The instance when Mina drinks from Dracula’s breast is the strongest example of this; where the reader to this point is accustomed to Dracula doing the “biting”, and suddenly Mina has the power to penetrate a male. Both Lucy and Mina, when they carry out a relationship with Dracula, become sexual beings, as opposed to when they are mortals and are forced to obey the social boundaries of their society. By expressing this sexuality, they become threatening to the men. Mina is intelligent, and despite the strong aversion she has to the “New Woman” or the “Modern Woman”, she is, in fact, a sort of modern woman; connected with modern ways, a schoolteacher with secretarial skills, she possesses a “man’s brain”. It is this very brain, which is ultimately used to aid in Dracula’s downfall.
‘The role of female vampires in the novel is to warn of the dangers of female sexuality’ consider the presentation of the female vampires in Dracula in the light of this comment Many may argue that the novel Dracula highlights the suppression and belittlement of women during the 19th Century. In Victorian England, women’s sexual behaviour was dictated by society’s rigid expectations. A Victorian woman was either a virgin or else she was a wife and mother. If she was neither of these, she was considered a whore, and thus of no consequence to society This idea is reinforced by Stoker with the contrast of the ‘brilliant white teeth, that shone like pearls against the ruby of their voluptuous lips,’ the virginal white is contrasted with the hellish red of their lips shows the battle the women went through suppressing and hiding their sexual desires. Stoker’s choose of women as the temptresses may be a warning to the women of the Victorian era to beware about pushing the boundaries of their sexuality.
The main points in Professor Smith's essay are that the female characters are there only to reflect the male characters, and that the Frankenstein family has a weird style of living, which she describes as a "bookkeeping mentality" (Smith 279). Smith begins her essay by looking at the historical factors that may have contributed to this seemingly sexist book. Shelley, writing in the first half of the 19th Century, was in a period in which a woman "was conditioned to think she needed a man's help" (Smith 275). In the novel itself, no women speak directly. The book has three basic narrators: Robert Walton, Victor Frankenstein, and Frankenstein's monster.
“A bit about taking a bite out of Dracula” In the classic novel about Dracula, there are distinct differences between men and women and their roles in society. In this late Victorian-era, these distinctions are a commonplace idea. In this society it is dominated by males, who are seen as the providers and the women are the caretakers of home and hearth. The marked differences between men and women in this era are significant to this story. The melodramatic events that happen between Dracula, Lucy and Mina can attest to the fact, that the opposite sexes are unequal.
Characters Portrayed in the 19th Century In the 19th century, women had to behave according to very tight social standings. Young women who had no intention to marry or had sex before marrying their future husbands were greatly disapproved and rejected by society and therefore, lived a very unhappy and depressing life. Wives had to take care of the children and always, no matter what, fulfill their husband’s needs. In the novel, Dracula, written by Bram Stoker, the author describes the lives and roles of two very important female characters living during the 19th century. As well, in the short story, The Vampyre, the author, John Polidori, also portrays the tale of a young woman who is eventually punished for not following the social norms.
Tristan is led to believe that Isolde is only a hand maid, not of any royalty (Reynolds). Once aware that Isolde is a princess, the two must still keep the relationship a secret for Isolde has been married to King Marke (Reynolds). “Fine love” almost definitively means it is extra-marital (Simpson). This turns the relationship into an adulterous affair, another requirement of courtly love (Simpson). Tristan and Isolde meet secretly numerous times while she is married to King Marke.
Jacob vehemently protests this decision and leaves, forming his own pack with Leah and Seth Clearwater. Bella soon gives birth, but the baby breaks many of her bones and she loses massive amounts of blood. In order to save her life, Edward changes her into a vampire by injecting his venom into her heart. Jacob, who was present for the birth, almost immediately "imprints"—an involuntary response in which a shape-shifter finds his soul mate—on Edward and Bella's newborn daughter, Renesmee. The third section of Breaking Dawn shifts back to Bella's perspective, finding her changed into a vampire and enjoying her new life and abilities.
Woolf interprets the contrast between the women in fiction and the real women of the period as evidence that the famous characters are nothing but impossibilities imagined upon by men. She argues that only a female writer could have created characters endowed with women’s hindered possibilities. But perhaps the women portrayed in Elizabethan fiction weren’t just men being conveniently portrayed as women like Woolf claims. Perhaps Shakespeare and other authors created these strong characters as symbols of what women could’ve been, barring the legal and social injustices they faced. Lady Macbeth is undoubtedly Shakespeare’s most vicious and cunning female character.
There may seem to be many motivations for villains throughout the times but as we study these scoundrels we find that generally they are motivated by pure jealousy, or a need of superiority. They utilize manipulation, both physically and mentally in order to achieve their goals and show a lack of remorse. Stephan King’s “Misery”, provides us with a very graphical depiction in Annie Wilkes a sadistic, mentally unstable retired nurse, who has a desire for power and control. Annie goes to tortuous extremes on her captive Paul Sheldon to realize this. Iago from Shakespeare’s play Othello is also a power hungry villain who enjoys having people under his control, he is driven by extreme jealousy and the motivation, revenge.
Depicting women as unnatural entities, voiceless and agent less, to their male counterparts destroys any shot of redemption for the fairer sex, so Conrad aligns all the women in the narrative with unreality to evolve the importance of separate realms. By holding ignorant ideas, such as Marlow's aunt, or exotic appearances, such as Kurtz's mistress, the women are discounted as impractical, or if they hold some merit, they are viewed as eerie. Either way, they are made of none of the material found in the world of men, and so disaster befalls the men that dare breach the boundary between the worlds. The first women that Conrad's main character, Marlow, recounts are the two knitters at the Company office in Brussels. The younger one greets the men who come in for examinations before they leave for the "unknown," African wilderness, creating the illusion of a comfortable environment in what is otherwise an unsettling experience (Conrad 8).