This study is a literary analysis of Bram Stoker's novel Dracula and Stephenie Meyer's novel Twilight. The purpose of this study is to analyse Bram Stoker's novel Dracula and try to arrive at what effects the author works with that has made the story to the classic it is. The study will also treat what properties his terror figure, the vampire Dracula, has been equipped with to be as fearsome as the reader has found him to be. The study of Dracula will take up the main part of the paper, but it will also include a comparison to a typical modern works such as "mass entertainment", Twilight. In the comparision part of the essay I’m going to study what of the classic vampire image that has been retained, and finally, I ask, what are the new elements that differ from the classic. The results demonstrated in this essay indicate that there are some similarities between the classic and the modern sequel. The major difference between these two effects is that classic contains many more parts of horror and terror than what the follower does.

This essay is a cultural/historical analysis of the role of science in the books Dracula by Bram Stoker and The Beetle by Richard Marsh. The aim is to investigate how science is used to lessen the amount of critical judgment the reader has to suspend while reading these two Gothic stories, as well as identifying what contexts science is part of. Initially, there is an introduction of the late nineteenth century Britain and the social and scientific events of that era, focusing on Darwinian ideologies, imperialism, and fear of degeneration. The conclusion reached is that science is used to inspire realism by increasing the feeling of authenticity, by erasing the boundaries of facts and beliefs with a juxtaposition of science and superstition, and by creating and upholding an uncanny effect.

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This thesis proposes a multimodal systemic functional model for adaptation. Its aim is to provide the analyst with wider insight into the process(es) of adaptation but also with a complex yet manageable apparatus which enables comparison and articulation of these comparisons over and above intersemiotic boundaries. The model has been applied to the case example of Bram Stoker's novel Dracula and seven different film adaptations. / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished

Dracula is a novel that has been said to have flat and uninteresting characters. Only two characters have been acknowledged as having depth, Wilhelmina Harker and Abraham Van Helsing. However, no extensive research has been done to determine what it is that makes them complex, leaving a gap in the understanding of Dracula. This essay will appraise the significance of the two characters to the novel by examining how they are characterised and by studying their importance to the plot. This allows for a new perspective on Dracula that revises the standard generic definition of the novel as Gothic. The stereotypical characters in Gothic novels are replaced with more intricate characters and subtleties. For instance, this essay argues that one can find Mina an ambiguous character who is stuck following rules she despises, and Van Helsing might be hiding his fear of Mina behind the mask of appreciation. Furthermore, the importance of Mina and Van Helsing to the plot, shown in several ways where the most prominent one is their associations with knowledge, changes what characters are the real protagonists of Dracula and shows another difference to the traditional Gothic novel. This essay reveals that there are holes in the Dracula research, and that many new readings can still be found. If one resists looking at the novel as purely Gothic, there are nuances that show that it does not quite fit the genre, and characterisation is one aspect that clearly differs.

Thesis ( M.A. ) -- University of Texas at Arlington, 2008.

The purpose of this study is to present an archetypal analysis of the major British Gothic novels; to provide an analysis of the significance of demonic and apocalyptic imagery, the archetypal patterns of imagery which inform the pack of Tarot, and the work done in analyses of archetypal patterns of imagery by Freud and Jung for the Gothic novel; and to provide an explication of Dracula as myth and the consummate Gothic novel.A defense of the major British Gothic novels (The Castle of Otranto, Melmoth the Wanderer, The Mysteries of Udolpho, The Monk, The Romance of the Forest, The Italian, Frankenstein, Vathek, Dracula) has been included in the text of the study, and an argument for the pervading influence of Gothicism in fiction is advanced herein.Gothicism in fiction represents a manifestation of the diabolical reversal of archetype and myth. Gothic fiction is given to a use of obsessive symbols and patterns of imagery, as well as to a "dream syndrome" mythic and archetypal in design. The dominant symbol of Gothic fiction is that of the ruined place, the great Gothic castle. The major plot line of Gothic fiction, and particularly that of Dracula, is that of the Quest motif, which owes much to the medieval romances and Grail legends. For Gothic fiction, the Grail Quest is diabolically reversed.A hitherto unwritten argument and explanation for the ritual of The Fool's Quest through the Honors Series of the Tarot is included, because the ritual of the Honors Series of the Tarot (hinted at by A. E. Waite and Eden Gray, but never fully demonstrated) is of prime significance for an appreciation of Gothic fiction.An analysis of the Gothic hero's or heroine's quest (a diabolical reversal of the Quest motif studied by Jessie Weston's From Ritual to Romance) is included; Bram Stoker's Jonathan Harker's role is shown to be that of the Quest hero whose Quest suffers the diabolical reversal of myth common to the Gothic novel. The frequent dreams included in Gothic novels are commented upon, chiefly from a paradigm for analysis suggested by Freud (The Interpretation of Dreams), Jung (The Archetypes and the Collective Unconscious), and the Tarot. The dreams of Gothic fiction are shown to be dreams of flying, falling, dental stimuli, or parturition.Works ranging from the Tarot through the works of Freud and Jung to Montague Summers' The Vampire: His Kith and Kin and Frederick Thomas Elworthy's The Evil Eye are included in the text that attempts to demonstrate the significance of Gothic fiction as a serious art form, and to establish its place in the tradition of myth and archetype. Bram Stoker's Dracula stands at the acme of that tradition, as the greatest Gothic work. As a compendium of ancient arcana, Dracula knows few rivals in fiction, and as a work of art which demonstrates the properties of world myth and archetype, and the diabolical reversal thereof, the book has no equal.

The diploma thesis "Bram Stoker and Sheridan LeFanu: An Analysis of their Irish Horror Fiction" deals with the analysis of the varied aspects linked with the themes of horror stories of two Irish writers. Both writers, Joseph Sheridan LeFanu and Bram Stoker, were Protestants from Dublin whose works are renowned worldwide. An emphasis is made on the study of Gothic settings and the aim of the thesis is to specifically find and to analyze characteristic elements of Gothic fiction of these authors. This thesis is concerned with Bram Stoker´s Dracula (1897) and also with the story "Dracula´s Guest". It will analyse short stories such as the novella Carmilla and also "The Familiar" by Joseph Sheridan LeFanu.

Dracula is a narrative that has risen above its own origins, having been translated and adapted across mediums it has inundated culture with vampires. However, with each adaptation the narrative and characters adapt into something new. This study is interested in the mechanism behind this evolution and argues that memes and, and their interpretations, are largely responsible for these shifts across adaptations. Three memes, in particular, tend to be adapted in films of Dracula. They include Dracula's appearance, Mina's empowerment, and the nature of the bite that they share. This analysis covers how these memes functioned in Stoker's original novel and how they adapted in the films Nosferatu (1922) and Dracula (1979) to reflect the developing culture norms regarding sexuality.

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.