Comparative literature enables to create the most different modes of reading from a perception of the world quite keen. In a certain way, it can connect a particular literary text to another by means of their similarities and differences, which depends on the capacity of each comparative man, since the individual guides its reading through a socio historical context, in which it is inserted. Therefore, in this work we undertake a possible closeness between Dracula, of the book homonym (1897), by Bram Stoker and Inácio, which travels over the trilogy of Lúcio Cardoso, Inácio (1944), O enfeitiçado (1954) and Baltazar (unfinished). The Cardoso s character brings the vamp essence and malevolent of Stoker, but it is not a vampire in the restrictive sense of the word. Inácio has its particularities, which are essential to understand Dracula better. So, because it is a comparative study, it resorts as the theoretical basis the Literatura comparada (2010), by Sandra Nitrini and A intertextualidade (2008), by Tiphaine Samoyault. In relation to the concept of monstrosity, História dos vampiros: autópsia de um mito (2005), by Claude Lecouteux, Monstros e monstruosidades na literatura (2007), organized by Julio Jeha, "A cultura dos monstros: sete teses" (2000), by Jeffrey Jerome Cohen, and Da natureza dos monstros (1998), Luiz Nazario, among other texts, which have contributed significantly to the development of this research. / A literatura comparada possibilita criar os mais diferentes modos de leitura a partir de uma percepção de mundo bastante aguçada. De certa forma, pode-se ligar um determinado texto literário a outro por meio de suas semelhanças e diferenças, o que depende da capacidade de cada comparatista, já que o indivíduo norteia sua leitura através de um contexto sócio histórico, no qual está inserido. Assim, neste trabalho se empreende uma possível aproximação entre Drácula, do livro homônimo (1897), de Bram Stoker e Inácio, o qual transita pela trilogia de Lúcio Cardoso, Inácio (1944), O enfeitiçado (1954) e Baltazar (inacabada). O personagem cardosiano traz a essência vampiresca e maléfica do de Stoker, mas não é um vampiro no sentido restrito da palavra. Inácio possui suas particularidades, as quais são imprescindíveis para que entendamos melhor Drácula. Para tanto, por ser um estudo comparativo, recorreu-se como embasamento teórico a Literatura comparada (2010), de Sandra Nitrini e A intertextualidade (2008), de Tiphaine Samoyault. Em relação ao conceito de monstruosidade, História dos vampiros: autópsia de um mito (2005), de Claude Lecouteux, Monstros e monstruosidades na literatura (2007), organizado por Julio Jeha, "A cultura dos monstros: sete teses" (2000), de Jeffrey Jerome Cohen, e Da natureza dos monstros (1998), de Luiz Nazário, entre outros textos, que contribuíram significativamente para o desenvolvimento desta pesquisa.

Made available in DSpace on 2016-04-27T19:31:52Z (GMT). No. of bitstreams: 1 Andrezza Christina Ferreira Rodrigues.pdf: 593868 bytes, checksum: 1eb90afbc9be07c4b54513fbfa5c0bb9 (MD5) Previous issue date: 2008-05-29 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work intends to do an analysis of some discourses historically constituted by modernity progress, during the last decades of XIX century, having as reflections main point Bram Stoker s novel Dracula, first published in 1897. Surrounding Stoker s novel, it is possible to glimpse the cultural lines of successful scientism allied health knowledge, especially concerned to blood. At 1880s social Darwinism opened through a biological cover hereditary degeneration theory to English people, reinforcing the sanitary idea developed by Chadwick, which has had its expression through illness control and degeneration by blood connections. The medical theories see blood as gemmules word adopted by Darwin himself to mean granule which has influence on body and mind because of hereditary presence made by ancestors, for example been a worker, been insane, develop promiscuous behavior or became a beggar. In that moment English people has been concerned about this themes, which had been debated by Galton who began the idea of good race for British society / Este trabalho pretende fazer a análise de alguns dos discursos historicamente constituídos pelo avanço da modernidade durante as últimas décadas do século XIX, tendo como eixo norteador das reflexões o livro Dracula de Bram Stoker, publicado em 1897. Através do romance de Stoker é possível vislumbrar traços culturais de um cientificismo triunfante em relação às noções de saúde, em especial no que tange ao sangue. Na década de 1880, o darwinismo social propôs aos ingleses a cobertura biológica para a teoria da degeneração hereditária, reforçando a posição da chamada idéia sanitária desenvolvida por Chadwick, encontrando sua expressão no controle de doenças e na degenerescência através da mistura do sangue. As teorias médicas investem no sangue como condutor dos gemmules termo adotado por Darwin significando grânulos -, que interferem no comportamento do corpo e da mente pela ação hereditária, assim a presença dos antepassados habilitaria o desenvolvimento de características como a disposição para o trabalho, a loucura, a promiscuidade, a mendicância, entre outros. Tema que traz preocupação à sociedade inglesa do período, sendo debatido por estudiosos como Galton, que inauguraria o conceito de boa linhagem para a sociedade britânica

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.

