Parte-se da perspectiva do fantástico como um entrelugar espaço plural e fragmentado, marcado por descentramento e heterogeneidade, capaz de comportar até o contraditório percebido como um ambiente caracterizado por uma inerente duplicidade. Entendido isso, observa-se que esse caráter dual intensifica-se nas narrativas vampirescas, na medida em que ele é estendido ao vampiro e refletido no leitor. Por conseguinte, identificam-se e analisam-se os aspectos distintivos do leitor desse tipo de narrativa, reconhecendo-se seu papel na construção do gênero e na manutenção do caráter aberto da obra, como em uma coautoria cuja marca registrada é a hesitação. Entretanto, da relação entre vampiro e leitor, evidencia-se mais que isso, afinal a narrativa fantástica de modo geral e não apenas a de vertente vampiresca sempre aponta para o leitor como sendo este o fio solto que não permite que a obra feche-se. Percebe-se ainda, por meio da descrição e análise de diferentes tipos de manifestação do vampiro na literatura, um processo de reconfiguração da relação existente entre vampiro e leitor, e entre este e a narrativa fantástica, bem como com a literatura de forma geral. Assim, considera-se a relação do leitor com o vampiro clássico um tipo assustador , marcada pela desidentificação; com o moderno um tipo sedutor, e humanizado na figura de Louis, personagem de Anne Rice , marcada pela identificação; e com o contemporâneo um tipo sedutor e humano , marcada pela apropriação de identidade. Neste último movimento, entendido como a vampirização do leitor, intenta-se provar que este, depois de transformado, reconhecendo-se como tal em seu duplo (o vampiro), nutre-se da força vital deste seu duplo e da narrativa fantástica e retém a aparência de hesitação, a qual é a força motriz do gênero em questão. O leitor torna-se o personagem mais atuante sobre a/na narrativa, operando no campo da realidade e também no da ficção. A compreensão desse processo que vai da desidentificação à apropriação de identidade é aprofundada na análise destas três narrativas vampirescas marcantes ao pensamento desenvolvido neste estudo: Drácula, de Bram Stoker; Entrevista com o vampiro, de Anne Rice; e A confissão, de Flávio Carneiro / This study starts from the perspective of the fantastic as a space in-between a plural and fragmented space, which is characterized by decentralization and heterogeneity, able to hold even the contradictory perceived as an environment characterized by an inherent duplicity. Knowing this, we may observe that this dual character is intensified in the vampire narratives, insofar as it is extended to vampire and reflected in the reader. Hence, the readers distinctive aspects of this type of narrative are identified and analyzed, recognizing their role in the gender construction and in the maintenance of the open nature of the work, such as a co-authorship in which the registered mark is the hesitation. Nonetheless, more than this can be evidenced from the relation between reader and vampire, after all, generally speaking, the fantastic narrative not only the vampire type always points to the reader as a loose thread that does not allow that the work come to a close. We can also observe, through the description and analysis of different kinds of manifestation of the vampire in literature, a process of reconfiguration of the relation between vampire and reader, and between the latter and the fantastic narrative, as well with the literature as a whole. Thus, its considered the relation of the reader with the classic vampire a scary type , that is marked by disidentification; with the modern vampire a seductive type, and humanized in the figure of Louis, Anne Rices character marked by identification; and with the contemporary a human and seductive type marked by the appropriation of identity. In this last movement, which is understood as the vampirization of the reader, the aim is to prove that, after he is transformed, recognizing himself as such in his double (the vampire), he nurtures himself on the vital force of this double and on the fantastic narrative, and retains the appearance of hesitation, which is the driving force of the genre in question. The reader becomes the character more active in the narrative, operating in the realm of reality, and also in fiction. The understanding of this process from disidentification to the appropriation of identity is probed by the analysis of these three vampire narratives, that are outstanding to the thought developed in this study: Bram Stokers Dracula, Anne Rices Interview with the Vampire, and Flávio Carneiros A Confissão

