Gender Equality In Bram Stokers Dracula

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Gender Equality In Bram Stokers Dracula



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Like Harker, Van Helsing emphasizes the sensuality of the woman. In addition, although the women are passive at this time, he reveals what must happen to women who renounce their traditional feminine roles—they must be destroyed. The three vampire-women appear in a mere half-dozen pages, and their primary function is to introduce attitudes and beliefs that can be more fully explored in Lucy Westenra and Mina Harker. Outwardly rather dull and acquiescent, she reveals a covert desire to escape these constraints. It also implies that Lucy is unhappy with her social role, that she is torn between the need to conform and the desire to rebel.

By day Lucy remains an acquiescent and loving Victorian girl. By night the other side of her character gains control; and Mina describes her as restless and impatient to get out. Whenever she got into that lethargic state, with the stertorous breathing, she put the flowers from her. Believing that the true Lucy is characterized by her soft eyes, docile nature, and tenderness, he cannot recognize the increased strength or the sharp white teeth and the potential for pain, aggression, and violence which they suggest as part of her character.

As yet he attaches no moral significance to her physical transformation. Contemporary readers, however, would have been aware of the significance of this physical transformation, an alteration which may refer to the dangers of venereal disease. A problem which frequently accompanied promiscuity, venereal disease had captured the imaginations of New Woman writers. Many of the New Woman writers showed the ravages of venereal disease on innocent women and children; and even the most conservative insisted that women should be informed of the dangers.

Stoker continues their argument by showing the impact on the innocent Lucy and carries the argument one step further by showing that promiscuity might also infect innocent men. Van Helsing is the only character who is aware of this. After they have been properly initiated by Van Helsing, however, they will come to believe that such attempts to reverse the traditional sexual roles are evil: When Lucy … saw us she drew ack with an angry snarl. At that moment the remnant of my love passed into hate and loathing; had she then to be killed, I could have done it with savage delight. Significantly it is the twenty-eighth of September, the day after he and Lucy were to have been married, that Arthur Holmwood plunges a stake into her breast and ends her vampiric existence for ever.

It is a vicious attack against a helpless woman, but it succeeds in destroying the New Woman and in reestablishing male supremacy. Only when the traditional order has been restored does Van Helsing permit the kiss which both Arthur and Lucy had desired during her lifetime. III While the first half of the novel concludes with the destruction of a character who illustrates the aggression and sensuality of the New Woman, the second half centers on a woman who combines the independence and intelligence often associated with the New Woman with traditional femininity—Mina Harker.

Stoker introduces Mina in the series of letters which she and Lucy exchange. The two have been friends since childhood, but their letters reveal profound differences in the two adult women. Lucy is a perpetual child, pampered by everyone around her. Her letters reveal a concern with social events and the rather thoughtless pursuit of her own pleasure. Mina, on the other hand, has had to take care of herself.

At the beginning of the novel, she is an assistant schoolmistress, a productive and conscious member of her society; and the intelligence and capacity for independent action and judgment which appear in these initial letters remain the predominant elements in her character throughout the novel. By providing Mina with a responsible profession and a means of economic independence, Stoker reveals that she is a modern woman, the product of intense struggles that took place during the nineteenth century—in short, the kind of woman who could not have existed much before the period in which Stoker wrote.

That she is not a New Woman can be seen in her criticism of the New Woman writers, her choice of profession—the New Woman writers favored such nontraditional professions as medicine, nursing, and business for their heroines—her decision to marry and her subsequent relationship with her husband, her desire to nurture and protect children, and—most clearly—her response to Dracula himself. Although Mina resembles the New Woman before her marriage, she adopts a very traditional role afterwards. She learns shorthand and train schedules so she can help Jonathan in his work, but she generally chooses to remain supportively in the background except when he asks her for assistance.

While both Lucy and the vampire-women prey on children, Mina believes motherhood is an important social responsibility. In fact she becomes a mother-figure to all the other characters in the novel: I felt an infinite pity for him, and opened my arms unthinkingly. With a sob he laid his head on my shoulder, and cried like a wearied child, whilst he shook with emotion. Both Roth and Leonard Wolf focus on the mythic origins of this contrast. It is just as possible, however, to assume that Stoker is consciously contrasting the sexually liberated New Woman with a more traditional woman. In fact when Mina finally gets her wish, she is shown at the conclusion with an actual baby at her breast, a baby which is named for all the men who had participated in the quest to destroy Dracula.

