En komparativ analys av adaptationer av Bram Stokers Dracula (1897) från åren 2000-2014 med syfte att undersöka resultatet av nästan 100 år av adaptationer och ett mål för att verkställa om en filmkanon har skapats kring karaktären.

Dracula was written by Bram Stoker in 1897 but in this thesis I will discuss the different interpretations that can be achieved using reader response theory.  More specifically how gender affects these reader responses.  It is a detail analysis of how a feminine reader with a 21st century perspective can achieve different reactions to the text than that of the previous masculine and patriarchal readings that have been common in the past. This approach to Dracula has shown in more detail how the current representation of vampires in our culture has come to pass.  Dracula was one of the first vampire novels, but it was by no means the last, and the current fascination with vampires is a direct result of ‘reading’ them in a feminine way. It shows how in Dracula demons, victims and heroes, with a new perspective, become tragic, misunderstood and patriarchal oppressors. Also that it is through an integration with the text itself and reading in a feminine way that we are able to see them that way.

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The master thesis analyses and compares the main characters of three significant works concerning the Dracula theme. It provides a comparison of Bram Stoker's Dracula and its film adaptations, namely Nosferatu - Die Symphonie des Grauens (1922) directed by F. W. Murnaua and Dracula (1992) by F. F. Coppola. The work contrasts the interpretation of a vampire through the character of Dracula, analyses and maps the evolution of female characters in regard to the rules and expectations of society and examines the role of the two most distinct male characters of the story, A. Van Helsing and R. M. Renfield. The three introductory chapters are dedicated to the authors of the works concerned and to the novel and its adaptations, i.e. it describes the circumstances of their conception and their content. The Bram Stoker chapter also comprises a brief characterization and an overview of the gothic novel, the section handling the Nosferatu movie provides a subchapter on expressionist film and the chapter on the work of F. F. Coppola is supplemented with a short outline of the notion of a vampire in pop culture of the 20th century. The first chapter of the comparative analysis concerns the comparison of Dracula character in the novel and its two film adaptations based on the narratological theory of Bohumil...

The vampire figure is very much a part of the literary landscape of today, and has been so for the last 200 years. The vampire has not always appeared as it does today, as the rich, urbane gentleman, but has its origins in old folklore legends. The idea that the vampire figure has changed over the course of history is not new, but instead of discussing the phenomena influencing, and changing, the vampire motif, this essay will try to shed light on the aspects of the folklore vampire that are still part of the vampire of today. By applying the theory of folklorism (folklore not in its original context, but rather the imitation of popular themes by another social class, or the creation of folklore for purposes outside the established tradition), presented by Hans Moser and Hermann Bausinger among others, this essay attempts to prove that the modern vampire is in fact a folklorism of the old folklore legends. The essay examines the more recent incarnation of the vampire, the literary vampire who emerged during the 18th and 19th century, with the intent to prove that, while it is different from its origin, it has several features in common with its ancestry as well. To show this, examples from Bram Stoker’s Dracula (1897), and the more recent novel Fangland (2007) by John Marks have been chosen to serve as basis for the analysis. Both novels clearly show instances where folklore has been brought into the narrative as a way to define and depict the vampire.

The thesis analyse methods of adaptation Dracula character by using five movies in chronological order. The heart of the thesis follows changes of the character in order to relationship with other characters of the movie, also in order to narrative and ideological changes. The thesis also considers differences between individual movies and what part Dracula character takes in it.

Uppsatsen undersöker och jämför tre forskares och fem gymnasieelevers tolkningar av några olika aspekter av Bram Stokers verk Dracula. I uppsatsen har Judith Langers och Johnathan Cullers teorier inspirerat utformningen av frågeställningen som berör påverkan av litterära och andra erfarenheter. Undersökningens resultat och analys visar på både skillnader och likheter mellan forskarnas och elevernas olika tolkningar, inte minst vad gäller sexualitetens betydelse i verket. Undersökningen har också visat att elevernas tidigare erfarenheter påverkat förväntningarna på Dracula, men inte påverkat förståelsen eller tolkningarna negativt utan istället hjälpt dem genom verket.

Denna uppsats menar att visa på ett samband mellan det västerländska samhällets, kulturella utveckling och förändringen i vampyrens porträttering på film. Uppsatsen kommer att fokusera på de tre aspekter: porträttering, religiösa (kristna) influenser samt makt. De två filmerna som kommer att analyseras utifrån detta är Twilight (2008) samt Dracula (1931).                       Dessa två filmer är gjorda i olika århundranden vilket kommer att visas i resultatet. Resultatet visar på att den senare filmen talar för det kulturella samhällets utveckling ifrån ett fokus på kristendomen. Det som spelar roll och ger vampyrerna ett övertag är heller inte deras odödlighet, utan deras makt eller pengar likt det postsekulära samhället vi lever i. Slutligen så talar dessa filmer om en växande rädsla för gömda hot snarare än synliga hot.

Late nineteenth-century Victorian adventure novels offer a complex depiction of manhood in relation to colonial adversaries. H. Rider Haggard's 1880s novels portray imperial adventure as an opportunity for masculine rejuvenation, while later adventure novels express a sense of imperial dread and suggest that adventure traumatizes, instead of rejuvenates, masculinity. All of these novels offer insight into a larger shift in Victorian thought concerning Britain's role as an imperial power. The novels define masculinity in two distinct ways: as modern and as medieval. Each novel approaches modern manhood as impotent when faced with the colonial threat, but the narratives all offers a different interpretation of medieval masculinity, underscoring the vexed nature of the Victorian's relationship with the past. H. Rider Haggard's novels, King Solomon's Mines (1885) and She (1887), suggest that imperial adventure offers modern manhood rejuvenation and purpose through interaction and eventual suppression of the colonial female. Haggard offers an optimistic portrayal of adventure because of both the men's distinctly medieval form of physical rejuvenation and the men's ability to influence the landscape in their favor. Authors Bram Stoker and Richard Marsh present a vastly different interpretation of empire and medieval masculinity in their 1897 novels Dracula and The Beetle. Adventure traumatizes the men in the later novels, and their hysteria attests to their effeminate lack of masculine virility. The 1897 novels critique both the optimistic depiction of imperial adventure and the unnatural reliance on medieval forms of masculinity offered in novels such as Haggard's.

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