Parte-se da perspectiva do fantástico como um entrelugar espaço plural e fragmentado, marcado por descentramento e heterogeneidade, capaz de comportar até o contraditório percebido como um ambiente caracterizado por uma inerente duplicidade. Entendido isso, observa-se que esse caráter dual intensifica-se nas narrativas vampirescas, na medida em que ele é estendido ao vampiro e refletido no leitor. Por conseguinte, identificam-se e analisam-se os aspectos distintivos do leitor desse tipo de narrativa, reconhecendo-se seu papel na construção do gênero e na manutenção do caráter aberto da obra, como em uma coautoria cuja marca registrada é a hesitação. Entretanto, da relação entre vampiro e leitor, evidencia-se mais que isso, afinal a narrativa fantástica de modo geral e não apenas a de vertente vampiresca sempre aponta para o leitor como sendo este o fio solto que não permite que a obra feche-se. Percebe-se ainda, por meio da descrição e análise de diferentes tipos de manifestação do vampiro na literatura, um processo de reconfiguração da relação existente entre vampiro e leitor, e entre este e a narrativa fantástica, bem como com a literatura de forma geral. Assim, considera-se a relação do leitor com o vampiro clássico um tipo assustador , marcada pela desidentificação; com o moderno um tipo sedutor, e humanizado na figura de Louis, personagem de Anne Rice , marcada pela identificação; e com o contemporâneo um tipo sedutor e humano , marcada pela apropriação de identidade. Neste último movimento, entendido como a vampirização do leitor, intenta-se provar que este, depois de transformado, reconhecendo-se como tal em seu duplo (o vampiro), nutre-se da força vital deste seu duplo e da narrativa fantástica e retém a aparência de hesitação, a qual é a força motriz do gênero em questão. O leitor torna-se o personagem mais atuante sobre a/na narrativa, operando no campo da realidade e também no da ficção. A compreensão desse processo que vai da desidentificação à apropriação de identidade é aprofundada na análise destas três narrativas vampirescas marcantes ao pensamento desenvolvido neste estudo: Drácula, de Bram Stoker; Entrevista com o vampiro, de Anne Rice; e A confissão, de Flávio Carneiro / This study starts from the perspective of the fantastic as a space in-between a plural and fragmented space, which is characterized by decentralization and heterogeneity, able to hold even the contradictory perceived as an environment characterized by an inherent duplicity. Knowing this, we may observe that this dual character is intensified in the vampire narratives, insofar as it is extended to vampire and reflected in the reader. Hence, the readers distinctive aspects of this type of narrative are identified and analyzed, recognizing their role in the gender construction and in the maintenance of the open nature of the work, such as a co-authorship in which the registered mark is the hesitation. Nonetheless, more than this can be evidenced from the relation between reader and vampire, after all, generally speaking, the fantastic narrative not only the vampire type always points to the reader as a loose thread that does not allow that the work come to a close. We can also observe, through the description and analysis of different kinds of manifestation of the vampire in literature, a process of reconfiguration of the relation between vampire and reader, and between the latter and the fantastic narrative, as well with the literature as a whole. Thus, its considered the relation of the reader with the classic vampire a scary type , that is marked by disidentification; with the modern vampire a seductive type, and humanized in the figure of Louis, Anne Rices character marked by identification; and with the contemporary a human and seductive type marked by the appropriation of identity. In this last movement, which is understood as the vampirization of the reader, the aim is to prove that, after he is transformed, recognizing himself as such in his double (the vampire), he nurtures himself on the vital force of this double and on the fantastic narrative, and retains the appearance of hesitation, which is the driving force of the genre in question. The reader becomes the character more active in the narrative, operating in the realm of reality, and also in fiction. The understanding of this process from disidentification to the appropriation of identity is probed by the analysis of these three vampire narratives, that are outstanding to the thought developed in this study: Bram Stokers Dracula, Anne Rices Interview with the Vampire, and Flávio Carneiros A Confissão

