Dracula by Bram Stoker
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The Sexual Vampire
Hugvísindasvið Vampires in Literature The attraction of horror and the vampire in early and modern fiction Ritgerð til B.A.-prófs Magndís Huld Sigmarsdóttir Maí 2011 Háskóli Íslands Hugvísindasvið Enska Vampires in literature The attraction of horror and the vampire in early and modern fiction Ritgerð til B.A.-prófs Magndís Huld Sigmarsdóttir Kt.: 190882-4469 Leiðbeinandi: Úlfhildur Dagsdóttir Maí 2011 1 2 Summary Monsters are a big part of the horror genre whose main purpose is to invoke fear in its reader. Horror gives the reader the chance to escape from his everyday life, into the world of excitement and fantasy, and experience the relief which follows when the horror has ended. Vampires belong to the literary tradition of horror and started out as monsters of pure evil that preyed on the innocent. Count Dracula, from Bram Stoker‘s novel Dracula (1897), is an example of an evil being which belongs to the class of the ―old‖ vampire. Religious fears and the control of the church were much of what contributed to the terrors which the old vampire conveyed. Count Dracula as an example of the old vampire was a demonic creature who has strayed away from Gods grace and could not even bear to look at religious symbols such as the crucifix. The image of the literary vampire has changed with time and in the latter part of the 20th century it has lost most of its monstrosity and religious connotations. The vampire‘s popular image is now more of a misunderstood troubled soul who battles its inner urges to harm others, this type being the ―new‖ vampire. -
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. -
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. -
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). -
Paris and London in Frances Burney's Novels
Transcending National Identity: Paris and London in Frances Burney’s Novels Marianna D’Ezio University for Foreigners of Perugia, Italy Synergies Royaume-Uni Royaume-Uni Summary: When British novelist Frances Burney decided to marry a penniless, French, not to mention Roman Catholic émigré in 1793, not even the strong 59-74 pp. opposition of her beloved father, the renowned musicologist Charles Burney, et could dissuade her. “Fanny” was forty-one years old and, despite wanting to Irlande become a dramatist, had already written several influential novels, including Evelina (1778) and Cecilia (1782). The central theme in Burney’s novels was n° 3 the portrayal and treatment of the heroines’ internal battles between the attraction of, and repulsion by London’s fashionable life, where consumption - 2010 was foremost and a vital part of everyday activities. London was the place where Burney grew up, began her literary career and refined her taste and acute critical attitude. Indeed, it was her contact with the most fashionable coteries of the time, primarily the Streatham circle, that introduced her to her literary mentor, Samuel Johnson. Burney’s parables on fashion and its effects on young women’s prospective ambitions may well be best represented by her lesser known novel, The Wanderer (1812). This novel witnessed a change in setting which mirrored that of the time: the appeal of London life in the 1790s had made way for smaller resorts such as Brighton, in addition to locations further afield, of which one was Paris. Her ability to perceive the transformation of “the city” from a mere urban setting into a modern, multicultural metropolis was made possible by her marriage to Alexandre Jean-Baptiste Piochard d’Arblay and her subsequent move to Paris. -
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. -
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. -
“Let Us Not Desert One Another”: Women Writing Friendship and Community in the Long Eighteenth Century
