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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. -
Dracula by Bram Stoker
Dracula By Bram Stoker ENG113 Professor Harris Kyle Brady, Amanda Saxer Aurora Smith, Taylor Smith Juliet Stubblebine Vampires: A Background Vampire s • General Definition – Vampires (and werewolves) are among oldest creatures in mythology & exist universally • Mesopotamians, Hebrews, Ancient Greeks, Romans • Origins of Vampire Myth – Stems almost exclusively from 18th Century Slavic tales – Began as vague demon & explanation for eclipses •Causes – Almost everything! • Reasons Behind the Myths We Know and Love – Stake through the heart – Decapitation – Lack of reflection – Garlic – Crosses Relevant History Historical Events Jack the Second cholera Irish Potato Ripper Pandemic reaches Famine terrorizes British Isles (until 1852) London 1832 1845 1888 1837 1851 1895 Queen Victoria Napoleon III of France Oscar Wilde Rules (until 1901) becomes dictator convicted (until 1870) of sodomy Major Themes of the Era Age of Reforms Worker’s rights Age of Empire Public health acts Voter reform Women’s Rights Food/Drug Acts Several revolts in colonies Bankruptcy/ Wars to create colonies/ Insolvency Act prevent other countries Limits to death from colonizing penalty Crimean War, Second Trade Unions Opium War, Anglo- Judicial Reforms Persian War, etc. Age of Consent raised Greater religious freedom Age of Scientific Advances Industrial Revolution Trains Shift from Astronomical agrarian to Darwin/Evolution urban Photography Frequent New Elements outbreaks Medical of disease Dynamite Invented Telegraph Oceanography Telephone Motion Pictures The Underground -
'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. -
Of the Requirernents for the Degree of Masters of Arts Department Of
University of Alberta 'That's Why the Lady is a Vamp' Discounes of Crirninality, Sexual Inversion and Vampirism in Fin-de-Siècle and Modemist Culhues April Miller A thesis submitted to the Faculty of Graduate Stucües and Research as partial fulnllment of the requirernents for the degree of Masters of Arts Department of English Edmonton, Alberta Spring 2000 National Liibrary Bibliothèque nationale du Canada Acquisitions and Acquisitions el Bbliographic Sewiees senrices bibliographiques 395 welltngton Street 395, Ne Welliigton Ortawa ON KIA W OEEawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence allowing the exclusive permettant à la National Liiof Canada to Bibliothèque nationale du Canada de reproduce, loan, distri'bute or seii reproduire, prêter, distr'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfichdnim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substântial extracts from it Ni Ia thèse ni des extraits substantiels may be printed or othenvise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Abstract This thesis hvestigates scientifïc discourses of criminality and homosexuality as indicators of public anxiety over the changing status of women in America and Bntain at the tum of the century. As women began to move beyond the confines of domesticity and the women's Bghts movement took hold, fernale social and sexual deviance was represented, in a myriad of cultural forms, as a dangerous source of social and racial decline. -
SLC 442 Dracula and Vampire Belief in the World Global Awareness (G)
GENERAL STUDIES COURSE PROPOSAL COVER FORM Course information: Copy and paste current course information from Class Search/Course Catalog. School of International College/School College of Liberal Arts and Sciences Department/School Letters & Cultures Prefix: Number: Title: Dracula and Vampire Belief in the World Units: SLC 442 3 Course description: Is this a cross-listed course? No If yes, please identify course(s): Is this a shared course? No If so, list all academic units offering this course: Note- For courses that are crosslisted and/or shared, a letter of support from the chair/director of each department that offers the course is required for each designation requested. By submitting this letter of support, the chair/director agrees to ensure that all faculty teaching the course are aware of the General Studies designation(s) and will teach the course in a manner that meets the criteria for each approved designation. Is this a permanent-numbered course with topics? Yes If yes, all topics under this permanent-numbered course must be taught in a manner that meets the criteria Chair/Director Initials for the approved designation(s). It is the responsibility of the chair/director to ensure that all faculty teaching the course are aware of the General Studies designation(s) and adhere to the above guidelines. (Required) Requested designation: Global Awareness–G Mandatory Review: Yes Note- a separate proposal is required for each designation. Eligibility: Permanent numbered courses must have completed the university’s review and approval process. For the rules governing approval of omnibus courses, contact [email protected]. -
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”. -
Project Work