L’objectif de ce mémoire est de créer un dialogue entre Dracula de Bram Stoker et deux romans de la série Twilight, Twilight et Breaking Dawn, de Stephenie Meyer. À l’aide de concepts présent dans ces deux ouvrages, il est possible d’analyser ce que la figure du vampire représente pour notre conception de l’être humain. Dans le premier chapitre je soutiens l’idée que la transition que vie un être humain pour devenir un vampire est une métaphore de l’amélioration du soi. À travers cette transition, un individu peut accepter son côté le plus sombre dans l’objectif de le contrôler et non de simplement le dissimuler. Dans le second chapitre, j’examine les différents rôles que porte le sang dans la littérature portant sur les vampires. Bien que le rôle sang joue un rôle dans la représentation de la vie et de la mort, il en vient à représenter des concepts plus en lien avec la société comme l’appartenance à une race ou à un groupe en particulier. Dans le troisième chapitre, j’examine de quelle façon la peur de l’étranger, l’autre que l’on ne connait pas, disparait graduellement au fur et à mesure que le vampirisme devient une image d’amélioration et non de corruption ou de dégradation. Tandis que les deux premiers chapitres sont axés sur la nature même du vampire, le troisième utilise cette nature pour comprendre où est la place du vampire dans une société humaine et ce que cette place signifie. / The objective of this thesis is to create a dialog between Bram Stoker’s Dracula and two novels from Stephenie Meyer’s Twilight series, Twilight and Breaking Dawn. With the help of concepts present in these novels, it is possible to analyze what the figure of the vampire represents in our conception of a human being. In the first chapter I support the idea that the transition that a human undergoes in other to become a vampire is a metaphor of the improvement of the self. Through this transition, an individual is able to accept its darker side in the objective of controlling it instead of simply hiding it. In the second chapter, I examine the different roles held by blood in vampire literature. Even though blood holds the role of being a physical representation of both life and death, it comes to represent concepts that are related to society like being part of a race or of a given group. In the third chapter, I observe how the fear of the stranger, the other that is unknown, gradually disappears as vampirism becomes an image of improvement instead of being one of corruption or deterioration. While the first two chapters are focused on the nature of the vampire, the third will use that nature to understand where the vampire stands in regard to a human society and what its place amongst it signifies.

