Ludlam, Harry (1962). A Biography of Dracula: The Life Story of Bram Stoker. W. Foulsham. ISBN 978-0-572-00217-6. Bram Stoker (1897) Dracula. Norton Critical Edition (1997) edited by Nina Auerbach and David J. Skal. Hopkins, Lisa (2007). Bram Stoker: A Literary Life. Basingstoke: Palgrave Macmillan. ISBN 978-1-4039-4647-8. OCLC 70335483.

Stoker came across the name Dracula in his reading on Romanian history, and chose this to replace the name ( Count Wampyr) that he had originally intended to use for his villain. Some Dracula scholars, led by Elizabeth Miller, have questioned the depth of this connection as early as 1998. They argue that Stoker in fact knew little of the historic Vlad III, Vlad the Impaler, and that he used only the name "Dracula" and some miscellaneous scraps of Romanian history. [54] Also, there are no comments about Vlad III in the author's working notes. [55] Kuzmanovic, Dejan (2009). "Vampiric Seduction and Vicissitudes of Masculine Identity in Bram Stoker's "Dracula" ". Victorian Literature and Culture. 37 (2): 411–425. doi: 10.1017/S1060150309090263. ISSN 1060-1503. JSTOR 40347238. S2CID 54921027.Untitled review of Dracula". Of Literature, Science, and Art (Fiction Supplement). London. 12 June 1897. p.11. Senf, Carol N. (Fall 1979). "Dracula: The Unseen Face in the Mirror". Journal of Narrative Technique. Ypsilanti, Michigan: Eastern Michigan University. 9 (3): 160–70. Miller presented this article at the second Transylvanian Society of Dracula Symposium, [14] but it has been reproduced elsewhere; for example, in the Dictionary of Literary Biography in 2006. [15] The castle is on the very edge of a terrible precipice. A stone falling from the window would fall a thousand feet without touching anything! As far as the eye can reach is a sea of green tree tops, with occasionally a deep rift where there is a chasm. For further reading on the last point, Zygmunt Bauman writes that the perceived "eternal homelessness" of the Jewish people has contributed to discrimination against them. [76]

Dracula preys upon the people of Whitby, including Lucy, leading to the climax of the novel with Van Helsing and Harker killing Dracula. Stoker, Bram. "Ch 21, Dr. Seward's Diary, 3 October". Dracula (PDF). p.412. First, a little refreshment to reward my exertions. New Woman" is a term that originated in the 19th century, and is used to describe an emerging class of intellectual women with social and economic control over their lives. [66] Vlad III, commonly known as Vlad the Impaler ( Romanian: Vlad Țepeș [ ˈ v l a d ˈ ts e p e ʃ ]) or Vlad Dracula ( / ˈ d r æ k j ʊ l ə, - j ə-/; Romanian: Vlad Drăculea [ ˈ d r ə k u l e̯a ]; 1428/31–1476/77), was Voivode of Wallachia three times between 1448 and his death in 1476/77. He is often considered one of the most important rulers in Wallachian history and a national hero of Romania. [4]Nandris, Grigore (1966). "The Historical Dracula: The Theme of His Legend in the Western and in the Eastern Literatures of Europe". Comparative Literature Studies. 3 (4): 367–396. ISSN 0010-4132. JSTOR 40245833. Corneel de Roos, Hans (2012). "The Dracula Maps". The Ultimate Dracula. Munich, Germany: Moonlake Editions. ISBN 978-3943559002. Dracula is a novel by Bram Stoker, published in 1897. An epistolary novel, the narrative is related through letters, diary entries, and newspaper articles. It has no single protagonist and opens with solicitor Jonathan Harker taking a business trip to stay at the castle of a Transylvanian nobleman, Count Dracula. Harker escapes the castle after discovering that Dracula is a vampire, and the Count moves to England and plagues the seaside town of Whitby. A small group, led by Abraham Van Helsing, investigate, hunt and kill Dracula. From ‘Horror of Dracula’, considered one of the best gothic-horror films of all time, the hyper-realistic action figures of Count Dracula, Christopher Lee, and the Vampire Hunter, Peter Cushing, are reinterpreted, in 1/6 scale, by Infinite and Kaustic’s artistic team, with impeccable life-like details and fabric clothes inspired by the scenes of the film. Many accessories are also included. Lisa Hopkins reproduces the previous quotation, and confirms Farson's relation to Stoker, in her 2007 book on Dracula. [27]