PROJECT WORK Legacy of the Damned Late-Victorian Ideas of Religious and Racial Degeneration in Bram Stoker's Dracula Erik Fredriksson Bachelor of Arts English Luleå University of Technology Department of Arts, Communication and Education Table of Contents Introduction............................................................................................................................................. 1 Chapter one: Historical Background........................................................................................................ 3 Chapter two: Purity of Faith.................................................................................................................. 14 Chapter Three: Race.............................................................................................................................. 27 Conclusion ............................................................................................................................................. 32 Works Cited ........................................................................................................................................... 34 1 Introduction Bram Stoker’s Dracula is a novel that brings up many issues that were relevant at the time of its writing. During the story of a group of friends who come into contact with a Transylvanian vampire, Stoker weaves in contemporary issues and developments in late-Victorian England. The book is a period piece in the horror genre. It deals with science, religion, feminism and technology and -
Technologies and the Diversification of Sexualities in Bram Stoker’S Dracula
2015 HAWAII UNIVERSITY INTERNATIONAL CONFERENCES ARTS, HUMANITIES, SOCIAL SCIENCES & EDUCATION JANUARY 03 - 06, 2015 ALA MOANA HOTEL, HONOLULU, HAWAII TECHNOLOGIES AND THE DIVERSIFICATION OF SEXUALITIES IN BRAM STOKER’S DRACULA PARK, HYOWON YONSEI UNIVERSITY, SEOUL, SOUTH KOREA DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE Park 1 Technologies and the Diversification of Sexualities in Bram Stoker’s Dracula Bram Stoker’s Dracula is a novel manifestly charged with sexual imagery. The punctures Dracula leaves on his victim’s neck and his invasion on England signify sexual penetration, especially his targets being middle-class English women. Specifically, the novel narrativizes perverse sexualities: Dracula, despite his male sexual identity, assumes a female role of giving birth to new vampires by copulating not through the female sexual organ but through the punctures on their necks. This story about an East European abject being’s perverse sexuality is recorded by cutting- edge technologies of the nineteenth-century: stenograph, phonograph, and typewriter. The novel is a synthetic work of stenographic, phonographic and typewritten records. These technologies, however, are not merely fancy, cutting-edge elements utilized by the author to draw readers’ attention. Rather, they constitute the perverse sexualities count Dracula and some of his English adversaries exemplify in the novel. In this essay, I will attempt to show how the qualities of the three technologies triggered the diversification of sexuality in Victorian England. Martin Heidegger, in his essay, “The Question Concerning Technology,” usurps the traditional definition of technology as means to an end. Rather, defining the essence of technology as instrumentality, which is the essence of Dasein, he argues that technology is the fundamental factor that defines Dasein. -
Patriarchal Propaganda and Manipulation in Bram Stoker's Dracula
Patriarchal Propaganda and Manipulation in Bram Stoker’s Dracula: In Search of a New Model of Victorian Femininity Treball de Fi de Grau/ BA dissertation Author: Maria Magdalena Veny Planiol Supervisor: Dr David Owen Departament de Filologia Anglesa i de Germanística Grau d’Estudis Anglesos June 2020 CONTENTS Abstract ..................................................................................................................................... 1 Introduction ............................................................................................................................ 2 I. Contextual historical overview ................................................................................. 2 II. Critical framework ....................................................................................................... 5 III. Aim and structure........................................................................................................ 9 1. Chapter I: Dracula as an element of patriarchal propaganda ......................... 10 2. Chapter II: The building of an acceptable model of Victorian femininity through manipulation… .................................................................................................... 16 3. Chapter III: The success of Mina Harker's manipulation… ............................... 22 4. Conclusions ....................................................................................................................... 25 Works Cited ..........................................................................................................................