Titel: Är influencers vampyrer? En studie om influencer-baserad marknadsföring och brand recall. Nivå: Examensarbete på Grundnivå (kandidatexamen) i ämnet företagsekonomi. Författare: Julia Jansson och Christina Najm Handledare: Jonas Kågström Datum: 2018 - maj Syfte: Syftet med studien är att analysera hur influencer-baserad marknadsföring, vad gäller brand recall, påverkas av tidsaspekten, vampire effect, source credibility och match-up hypotesen. Metod: Data har insamlats med hjälp av två enkäter med 1461 respondenter. Respondenterna fick svara på enkäter gällande två olika influencers och dess samarbete med ett företag. Materialet har sedan analyserats och bearbetats med hjälp av deskriptiv statistik, T-test, korrelationsanalyser, faktoranalyser samt klusteranalys. Resultat & slutsats: Studien visade betydelsen för företag att välja en lämplig influencer för deras marknadsföring. Dessa influencers har möjligheten att nå en stor del av konsumenterna och det är då viktigt att de kan sända ut rätt information om varumärket. I fallet om vampire effect kom studien fram till att detta hot inte nödvändigtvis behöver påverka varumärkets brand recall, utan vid val av en lämplig och rätt influencer kan istället varumärket gynnas av influencer-baserad marknadsföring. Uppsatsens bidrag: Studiens bidrag till marknadsföringens forskningsområde är en ökad kunskap om influencer-baserad marknadsföring, vad gäller brand recall och dess effekter. Studien bidrar också med olika aspekter för företag att ta hänsyn till i valet av lämplig influencer. Förslag till fortsatt forskning: Forskning bör vidare undersöka hur tidsaspekten har en påverkan på brand recall, då tidigare forskning varit begränsad. Vi anser att fler studier ska göras om influencer-baserad marknadsföring och brand recall då detta fält är relativt nytt och outforskat. Nyckelord: Brand recall, the vampire effect, source credibility model, match-up hypotesen, influencers, tidsaspekt. / Title: Are influencers vampires? A study about influencer-based marketing and brand recall. Level: Student thesis, final assignment for Bachelor Degree in Business Administration. Authors: Julia Jansson and Christina Najm Supervisor: Jonas Kågström Date: 2018 – may Aim: The purpose of this study is to investigate how influencer-based marketing, in terms of brand recall, is affected by the time aspect, vampire effect, source credibility and match-up hypothesis. Method: Data were collected from two surveys, with 1461 respondents. The respondents answered surveys about two influencers and their collaboration with a company. The data has been analysed and processed with descriptive statistics, T-test, correlation as well as factor and cluster analyses. Results & Conclusion: The study showed the importance for companies to choose an appropriate influencer for marketing. These influencers have the ability to reach a large portion of consumers and it is, therefore, important that they can send accurate information about the brand. Regarding the vampire effect, the study showed that it is not necessarily a threat to brand recall, but if the appropriate influencer is chosen, the brand can benefit from influencer-based marketing. Contribution of the thesis: The contribution of this study to the marketing research area is an increased knowledge about influencer-based marketing, in terms of brand recall and its effects. The study also contributes with different aspects for companies to consider in selecting an appropriate influencer. Suggestions for future research: Future research should examine how the time aspect can affect brand recall, since prior research has been narrowed. We believe that more studies should be done especially about influenced-based marketing and brand recall since it is relatively new and unexplored. Key words: Brand recall, the vampire effect, source credibility, match-up hypothesis, influencers, time aspect

This project is an interrogation of three examples from recent popular culture of girlculture, specifically texts that target young female consumers: the Spice Girls, Scream and Buffy the Vampire Slayer. These examples are fundamentally different than texts from earlier female targeted generic models because they not only reflect the influence of the feminist movement, they work on feminism's behalf. The project's methodology grows out of feminist film theories and cultural studies theories. One chapter is dedicated to each text, and each reading works to reappropriate girlculture texts for a counter-hegemonic agenda by highlighting the moments when each text manages to subvert its mass mediated conservative biases.

This thesis examines the production process for "Camp, Vamp and Femme Fatale," performed at the University of North Texas in April of 1997. The first chapter applies Henry Jenkins's theory of textual poaching to the authors' and cast's reappropriation of cultural narratives about female vampires. The chapter goes on to survey the narrative, cinematic and critical work on women as vampires. As many of the texts were developed as part of the fantasy role-playing game Vampire: The Masquerade, this chapter also surveys how fantasy role-playing develops unpublished texts that can make fruitful ground for performance studies. The second chapter examines the rehearsal and production process in comparison to the work of Glenda Dickerson and other feminist directors.

