Thesis (M.A.) -- Central Connecticut State University, 2009. / Thesis advisor: Robert Dunne. "... in partial fulfillment of the requirements for the degree of Master of Arts in English." Includes bibliographical references (leaves 81-83). Also available via the World Wide Web.

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 purpose of reformed apologetics is to defend the Christian faith against heresy.However, this is not all. Reformed apologetics also wants to give a convincing answer why the Christian view is the real hope for mankind (see 1 Peter 3:15).Other that differ from this life and world view, do it mostly based on a different starting point. Although finer points are debated between parties, the starting point, including presuppositions, are always somewhere in the background. Van Til4 and Stoker5, two famous Reformed thinkersof the last century (respectively theological and philosophical), in contact with other made their presuppositions part of their apologetic discussions. This agreement in approach and method emerges in the Festschrift for Van Til, when Stoker (1971:28-71) proposes a connection between his and Van Til’s methods, and when Van Til in turn responds positively. This study will focus on what role these two thinkers’ presuppositions play in their apologetic conversation. It eventually comes to important guidelines regarding the place and role of presuppositions in conversations of Christians across a broad scientific front with those who hold other points of departure. / MTh (Missiology), North-West University, Potchefstroom Campus, 2014

The purpose of reformed apologetics is to defend the Christian faith against heresy.However, this is not all. Reformed apologetics also wants to give a convincing answer why the Christian view is the real hope for mankind (see 1 Peter 3:15).Other that differ from this life and world view, do it mostly based on a different starting point. Although finer points are debated between parties, the starting point, including presuppositions, are always somewhere in the background. Van Til4 and Stoker5, two famous Reformed thinkersof the last century (respectively theological and philosophical), in contact with other made their presuppositions part of their apologetic discussions. This agreement in approach and method emerges in the Festschrift for Van Til, when Stoker (1971:28-71) proposes a connection between his and Van Til’s methods, and when Van Til in turn responds positively. This study will focus on what role these two thinkers’ presuppositions play in their apologetic conversation. It eventually comes to important guidelines regarding the place and role of presuppositions in conversations of Christians across a broad scientific front with those who hold other points of departure. / MTh (Missiology), North-West University, Potchefstroom Campus, 2014

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.

Thesis advisor: Marjorie Howes / This project explores Dracula's many shifting guises and identities, chiefly examining them through an Irish/Mytho-Celtic lens. Among these are Dracula's role as conqueror, mythical Celtic figure, sexual liberator, imperialist, aristocrat, landlord, victim and agent of imperialism. Although Dracula's nature and his portrayal in the novel is often contradictory, this project seeks to acknowledge the contradictions while at the same time pushing beyond them to get at the, for lack of a better phrase, soul of Dracula's character. / Thesis (BA) — Boston College, 2005. / Submitted to: Boston College. College of Arts and Sciences. / Discipline: English. / Discipline: College Honors Program.

Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 218-225). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Annette Van; submitted to the Dept. of English. Title from PDF t.p. (viewed Aug. 25, 2009). Includes bibliographical references (p. 52-54).

Thesis (Ph. D.)--University of Chicago, Department of Comparative Literature, December 2000. / Includes bibliographical references (p. 183-189). Also available on the Internet.