (1994), and Joan Gordon and Veronica Hollinger's (eds.) Blood Read: The Vampire as Metaphor in Contemporary Culture (1997). They have heretofore provided insightful studies of the vampire genre throughout its various transformations. These scholars have comprised astute analyses of various vampire texts, situating them within different theoretical contexts and illustrating how the figure of the vampire has functioned as an open metaphor during the past century. Auerbach has famously claimed that "every age embraces the vampire it needs" (145), whereas Gordon and Hollinger introduce the vampire as "[a]n ambiguously coded figure" (1). The many faces of the vampire, its ability to change and adjust to new historical zeitgeists, have provided the premises for most of the scholarship pertaining to the genre, inviting analyses of texts within their own specific historical, cultural, and social contexts. Same questions may emerge once and again across the works of criticism on the subject – questions of gender constructions, social conventions, and racial relations – yet novels are most often examined autonomously. The originality of this thesis and its contribution to the study of vampire literature is the suggestion of a unifying factor throughout the development of the literary genre. More specifically, this project argues that since its ascension to popularity with the publication of Bram Stoker's Dracula (1897), and onto the latest cultural preoccupation with Stephenie Meyer's Twilight franchise (2005-2008), vampire literature has upheld a constant dialogue with the feminist movement. This thesis will demonstrate how feminist discourse and feminist concerns constitute a Khaskin 2 significant part of the generic core of vampire literature as a whole, and how the figure of the vampire, as well as its transformation from an archetypal monster to a popular teen idol, functions as a representation of changes within feminism in particular, and social conceptions of femininity at large. To establish this affiliation, each chapter of this thesis will closely examine a different historical period, wherein a simultaneous surge occurs both in feminist activism and the popularity of vampire fiction. Each novel examined in this thesis presents a different affinity between vampirism and femininity, which, as I argue, echoes feminist aspirations and anxieties prevalent during the period wherein the novels are published. Moreover, I claim that vampire literature not only epitomizes certain feminist fantasies, but also performs popular conceptualizations of feminism. Vampire literature, in other words, reflects the feminist movement's critique of its surrounding society, as well as social critique of the movement itself. Finally, by establishing a theoretical framework which covers the primary texts of both feminist scholarship and vampire literature, and showing the profound correlation between them, I wish to explore its implications for literary depictions of feminine empowerment. This thesis will consider what deeply ingrained cultural perceptions are revealed through the construction of capable women as monstrous, and how can this very construction work against such perceptions. The first chapter will begin our discussion with an examination of Bram Stoker's Dracula and its complex interaction with the contemporaneous image of the New Woman. Existing scholarship on the novel has already established Stoker's occupation with this figure by exploring his female vampires, as well as his portrayal of Mina
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