Related Papers
Unholy transubstantiation: Christifying the vampire and demonizing the blood
2010 •
Maureen LaPerriere
UMI, ProQuest ® Dissertations & Theses. The world's most comprehensive collection of dissertations and theses. Learn more... ProQuest, Unholy transubstantiation: Christifying the vampire and demonizing the blood. by LaPerriere ...
Postmodern Vampires
2019 •
Sorcha Ní Fhlainn
Master's Degree dissertation
The Portrayal of the Male Vampire in Bram Stoker’s Dracula (1897) and Anne Rice’s Interview with the Vampire (1976) : a Comparative Study.
2019 •
Wadie Touahria
The main purpose of this thesis is to study the revision of the male vampire figure in Dracula (1897) by Bram Stoker and Interview with the Vampire (1976) by Anne Rice. The first chapter is mainly concerned with the socio-historical contexts and literary backgrounds of Stoker’s and Rice’s novels. The second chapter is concerned with the analysis of the male vampires in both works. It shows that the male vampires in Dracula and Interview with the Vampire embody the concepts of the Id and the Superego in light of Sigmund Freud’s theory of the unconcscious as developed in his The Ego and the Id (1923). In addition, this chapter shows how the religiosity of the Victorian Age and the secularity of the Postmodern era play a determining role in the representation of the male vampires. Also, Freud’s theory of the ‘‘Uncanny’’ is used to scrutinize the appearance of the vampire in the Victorian era. This dissertation also aims at demonstrating that Anne Rice, as a postmodern author, revises and redefines the image of the vampire from a Victorian destructive figure to a more humane constructive creature. To reach this aim, this thesis relies on Julie Sanders’ theory of ‘‘Appropriation’’ as developed in her Adaptation and Appropriation (2006). Key words: Stoker, Rice, vampire, Victorianism, Postmodernism, Appropriation, evil, morality.
The deformed transformed; or, from bloodsucker to Byronic hero - Polidori and the literary vampire
2015 •
Conrad Aquilina
Joseph Pitton de Tournefort proved to be auspiciously influential as in Greece he would witness a classic case of vampirism attributed to a vroucolacas, a peasant superstition which would be assimilated by the Romantics a century later as exotic material for fiction. Tournefort’s account, A Voyage to the Levant (1702), is anthropological and critical, and dismissed such incidents as mania, ‘an epidemical disease of the brain, as dangerous and infectious as the madness of dogs’ (89). Yet such mania fed the Gothic imagination, and Tournefort’s voyage to the Levant served to transport the Greek vampire legend into British Romantic literature. Sir Christopher Frayling identifies several archetypes of the literary vampire; one of these, the Byronic, though born in that Romanticism, is still very much a presence in contemporary vampire texts. In this chapter I will show the evolution of the Byronic vampire as it mutated from its folkloric roots, as documented in the ethnography of the lik...
Postmodern Vampires: Film, Fiction, and Popular Culture
Gothic Studies
Postmodern Vampires: Film, Fiction, and Popular Culture. By Sorcha Ní Fhlainn
2021 •
Sorcha Ní Fhlainn
Wbnqjsft; Nzuit! boe! Nfubqipst! pg! Foevsjoh! Fwjm
Urban Vampires in American Films of the Eighties and Nineties
2003 •
Stacey Abbott
Gothic Peregrinations: The Unexplored and Re-Explored Territories, Routledge, Eds Agnieszka Łowczanin and Katarzyna Małeck
A Portrait of the Artist as a Vampire in Jim Jarmusch's Only Lovers Left Alive
2018 •
Raluca Andreescu
The Figure of the Vampire as an Emblem of Tradition [Complete M.A. Thesis]
Marie Levesque
To perpetuate itself in time, tradition makes recourse to figures that convey it. This study takes as its object the vampire figure that, in transmitting important aspects of the cultural tradition, takes the form of its own tradition, manifesting itself in a series of narrative and cultural works. As this study maintains, the vampire figure possesses its own literary and cinematographic tradition, even as it provides an understanding of transmission, tradition, and education. In order to persist through time, traditions need to retain a static core, while also being malleable enough to allow for the transformation of the secondary features. The vampire is a malleable cultural figure, making it the perfect emblem of the concept of tradition. Moreover, five recurring traditional constellations are present, in various degrees, in vampire-centric narratives. The victim choice, the vampiric bite and the transformative blood exchange – with its undeniable relation to “perverse” sexuality, the training process, the desire to belong to a family or a community, and the search for one’s origins all illustrate the link between the vampire and the concept of tradition. This thesis explores the impact of the vampire figure as an emblem of tradition through the most classic – the most traditional – narrative, Bram Stoker’s Dracula, and through the first three installments of Anne Rice’s Vampire Chronicles – Interview with the Vampire, The Vampire Lestat, and Queen of the Damned – as well as through their film adaptations.
Vampires in the Sunburnt Country: Adapting Vampire Gothic to the Australian landscape
2007 •
Jason Nahrung
I first became enamoured with vampire Gothic after reading Bram Stoker’s Dracula in high school, but gradually became dissatisfied with the Australian adaptations of the sub-genre. In looking for examples of Australian vampire Gothic, a survey of more than 50 short stories, 23 novels and five movies made by Australians reveals fewer than half were set in an identifiably Australian setting. Even fewer make use of three key, landscape-related tropes of vampire Gothic – darkness, earth and ruins. Why are so few Australian vampire stories set in Australia? In what ways can the metaphorical elements of vampire Gothic be applied to the Sunburnt Country? This paper seeks to answer these questions by examining examples of Australian vampire narratives, including film. Particular attention is given to Mudrooroo’s Master of the Ghost Dreaming series which, more than any other Australian novel, succeeds in manipulating and subverting the tropes of vampire Gothic. The process of adaptation of vampire Gothic to the Australian environment, both natural and man-made, is also a core concern of my own novel, Vampires’ Bane, which uses earth, darkness and a modern permutation of ruins to explore its metaphorical intentions. Through examining previous works and through my own creative process, Vampires’ Bane, I argue that Australia’s growing urbanisation can be juxtaposed against the vampire-hostile natural environment to enhance the tropes of vampire Gothic, and make Australia a suitable home for narratives that explore the ongoing evolution of Count Dracula and his many-faceted descendants.
