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Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This essay discusses the differences in depiction of vampires between Stephenie Meyer’s Twilight (2005) and Bram Stoker’s Dracula (1897). By using examples from the novels, the essay exemplifies how genre, narration, and readership affect the description of vampires within the two novels. The essay bases its discussion on genre on the premise that the vampire genre is in fact a genre to itself, but one with a broad variation. Furthermore, the essay briefly discusses the shift within the vampire genre, where vampires during the last centuries have gone from dangerous and scary to appealing and romantic. A connection is made between the shift within the vampire genre and Anne Rice’s vampire fiction. The discussion on genre shows how the romance, fantasy, and horror genres affect the depiction of vampires. / Denna uppsats diskuterar hur vampyrer i verken Twilight (Meyer, 2005) och Dracula (Stoker, 1897) skildras på olika sätt. Skillnader i beskrivningarna illustreras med hjälp av exempel från de båda böckerna och berör genre, berättarperspektiv och läsarkrets. Diskussionen i uppsatsen baseras på att vampyrgenren är en egen genre med många olika beskrivningar av vampyren. Uppsatsen berör även förändringen i genren och lyfter kort hur vampyren från början tolkas som farlig och skrämmande för att sedan framstå som attraktiv och romantisk. En koppling görs också mellan förändringen i vampyrgenren och Anne Rices vampyrnoveller. Vidare i diskussionen kring genre berörs även hur genrerna romantik, fantasy och skräck påverkar skildringen av vampyrerna i de nämnda verken.

This thesis explores elements of science fiction in three gothic novels, Mary Shelley’s Frankenstein, Robert Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. It begins by explicating the important tropes of science fiction and progresses with a discussion that establishes a connection between three gothic novels and the science fiction genre. This thesis argues that the aforementioned novels express characters’ fear of technology and offer an analysis of human nature that is literarily futuristic. In this view, each of the aforementioned writers uses extreme events in their works to demonstrate that science can contribute to humanity’s understanding of itself. In these works, readers encounter characters who offer commentary on the darker side of the human experience.

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...

Le projet de mémoire cherche à retrouver les influences de la Fantasmagorie du 19e siècle dans le cinéma d'aujourd'hui, en particulier dans le genre du film de vampire. Nous abordons les procédés et techniques optiques qui mettent en images l'expérience d'un monde en proie à de grands changements sociohistoriques, et surtout, comment le cinéma a intégré ces données. L'imaginaire fantasmagorique a conditionné l'émergence des techniques optiques qui ont mené au cinématographe, et en cela, le médium cinématographique est bien emblématique de cette époque caractérisée par l'industrialisation et le retour d'un passé laissé en arrière par la modernité historique. Le cinéma, comme dispositif comprenant machine, image et sujet regardant, est mis en relation avec les dispositifs optiques du théâtre d'ombre, de la lanterne magique de Robertson et de la photographie, pour ainsi faire émerger le contexte technique, historique et psychologique de l'époque. Nous mettons l'accent sur les notions visuelles de l'apparition, de la projection et de la réification afin de souligner le retour d'un ancien regard qui prévalait avant l'arrivée de l'image mécanisée. En somme, lors des deux premières parties, c'est à l'Histoire moderne, son temps linéaire et la hantise qu'ils provoquent, que le cinéma sera relié. C'est à travers la figure du vampire que nous examinerons le cinéma; cette créature fantastique entretient bien des affinités métaphoriques avec le médium et elle nous permet d'entrevoir clairement toute la Fantasmagorie du 7e art. Avec un corpus filmique incluant certains films découlant du roman Dracula de Bram Stoker, nous allons voir comment la technologie du 19e siècle dévoile l'aspect mythique de la pensée rationnelle et moderne. L'image, dans sa grande tradition cultuelle ou/et artistique, semble répondre à des impératifs inconscients et archaïques, à des fantasmes premiers devant la mort et l'éternité, même si elle est produite par un appareil mécanique. C'est en cela que la technique moderne arbore des qualités fantasmagoriques qui, tout comme le vampire, nous remettent en contact avec ce que la civilisation occidentale a refoulé. Notre attention est donc portée avec insistance sur les façons dont l'image filmique et le regard qu'elle convoque, font resurgir d'anciens modes de perception et d'interprétation illusoirement relégués à l'époque pré-moderne. ______________________________________________________________________________

