So true, so sweet, so noble, so little an egoist.” [Stoker, Ch14. Sept. 26] The threat Dracula poses in transforming these women becomes a battle that lies upon women’s sexuality. Therefore, the real fear in the book is not darkness and vampirisms, but the loss of female innocence. This is a trait apparently extremely valuable and Snyder 2 important to men. If Dracula succeeds in turning the ladies into vampires, this will fully release their sexuality and its expressions.
According to horror novelist, Stephen King, phobic Pressure points are the fears the audiences share of keynote things, like the dark, spiders, and isolation. Early horror films, such as James Whale's, Frankenstein (1931), are posted in remote, European villages, where the secluded forests, and foreign people, adds to the isolation of the spooky castle on the hill. Traditional horror settings, like this, motivate the viewers phobic 'pressure points' by inducing them into the deranged and horrific reality of the characters. The isolation omits the victims out of reach of the authorities, which the edgy audience would hastily bid if danger threatened themselves. This leaves the watchers feeling feeble and without control.
‘In The Bloody Chamber, childhood fairytales become the stuff of adult nightmares.’ With close reference to at least two stories from the collection, say how far you agree with this comment. Angela Carter’s decision to subvert the classic fairytale genre with twisted parodies of the original was shocking to readers at the time, and her stories certainly reveal more sinister and perverse depths of these fairytales – depths which the original authors surely did not intend on existing with their target audience of children in mind. Fairy tales are typically very non- realistic with phrases such as ‘Once upon a time’ - immediately implying a fantasy era and setting, being their famous opening lines. As with fairytales, nightmares are of course always fiction. They can be seen to be the predictor of future events and to say something about your life.
Ramirez 1 Angelica Ramirez Ms. Happ-Mendel 19th Century Unlit November 9, 2009 – Block 6 Treachery of Dracula In Dracula, Stoker’s characters manifest humans’ nature to be dishonest for their personal benefit. For example; Jonathan betrays Dracula’s trust by writing secret letters and disobeying his instruction on where to sleep. In addition, he betrays his fiancé when he cheats on her with the three seductive women. Jonathan is not the only character that betrays; Dracula betrays Renfield. Finally, Lucy betrays Arthur.
Kathryn Goers ENG 346: Virtue and Vice in Gothic Literature Dr. Timothy Decker 5 November 2012 Sexuality? Predator vs. Victim Women in several known horror narratives, stories, and films, are highly sexualized. They aren't always seen as human, and are treated as victims. In his novel, Dracula, Bram Stoker is no different from other horror writers.
Rather than gain eternal spiritual life by consuming wine that has been blessed to symbolize Christ’s blood, Dracula drinks actual human blood in order to extend his physical—but quite soulless—life. The importance of blood in Christian mythology elevates the battle between Van Helsing’s warriors and the count to the significance of a holy war or crusade. The three beautiful vampires Harker encounters in Dracula’s castle are both his dream and his nightmare—indeed, they embody both the dream and the nightmare of the Victorian male imagination in general. The sisters represent what the Victorian ideal stipulates women should not be—voluptuous and sexually aggressive—thus making their beauty both a promise of sexual fulfillment and a curse. These women offer Harker more sexual gratification in two paragraphs than his fiancée Mina does during the course of the entire novel.
Harker’s provocative description of these women turns the Victorian ideals into alluring acts of human sexuality. “I was afraid to raise my eyelids, but looked out and saw perfectly under the lashes. The girls went on her knees, and bent over me, simply gloating. There was a deliberate voluptuousness which was both thrilling and repulsive, and as she arched her neck, she actually licked her lips like an animal” (Stoker 39).The description of the women vampires illustrates the lust and weaknesses that men have for controlling women. The sisters are a prime example of how Victorian men are weakened by aggressive sexy women.
Her hallucination of the blood on her hands and her constant efforts to wash it off shows the suffering of having a guilty conscience, which is causing her to go insane. We later find out that she commits suicide due to it. The purpose of blood changes for the last time to a symbol of freedom when Macduff says, "I have no words: / My voice is in my sword, thou bloodier villain / Than terms can give thee out!" (Act 5, Scene 8, Lines 9-10) and then goes on to slay Macbeth. After analyzing all the different uses of blood throughout the book you can see how Shakespeare uses “blood” to show the change and transformation of characters.
When people go to see a horror movie or read a horror novel, they expect to see, or read about, possibly an infinite amount of gruesome and disgusting creatures. What people most of the time do not realize is that the creature in the story is usually caused by human error and carelessness. In the novel Frankenstein by Mary Shelley, Victor, the titular character, creates a creature in which he abandons almost immediately and shows no respect for him; which causes the creature to commit chaos in Victor’s life. The problem in this story is not the hate the creature causes, but in the evil of Victor’s selfish mind inability to see the havoc he can prevent. The first fault that causes Victor’s action is his tenacious view on life and how it works.
Clever, facetious, screwed-up, and dead sexy, Alaska will pull Miles into her labyrinth and catapult him into the Great Perhaps. . She is the absolute most random, crazy person Pudge has ever seen outside an insane asylum. The idea of the labyrinth is important to the characters of this book, who interpret the question as being about suffering: “How will I get out of this labyrinth of suffering?”(pg.18). First and foremost, what is a labyrinth?