M.A. (English) / Victorian studies is a field much-studied and, during the century that has passed since the end of Queen Victoria‘s reign, literary criticism on the subject has been extensive. In the main, however, criticism has tended to focus on the protagonists of Victorian novels, whether to argue that their journeys are immoral, or represent a warning against immorality, or to examine their behaviour and so arrive at conclusions regarding identity. Through a close reading of Oscar Wilde‘s The Picture of Dorian Gray (1891), Robert Louis Stevenson‘s The Strange Case of Doctor Jekyll and Mr Hyde (1886), and Bram Stoker‘s Dracula (1897), and by focussing on the reactions and responses of Victorian society (as the texts represent it) to the novel‘s transgressive characters rather than on those characters themselves (as has been the trend) this dissertation moves away from readings of duality and moral judgment and towards a greater understanding of the intricacies of late-Victorian society itself. In addition, and through this process, this dissertation interrogates the bifurcated and contradictory nature of the Victorian moral structure and destabilizes the binary oppositions of character judgment that were so fundamental in its creation. Furthermore, through a discussion of the historical context of the text‘s chosen for this study, this dissertation challenges the formulation and authenticity of Victorian morality by considering the manner in which power informed the behaviour and decisions of middle-class Victorians at the turn of the century. To this end, I will consider how the philosophies of Friedrich Nietzsche, especially those pertaining to power and morality, are invaluable in problematizing the binary system of categorization that so dominated the late-Victorian cultural space. Finally, I argue that the texts I have elected to study represent a climate of unrest and dissatisfaction with the Victorian moral climate at the fin de siècle (or turn of the century) and that they are instrumental in our understanding of that moral climate and the subsequent changes to it.

