Dracula the Dark King
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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. -
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. -
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. -
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
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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. -
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 -
'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. -
Sauron and Dracula
Volume 14 Number 2 Article 2 Winter 12-15-1987 Sauron and Dracula Gwenyth Hood Follow this and additional works at: https://dc.swosu.edu/mythlore Part of the Children's and Young Adult Literature Commons Recommended Citation Hood, Gwenyth (1987) "Sauron and Dracula," Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature: Vol. 14 : No. 2 , Article 2. Available at: https://dc.swosu.edu/mythlore/vol14/iss2/2 This Article is brought to you for free and open access by the Mythopoeic Society at SWOSU Digital Commons. It has been accepted for inclusion in Mythlore: A Journal of J.R.R. Tolkien, C.S. Lewis, Charles Williams, and Mythopoeic Literature by an authorized editor of SWOSU Digital Commons. An ADA compliant document is available upon request. For more information, please contact [email protected]. To join the Mythopoeic Society go to: http://www.mythsoc.org/join.htm Mythcon 51: A VIRTUAL “HALFLING” MYTHCON July 31 - August 1, 2021 (Saturday and Sunday) http://www.mythsoc.org/mythcon/mythcon-51.htm Mythcon 52: The Mythic, the Fantastic, and the Alien Albuquerque, New Mexico; July 29 - August 1, 2022 http://www.mythsoc.org/mythcon/mythcon-52.htm Abstract Compares Bram Stoker’s Dracula and Tolkien’s Sauron, noting both profound similarities and important differences, especially in the relationship of these villains and those they tempt to evil. Additional Keywords Stoker, Bram—Characters—Dracula; Tolkien, J.R.R.—Characters—Sauron; Vampires This article is available in Mythlore: A Journal of J.R.R. Tolkien, C.S. -
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.