Afin de se perpétuer dans le temps, la tradition recourt à des figures qui la véhiculent. Cette étude prend pour objet la figure du vampire qui, en transmettant des aspects importants de la tradition culturelle, prend la forme d’une tradition en soi, se manifestant dans une série de récits et d’œuvres littéraires et culturelles. Ces figures possèdent le plus grand pouvoir de transmission puisqu’elles ne sont pas des traditions à la base, mais elles ne peuvent rester culturellement importantes seulement qu’en devenant des traditions. C’est-à-dire que la figure du vampire possède sa propre tradition littéraire et/ou filmique, tout en offrant une vision de la transmission, de la tradition et de l’éducation. Afin de demeurer présentes à travers le temps, les traditions doivent posséder un noyau principal, tout en restant assez malléables afin que des caractéristiques secondaires de celles-ci puissent changer et évoluer. Le vampire est une figure toute aussi malléable que les traditions, faisant donc d’elle l’emblème parfait du concept. De plus, cinq nœuds de tradition réapparaissent, à différents niveaux, dans la littérature vampirique. Le choix de la victime, la morsure vampirique et l’échange de sang transformatif – et le lien de ceux-ci à une vision perverse de la sexualité, le processus d’éducation, le désir d’appartenir à une famille ou à une communauté et le besoin de comprendre ses origines, illustrent tous le lien indéniable entre la figure du vampire et le concept de la tradition. Ce mémoire explore l’impact de la figure du vampire comme emblème de la tradition à travers le roman vampirique classique – le plus traditionnel – Dracula de Bram Stoker et à travers les trois premiers tomes des Vampire Chronicles d’Anne Rice, soit Interview with the Vampire, The Vampire Lestat et Queen of the Damned, ainsi que leurs adaptations cinématographiques. / To perpetuate itself in time, tradition makes recourse to figures that convey it. This study takes as its object the vampire figure that, in transmitting important aspects of the cultural tradition, takes the form of its own tradition, manifesting itself in a series of narrative and cultural works. As this study maintains, the vampire figure possesses its own literary and cinematographic tradition, even as it provides an understanding of transmission, tradition, and education. In order to persist through time, traditions need to retain a static core, while also being malleable enough to allow for the transformation of the secondary features. The vampire is a malleable cultural figure, making it the perfect emblem of the concept of tradition. Moreover, five recurring traditional constellations are present, in various degrees, in vampire-centric narratives. The victim choice, the vampiric bite and the transformative blood exchange – with its undeniable relation to “perverse” sexuality, the training process, the desire to belong to a family or a community, and the search for one’s origins all illustrate the link between the vampire and the concept of tradition. This thesis explores the impact of the vampire figure as an emblem of tradition through the most classic – the most traditional – narrative, Bram Stoker’s Dracula, and through the first three installments of Anne Rice’s Vampire Chronicles – Interview with the Vampire, The Vampire Lestat, and Queen of the Damned – as well as through their film adaptations.

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...

Dante's Inferno defined hell in Western literature for centuries; it was a physical place for sinners, they were subjected to physical torments, and it was in the afterlife. Dante’s depiction was firmly rooted in Christian theology. However, as fears and morals change, ideas of hell evolve as well. With the popularity of the zombie and other apocalypse narratives, these ideas return to the notion of physical torment and earthly places. In poetry, novels, theater, television, and film, writers examine different interpretations of hell, punishment, and redemption as metaphors for modern sins. In Sartre’s Huis clos, hell is a windowless room, and the tortures are inflicted psychologically by other people. In Romero’s Living Dead films, hell comes to earth, and the torments are both physical and psychological. Joss Whedon’s Buffy the Vampire Slayer shows how hellish the common experiences of high school and growing up can be. Cormac McCarthy’s The Road examines hell as a lack of place, a relentless journey without end. In these and other works, the concept of hell is reinvented and replaced by new ideas, but the influence of the past iterations shapes the new landscapes.

[pt] A experiência do trabalho pretende comprovar a atualidade de Jorge Mautner através da relação entre sua vivencialidade e sua obra, na dinâmica e movimento de sua criação e ação intempestivas visando a cultura nacional, desde seu surgimento (1958) com a canção-emblema Vampiro, até os dias de hoje: a força e a originalidade de sua música, sua literatura, em imanência com seu pensamento, na experimentação e afirmação do real a partir de sua invenção e discursividade. / [en] This work intends to show the Jorge Mautners present relevance by examining the relation between his living experience and his oeuvre, in the dynamics and movement of his untimely creation and action vis-à-vis Brazilian culture, from his debut with the emblematic song Vampiro (1958) to the present: the strength and originality of his music and literature, according to his thought, his experimentation and assertion of reality through inventiveness.