It is almost as though Stoker is suggesting that the child is the product of an asexual social union rather than the result of a sexual union between one man and one woman. I must touch him [Harker] or kiss him no more. In fact she urges the men to kill her if the physical characteristics of the vampire begin to appear. It would be a mistake, nevertheless, to equate Dracula with any single variety of evil.

To Lucy Westenra he is both death and the bridegroom par excellence. Jake Renfro Mr. It is one of the great classic gothic horror novels of all time. This novel appeals to a male audience more than a female one, because of Dracula This semester we watched a lot of different versions of Dracula. Movies such as Dracula are my favorite because I personally like watching vampire movies. It was by Bella Lugosi and was filmed in England. In this version In the horrific story Dracula by Bram Stoker, Lucy Westenra is identified as vivacious young woman who is much praised for her beauty, purity and sweet nature. We soon learn that There are countless passages throughout the novel that capture the Deconstruction aims to unravel the text itself in search of no one universal meaning, but a multitude of possible interpretations.

Dracula reigns in uncertainty, with deconstruction Devils tend to have long faces, pointing chins and noses, dark or red eyes, and pale complexions. These characteristics actually correspond to the description of Dracula in the The tone Dracula is a short play created from letters, journals, telegrams, and newspaper clippings. Good versus evil is the main theme I experienced from viewing the play. Evil never outlasts good; therefore I foreshadowed Dracula being killed by the end of the play. The setting of the story begins in 19th century This author is not that credible but seems reliable. The Author is not bias. The author seeks to be as least bias as possible. The source will be Due to the letter-based aspect of the story, readers may be dismayed at the pacing and overall feel of the dialogue.

Even so, many have enjoyed this unusual style epistolary and have praised the direction and suspense of this literary technique The story is told in a series of diary entries In this book the main character is the terrifying and nocturnal vampire, Count Dracula. Dracula is hidden away in his castle in Transylvania and is feared among civilization. Like Adolf Hitler, their quests are similar Bergeron Gothic Literature Mr. Nokes Dracula Essay 27 May Conveying difficult times and strange stories is often hard but with reliable narrators the stories are able to be layered together allowing the reader to make their own judgments. In the novel, Dracula by Bram Stoker, we are introduced Mina is a woman, and there is nought in common.

The rise of Communism in Russia struck down the authority of the Russian Orthodox Church in favor of atheism, Communist troops destroyed Church property, and believers faced persecution. Finally and most convincingly, this incarnation of Dracula harbors a desire to spread vampirism specifically to create an empire of blood-sucking minions. Dracula and The Return of Dracula have more in common than similar plotlines and thinly-veiled anti-Communist and xenophobic themes: in both cases, Dracula is seen as an unambiguous villain. This version of the Count had something neither of the others did: a back story. The film opens in the year , when Vlad Dracula is a prince of the Holy Roman Empire, just returning from successfully besieging Constantinople.

By the time he comes back to her, though, she is dead: convinced that her beloved Vlad had been slain in the battle, she threw herself into the river surrounding Castle Dracula. A grief-stricken Vlad is informed that because Elizabeta committed suicide, her soul is eternally damned. Overcome with passionate sorrow and anger, Dracula violently and irreverently rejects not only the Church but also God altogether. When Dracula arrives in England, he immediately recognizes Mina as the reincarnation of his lost love Elizabeta, and knowing that she does not remember him, begins to cultivate a relationship with her. But he chose to emphasize sex, disease, and the power of emotion to help audiences process the advent of AIDS awareness that was unfolding in America.

Dracula is driven to vampirism by exceedingly strong emotions, which might be comparable to a person being motivated by a powerful lust or drug addiction that leads them to contract AIDS. Vampirism is a blood-borne disease in virtually all film presentations of it, so vampires would have resonated strongly with a population newly paranoid about AIDS. It follows that the film makes frequent use of overtones that have to do with sexual indecency in order to tap into that new fear. When Lucy becomes one of the undead, her taste for the blood of young children is clear.

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