“LET US NOT DESERT ONE ANOTHER”: WOMEN WRITING FRIENDSHIP AND COMMUNITY IN THE LONG EIGHTEENTH CENTURY By KADESH LAURIDSEN A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2014 © 2014 Kadesh Lauridsen To my son, who is my wonder and my world ACKNOWLEDGMENTS In my life, and in the completion of this work, I have been blessed with the support of a strong, vibrant community of women. My mothers—Pamela Foster, Lois Mills, and Frances Jackson—have demonstrated throughout my life the virtues of patience, compassion, and unconditional love. My sisters—Tamara Lauridsen, La-Titia Jackson, and Traci Klass—have been the cheerleaders, the waiting shoulders, and the outstretched hands I’ve needed along the way. My mentor, Judy Page, represents to me the epitome of a true feminist scholar—one whose engagement in empowering women reaches into her teaching, her writing, and her personal relationships. Words are inadequate to express my thanks for her contributions to my understanding of literature, history, gender, and our profession. Most of all, I thank her for giving so selflessly of her time. I owe the greatest debt of gratitude in the completion of this project to my dear friend, spiritual sister, and intellectual twin Randi Marie Addicott. Her encouragement, multiple readings, reviews, suggestions, and availability for impromptu brainstorming sessions have been indispensable. Randi Marie’s natural sympathy and witty charm embody the best that true women’s friendship has to offer. Our world is brighter because of the sunshine she brings to it. -
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. -
Tfs 1.1 2015
VOL.1 No .1, 2015 Inside this issue Cache in the attic Mary Dr Belinda Burwell’s discovery of several rare English women writers Knowles: in a family library collection in Pennsylvania artist, abolitionist and poet Natasha Duquette, former visiting fellow, investigates A fascinating find R BELINDA BURWELL is accustomed to Boarding School (1798), a fascinating cross Secret note discovered in one of our portraits rescuing wild animals. The Founder between an epistolary novel and a conduct book. D and Director of a busy wildlife refuge How a woman writer in Virginia, USA, Belinda spends much of her This surprise stash unearthed by Belinda once time caring for injured and sick animals and belonged to a cousin of her father, Isabella brought inoculation releasing them back into the wild once their Cameron van Lennep, known as Belle, who to England recovery is complete. This year though, her was a descendant of a grand plantation family in rescue work has taken an unexpected turn: Virginia. Belle had polio as a child and walked salvaging long-forgotten books. with two canes. She married Jonhkeer Eric van Lennep, Dutch nobility, and they settled in Belinda’s father, Charles Lee Burwell, a great New York City. Belle must have been a keen bibliophile, saved every family book ever given reader and book collector and, having no heirs, to him, amassing a collection of some 10,000 she left her collection of books to Belinda’s books. Now at age 97, he cannot enjoy them all father Charles. and so asked the family to look through them deciding which ones to keep and which should Belinda has generously offered to donate this find a better home elsewhere. -
Nosferatu (1922) & the Vampire Lovers (1970)
Sheldon 1 Matthew A. Sheldon Media and Society Andrew Martin 9/27/2014 Nosferatu (1922) & the Vampire Lovers (1970) While watching F.W. Murnau's Nosferatu (1922) and Roy Ward Baker’s the Vampire Lovers (1970) I came to discover that these vampire stories are less about the patriarchal battles of good vs. evil, and more about the repressed sexual battles between a man and a woman within the historical context of its time. Murnau's silent masterpiece Nosferatu is like seeing the vampire movie before it became a trendy pop icon of commercials, jokes, books, and over 100 different films. Nosferatu is still to this day the quintessential vampire film, and its surreal and haunting aesthetics of German Expressionism give off the feeling as if its creators were truly in awe of the legendary material. When reading the article “Dracula in the twilight: Murnau’s Nosferatu” by Judith Mayne, she explores much of the changes that were made when Murnau adapted Nosferatu from Bram Stoker’s 1897 Dracula novel. When listing several of the changes the one change that Mayne seems to directly focus on were Dracula’s central conflict and his relationship to the victims. “First Van Helsing is in no way the protagonist of the film. Instead of a conflict between two patriarchal figures, we have an encounter between a man and a woman” (Mayne, 28). Dracula’s Sheldon 2 famous adversary Van Helsing is reduced from Murnau’s film version and the focus is shifted more towards Jonathan’s beautiful wife Nina. Mayne seems to suggest that Murnau wanted the story to focus less on patriarchal conflicts and explore more of the sexual tension that occurs between Nina, Jonathan and Nosferatu.