Harker admits while writing this description that he is 'not in heart to describe beauty', as he has realised that he is a 'prisoner' in the castle, with 'doors, doors, doors everywhere'. The repetition of 'doors' emphasises the impact the setting of the castle is having on Harker. He feels as though he is slowly being driven to insanity, with no escape in sight - just more doors. Christianity / good versus evil Stoker, Bram. "Ch 19, Jonathan Harker's Journal". Dracula (PDF). p.358. and when I had seen him he was either in the fasting stage of his existence in his rooms or, when he was bloated with fresh blood, Early in the novel, as Harker becomes uncomfortable with his lodgings and his host at Castle Dracula, he notes that “unless my senses deceive me, the old centuries had, and have, powers of their own which mere ‘modernity’ cannot kill.” Here, Harker voices one of the central concerns of the Victorian era. The end of the 19th century brought drastic developments that forced English society to question the systems of belief that had governed it for centuries. Darwin’s theory of evolution, for instance, called the validity of long-held sacred religious doctrines into question. Likewise, the Industrial Revolution brought profound economic and social change to the previously agrarian England. Stoker's detailed notes reveal he was well aware of the ethnic and geopolitical differences between the Roumanians/Wallachs/Wallachians, descendants of the Dacians, and the Székelys/Szeklers, allies of the Magyars or Hungarians, whose interests were opposed to that of the Wallachians. In the novel's original typewritten manuscript, the Count speaks of throwing off the "Austrian yoke", which corresponds to the Szekler political point of view. This expression is crossed out and replaced by "Hungarian yoke" (as appearing in the printed version), which matches the historical perspective of the Wallachians. Some take this to mean that Stoker opted for the Wallachian, not the Szekler interpretation, thus lending more consistency to his count's Romanian identity. Although not identical to Vlad III, the vampire is portrayed as one of the "Dracula race". [60] Screen portrayals [ edit ] Year Stoker, Bram. "Chapter 2: Jonathan Harker's Journal". Dracula (PDF). p.35. We Transylvanian nobles love not to think that our bones may lie amongst the common dead.One of Dracula's powers is the ability to turn others into vampires by biting them. According to Van Helsing: Glover, David (1996). Vampires, Mummies, and Liberals: Bram Stoker and the Politics of Popular Fiction. Duke University Press. ISBN 978-0-8223-1798-2. Understand [ edit ] The 1930s Hollywood adaptation of Dracula with Bela Lugosi is probably one of the most widely known adaptations of the story “ Barsanti, Michael (2008). "Foreword". In Eighteen-Bisang, Robert; Miller, Elizabeth (eds.). Bram Stoker's Notes for Dracula: A Facsimile Edition. Jefferson: McFarland & Co. Pub. ISBN 978-0-7864-5186-9. OCLC 335291872.

Beresford, Mathew (2008). From Demons to Dracula: The Creation of the Modern Vampire Myth. London: Reaktion. ISBN 978-1-86189-742-8. OCLC 647920291. The descriptions of the vampires in Dracula often have s exual undertones. The vampires are presented as harbingers of evil, their sexual nature being part of their danger.

Dracula - Key takeaways

Showalter, Elaine (1991). Sexual Anarchy: Gender and Culture at the Fin de Siècle. Penguin. ISBN 978-0-14-011587-1. In Chapter 17, when Van Helsing warns Seward that “to rid the earth of this terrible monster we must have all the knowledge and all the help which we can get,” he literally means all the knowledge. Van Helsing works not only to understand modern Western methods, but to incorporate the ancient and foreign schools of thought that the modern West dismisses. “It is the fault of our science,” he says, “that it wants to explain all; and if it explain not, then it says there is nothing to explain.” Here, Van Helsing points to the dire consequences of subscribing only to contemporary currents of thought. Without an understanding of history—indeed, without different understandings of history—the world is left terribly vulnerable when history inevitably repeats itself. Read more about fear of women’s sexuality in Shakespeare’s Antony and Cleopatra. The Promise of Christian Salvation