Human Sexuality in Bram Stokers “Dracula” July 27, 2009 Human Sexuality in Bram Stoker’s Dracula In the novel Dracula by Bram Stoker, we experience the traditional ways of the nineteenth century. There are strict gender roles for the Victorian man and woman. Through the acts of romanticism, sexuality, and seduction, Stoker introduces the idea of the ‘New Woman’ and its effects on men by lessening their ability to control their craving of forthcoming women and he portrays a man who yearns for the pure love that only a wife can give. Thus, it is important to consider the notion of the ‘New Woman’ and its effect on the Victorian man. The roles of women during Victorian times were considered to be constricted.
Halberstam observes that in Gothic novels, “the Gothic monster represents many answers to the question of who must be replaced from the community at large” (Halberstam 3). By having Victor go on a trip with Clerval prior to his wedding, Shelley suggests a homosexual relationship between Victor and Clerval. In addition, Clerval serves as Victor’s “only nurse” when he was ill. This further emphasizes the homosexual aspect in Frankenstein since Victor does not need a female, but instead he favors a devoted male caretaker who willingly risks his life for Victor. In this case, Clerval is less visible monster, which disrupts the definition of an ideal man who should be heterosexual.
They also include comparing the novel to Freud’s theories on sexuality. According to Freud’s theories on sexuality, the studies focus more on the sexuality of the inner human, or more how the Id affects the Ego. The characters repress (contain) sexual notions. Women not supposed to talk about sexuality so characters repress see above. Comes out in their dreams where vampires are their repressed sexual
In Bram Stocker’s novel “Dracula”, there is an ongoing theme of sexuality threatening the social order. The Victorian era in England was known for its patriarchal division of power between men and women. Men were the dominant figures, and were seen as intelligent, rational and powerful. Women on the other hand, had very limited roles in Victorian Society, and were subordinate to men at the time. In the novel, the traditional roles and ideologies of men and women in Victorian society are challenged by Dracula.
Men are thus tried to repress and prevent the liberalization of women, which would term them as socially outcast. In the book its shown portions where women are in the need to liberate as shown in the summary of Lucy, even before becoming a vampire, she exerts an aura of subtle sexually and a flirt. According to Stroker he asks, “Why can’t they let a girl marry three men, or as many as want her, and save all the trouble?”(Stoker, Ch. 5 May 24).This shows that Lucy has a desire to break out of constrains of Victoria in their social expectations though the desires lie
Bram Stoker's book Dracula represents vampires in an evil aspect while Stephanie Meyer's Twilight represents in a lovely way. Stoker has rendered the reader to see the Count as physically strong and powerful, through Jonathan Harker and his confinement and Lucy Westenra and her failing health. Although the reader does not understand all the omniscient powers and control that Count Dracula possesses over people, they are brought to light through Dr Steward’s accounts of his patient R.M. Renfield. The ‘strange and sudden
Joseph Sheridan Le Fanu's Carmilla, is the original vampire story to which Stoker's Dracula serves as a response. Carmilla - the first vampire tale whose protagonist is a powerful female vampire - marks the growing concern surrounding the power of female homosocial and homosexual relationships in the nineteenth century. His creation of a female vampire anticipates the shift toward the end of the century to predominantly female vampires. Carmilla is the vampire tale that most readily defies the established patriarchal systems of kinship and that most provokingly challenges nineteenth century notions of the "contamination of lesbianism" and the female "psychic sponge.” Le Fanu’s Carmilla is a prime example of how fearful men were of the rising surge of powerful females. In many ways, Carmilla can be seen by feminists as a heroine in an antagonist’s role because the story is written by a man.
Forward thinking in Dracula. In Bram Stoker’s Dracula, Stoker challenges the Victorian mind in ways that had never been done before. The novel is written in a way to fool readers to think the story is true. He covers subjects of religion, sex and the supernatural in an attempt to expand the shallow thinking of the time. The character of Dracula rarely appears in the text after the first few chapters to create a sense of mystique for Dracula, and by doing so proves Dracula is supernatural.
Paula Rashel Flyangolts Professor: K. Sanders English 151-9613 23 February, 2011 Superstition and Religion in Dracula Dracula, by Bram Stoker, is a novel that can be considered known throughout current culture, as it is a classic. Written in 1897, it is still one of the most popular books in literature. It is referred to as a horror story and is sure to indulge you. However, Stoker’s intention was not to petrify the people of Victorian times, who were the first people to be entertained by the novel. Stoker created the character of Dracula to teach the readers lessons and morals about life and its questionable attributes.
Despite Lucy’s flirtatious manner and breezy ways, both Mina and Lucy are pure and sweet women, truly in love with their men. In Victorian England, women were either wives, or virgins. However, Dracula destroys the very essence of Lucy by turning her into a vampire. As a vampire, women become objects of desire and sexual gratification, an idea very contrary to Victorian norms. They become devoid of their purity, able to make men abandon all logic and control.