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À partir des années 1970, le roman Dracula de Bram Stoker (1897) a connu une série inattendue d’éditions critiques, qui ont contribué en même temps à la canonisation d’une œuvre de fiction considérée auparavant comme dédaignable et à la perpétuation des points de vue du roman sur la Transylvanie et la Roumanie. En général, les éditeurs suivent le principe selon lequel les annotations doivent permettre au public d’aujourd’hui d’avoir une expérience de lecture similaire à celle des premiers lecteurs et aussi proche de l’intention de l’auteur que possible. Dans le cas de Dracula, cela présuppose que beaucoup des choix idéologiques de Stoker restent inexpliqués et indisputés, tandis que ses représentations des peuples et des lieux “lointains” sont soutenues par l’usage que font les éditeurs des notes de travail du romancier. Stoker a pris note, en les modifiant, des centaines de citations de différentes sources qu’il a ensuite incorporées dans le texte du roman. Les éditeurs de Dracula se fient à ces notes, sans prendre en compte les changements opérés par le romancier, les passages qu’il a utilisés mais qui n’apparaissent pas dans les notes, ou le fait que les sources sont souvent biaisées ou simplement érronées. Ainsi, les éditions critiques du roman de Stoker préservent et même contribuent au processus d’altérisation commencé par l’auteur de Dracula. L’analyse du discours d’altérisation est directement liée à la discussion du contexte historique du roman, c’est-à-dire le statut néo-colonial de la Roumanie, abordé dans la deuxième partie de cette étude. Les faits qui y sont mis en valeur montrent que ce que Stoker savait et ceux qu’il connaissait ont influencé ses choix d’endroits, de personnages et d’intrigue. L’implication de la Grande Bretagne dans l’économie et la politique de la region, avant et après la Guerre de Crimée, attestée par la présence des aventuriers coloniaux britaniques et par celle de la marine militaire anglaise sur le Danube, n’a guère était étudiée par les historiens. Le même peut être dit de l’implication de Londres au sein de la Commission Européenne du Danube. La présente étude pourrait aussi être utile aux spécialistes du postcolonialisme, de la mondialisation ou à ceux qui s’intéressent aux transformations apportées par le capitalisme dans le Bas Danube et à l’intégration des principautés roumains dans le marché économique mondial. Stoker a trouvé ses sources parmi les écrits des voyageurs en Transylvanie et Roumanie qui se préoccupaient des avantages économiques offerts par ces pays. Leurs écrits ont d’abord stimulé et ensuite soutenu l’implication de la Grande Bretagne dans l’économie de la région. La présente thèse va au-delà d’une autre frontière, en passant des études littéraires à l’anthropologie. Les anthropologues culturels peuvent trouver utile la discussion du temps et de la différence dans le roman de Stoker et dans les annotations des éditeurs. Dans les deux cas, il s’agit de la collection et de la manipulation des données concernant une région européenne « lointaine ». La (non)existence des croyances aux vampires est une situation qui peut fournir un aperçu des pratiques traditionnelles mais aussi, ce qui est plus important, des conséquences profondes du travail anthropologique du dix-neuvième siècle. Bien qu’elle soit un examen des éditions les plus richement annotées du roman de Bram Stoker, la présente étude est interdisciplinaire. Elle utilise des théories et des conceptes de plusieurs domaines, tout en attirant l’attention sur les liens complexes entre la culture, l’histoire, la politique et l’économie. Ce que cette étude montre surtout, c’est le lien étroit entre l’objet littéraire et le contexte dans lequel il a été produit. / Since the 1970s, Bram Stoker’s Dracula (1897) has gone through an unexpectedly long series of scholarly editions, which has contributed both to the canonisation of a work of fiction previously considered undeserving and to the perpetuation of the novel’s views on Transylvania and Romania. As a rule, editors follow the principle according to which their annotations should allow today’s audience a reading experience similar to that of the original reader and as close to the author’s intention as possible. In Dracula’s case, this means that much of Stoker’s ideological choices remain unexplained and unchallenged, while his representations of “remote” people and places are supported by the editors’ use of the writer’s working notes. Stoker took down, in altered form, hundreds of quotes from several sources that he incorporated into the text of the novel. The editors of Dracula rely heavily on these notes, without taking into account the changes brought by the novelist, the passages that he used but do not appear in the notes, and the fact that the sources were often biased or simply wrong. Thus, the many scholarly editions of Stoker’s novel preserve and even enhance its original process of othering. The analysis of the othering discourse is closely linked to the discussion of the historical context of the novel, that is, to the neo-colonial status of Romania, examined in the second part of this study. The information unearthed here shows that who and what Stoker knew influenced his choice of place, plot and character, which can provide a new line of inquiry for both literary critics and historians. The involvement of Great Britain in the economy and politics of the region, before and after the Crimean War, attested by the presence of British colonial adventurers and by that of the British navy on the river Danube, has only been marginally studied by historians, and the same is true about the study of the British involvement in the European Commission of the Danube. The present study can be equally useful to scholars engaged with postcolonialism, globalisation, and the transformations brought about by capitalism in the Lower Danube region and by the integration of the Romanian principalities into the world market economy. Stoker’s sources were travellers to Transylvania and Romania who were preoccupied with the economic advantages those countries had to offer. Their writings both stimulated and, later, supported the British involvement in the economy of the region. This dissertation crosses yet another boundary, from literary studies into anthropology. Cultural anthropologists can find useful the discussion of time and difference in Stoker’s novel and in the annotations of the editors, both of which involve the collection and manipulation of data from a “remote” European region. In the case of Dracula, the (non)existence of vampire beliefs is an interesting case study which provides insight into the practice but, more importantly, into the far-reaching consequences of nineteenth-century anthropological work. Although an examination of the most heavily annotated scholarly editions of Bram Stoker’s vampire novel, the present study is interdisciplinary. It employs theories and concepts from several fields, thus bringing to the fore the intricate links between culture, history, politics and economy. What this study shows, more importantly, is the close link between the literary object and the context in which it was produced.

Ce mémoire étudie les épitomés de la figure doppelganger en trois romans britanniques gothiques du XIXe siècle: Frankenstein de Mary Shelley, Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson et Dracula de Bram Stoker. En utilisation avec les sources secondaires dont The Origin of Species et The Descent of Man de Charles Darwin, et The Uncanny de Sigmund Freud, je soutiens que le doppelganger symbolise les conventions sociales et les angoisses des hommes britanniques dans les années 1800. Grâce à un examen des représentations physiques et métaphoriques de la dualité et de la figure doppelganger dans la littérature primaire, je démontre que la duplicité était courante au XIXe siècle à Londres. En conclusion, les doppelgangers sont des manifestations physiques gothiques de terreur qui influencent les luttes avec bien séance, des répressions des désirs et des craintes de l'atavisme, de la descente et de l'inconnu dans le XIXe siècle. / This thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.

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