Destination image is a concept created by different demand and supply agents. The balance between what is expected and what is being delivered is essential in promoting the destination. The main goal of this study is to describe the different destination images related to Dracula tourism in Transylvania. This is accomplished by looking at the Western tourists’ expectations and demands as expressed in their travel blogs, and by analyzing the supply side through the elicitation of information from locals and Bran Castle tour guides through qualitative interviews. Qualitative content analysis was used to analyze the content, visual and audio information on sampled blogs and interviews. This method identified 11 different themes which captured the overall destination image. The themes focused primarily on historical and fictional images of the destination, on the type of tourists visiting Bran Castle, but also on the locals’ image and response to Dracula tourism. The findings of this study reveal that the majority of Western bloggers visit Bran in search for Count Dracula; however, the Bran Castle tour guides focus on presenting the historical truth. Local residents, although seeing Dracula as a national hero, sometimes adopt the mythical image as a marketing or product development tactic in selling to visitors. Nevertheless, the stakeholders involved in the creation of the image each fit into different destination image frameworks, allowing for the creation of an overall destination image based on historical and fictional elements.

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.

Destination image is a concept created by different demand and supply agents. The balance between what is expected and what is being delivered is essential in promoting the destination. The main goal of this study is to describe the different destination images related to Dracula tourism in Transylvania. This is accomplished by looking at the Western tourists’ expectations and demands as expressed in their travel blogs, and by analyzing the supply side through the elicitation of information from locals and Bran Castle tour guides through qualitative interviews. Qualitative content analysis was used to analyze the content, visual and audio information on sampled blogs and interviews. This method identified 11 different themes which captured the overall destination image. The themes focused primarily on historical and fictional images of the destination, on the type of tourists visiting Bran Castle, but also on the locals’ image and response to Dracula tourism. The findings of this study reveal that the majority of Western bloggers visit Bran in search for Count Dracula; however, the Bran Castle tour guides focus on presenting the historical truth. Local residents, although seeing Dracula as a national hero, sometimes adopt the mythical image as a marketing or product development tactic in selling to visitors. Nevertheless, the stakeholders involved in the creation of the image each fit into different destination image frameworks, allowing for the creation of an overall destination image based on historical and fictional elements.

I kursplanen för Svenska B står att läsa att eleven ska ”ha tillägnat sig och ha kunskap om centrala svenska, nordiska och internationella verk och ha stiftat bekantskap med författarskap från olika tider och epoker” (Skolverket.se). Harold Bloom, författaren till Den västerländska kanon beskrev 1994 sin oro över vårt litterära förfall med orden ”Skuggorna blir allt längre i vårt aftonland och vi närmar oss det tredje årtusendet beredda på ytterligare mörker” (1994:28) Det finns med andra ord idag en motsättning mellan vad man som elev bör läsa och vad man som elev kanske vill läsa. Dilemmat tycks vara att många elevers uppfattning om en klassiker idag är ”tråkiga, svårlästa och föga inspirerande” (Bäcklund & Eriksson 2008:4).  I och med det senaste decenniets vampyrvåg har dock serier som Twilight och True Blood brutit ny mark hos ungdomar som tidigare inte hyst läsintresse. Lena Kjersén Edman startade en livlig debatt på DNs kultursidor hösten 2008 där hon anklagade Meyer för att vara bakåtsträvande i sin beskrivning av kärlekshistorien mellan de båda ungdomarna (DN, 080902). Däremot bode man kunna använda dagens populärlitteratur som ingångsport till äldre litteratur, även kallade klassiker. Idén med denna uppsats är således att avgöra hur Om jag kunde drömma förhåller sig till Dracula ur en litterär synpunkt, samt om man skulle kunna läsa Om jag kunde drömma med utgångspunkt i Dracula, för att på detta vis gå de elever som väljer Meyer framför Stoker till mötes. Som blivande lärare i grundskolans senare år och på gymnasiet, ämnar jag undersöka hur de båda verken förhåller sig till varandra ur tematisk synpunkt, för att möjligen kunna använda mig av detta material i min kommande undervisning.