Made available in DSpace on 2016-03-15T19:46:57Z (GMT). No. of bitstreams: 1 Judith Tonioli Arantes.pdf: 699434 bytes, checksum: ede51912fb79ad1ff983cdb6ff86663d (MD5) Previous issue date: 2010-06-02 / Universidade Presbiteriana Mackenzie / Being part of the human imaginary, the vampires found their way into literature in the end of the eighteenth century, and remained there throughout the nineteenth century, being the climax of the narratives they were present known as Dracula, written by Bram Stoker. Over the twentieth century, the vampires experienced moments of fame in literature, through works such as Anne Rice s The vampire Chronicles; in the movies, through makings and remakings of Bram Stoker s Dracula and other vampires from TV series, such as Blade , and the movie made based on Anne Rice s Interview with the vampire. In the beginning of the twenty-first century, a North American author wrote a series of four books, the Twilight series, which constitute a dialogue with the literary myth crystallized by Bram Stoker s Dracula. Such dialogue, though considered to be intentionally denying the previous literary myth, confirms it in a number of ways. In order to study the presence of the literary myth in Stephenie Meyer s works, it is first necessary to study the possible origins of the myth in the human imaginary, moving, then, to a study of the types of narratives in which the vampires are present in literature, such as the fantastic, a mode found in fantasy, a literary gender. Once the possible origins and types of narrative are studied, it is possible to analyze the vampire myth renewed presented by Stephenie Meyer and the relation between her work, the Twilight series, and the fairy stories. / Presentes no imaginário humano há séculos, os vampiros encontraram seu caminho para a literatura no final do século XVIII e ali permaneceram durante todo o século XIX, culminando na obra que consolidou o mito literário do vampiro em Drácula, escrito por Bram Stoker. No decorrer do século XX, os vampiros viveram momentos de fama na literatura, por meio de obras como The Vampire Chronicles, de Anne Rice, no cinema, por meio de filmagens e refilmagens de Drácula e de outros vampiros de seriados, como Blade , por exemplo, além do filme baseado na obra Interview with the vampire, de Anne Rice. No início do século XXI, uma autora norte-americana publicou uma série composta por quatro livros, a série Twilight, que dialogam com o mito literário consolidado pela obra de Bram Stoker. Tal diálogo, embora pareça, em um primeiro momento, ter a intenção de renovar completamente o mito literário do vampiro, acaba, em diversos aspectos, confirmando este mito. Para estudar a presença do mito do vampiro literário na obra de Stephenie Meyer, é necessário fazer, em primeiro lugar, um estudo das possíveis origens do mito no imaginário humano, passando em seguida para os tipos de narrativa nos quais os vampiros aparecem na literatura, como o fantástico, por exemplo, que se insere no gênero fantasia. Uma vez que as possíveis origens do mito no imaginário humano e os tipos de narrativas literárias nas quais os vampiros são utilizados são tratados, é possível analisar a questão do mito renovado do vampiro apresentado por Stephenie Meyer e a relação entre a narrativa da série Twilight e as histórias de fadas.

Nearly everyone I know has a relationship with something in popular culture, whether it is Buffy the Vampire Slayer, amassing The Astonishing X-Men comics, or collecting every version of every Star Wars movie. Relationships and pop culture: couldn’t that make an autoethnography? This is a short version of my relationship with a band, Daniel Amos. I am not in Daniel Amos. I don’t know the members of the band (although I am Facebook friends with them now). I first heard them in 1982 serendipitously. Or maybe it was destiny. Either way, they opened my eyes to the wonders, doubts, and excesses of my life, critiqued my faith, and brought me joy. I feel like I know them, and they me. Thirty-one years after first hearing them, I realize our relationship is one of the longest I have had. We grew up and are growing older together.

<p>The creatures known as vampires have inspired authors for several hundred years. These beings are stereotypically described as belonging to a “nocturnal species” who live “in shadows” and drink “our lives in secrecy” (Auerbach 1). However, they have by now appeared so often in literary works, and in so many different shapes and sizes, that they are much too nuanced to be called ‘stereotypes.’</p><p>This essay will make a historical comparison between two fictional vampires, one hundred years apart, in order to show that a change has taken place when it comes to how vampires as fictional characters have been portrayed in terms of their appearance, their psychology, and their roles in society. The first novel chosen is, for obvious reasons, Bram Stoker’s Dracula. It was written at the turn of the nineteenth century by a male author and is probably the first novel that comes into mind when the word vampire is mentioned. The second novel, The Vampire Lestat, was written almost a century later, in 1986, by a female author, who, to readers of vampire fiction, is a worthy successor of Stoker. Her name is Anne Rice, best known for her debut novel Interview with the Vampire (1976).</p><p>The two novels are naturally chosen because of their similarities, but perhaps even more so because of their differences. Dracula is a typically Victorian Gothic novel, which is set in the remote mountains of Transylvania, and in the modern capital London, contemporary to when the novel was published. It is written in epistolary form but never allows for the main character, Count Dracula, to defend or explain himself and his actions in a first-person narrative.</p><p>The Vampire Lestat, on the other hand, is a Neo-Gothic novel that focus less on conventional Gothic elements, for example gloomy settings, and more on the psychological aspects of what it is like to actually be a vampire. Unlike Dracula, it is the main character’s fictional autobiography in which he recalls his life in France, his transformation into a vampire, and his current career in the United States as a famous rock star. Nina Auerbach calls it “a series of temporal regressions in which Lestat . . . embarks on a backward quest out of the knowable world” (172).</p><p>Both novels used in this analysis are thus part of the Gothic genre, one being a Victorian Gothic and the other Neo-Gothic, but there are significant differences between the two. I will investigate how these differences reveal themselves when it comes to setting and plot. However, the novels are similar in that they present two male vampires who belong to the nobility and have lived on through the centuries. The vampires both want to be where the power is, which means, in the case of Stoker’s Dracula, that he tries to conquer nineteenth-century London and seduce a young intelligent woman named Mina. Lestat, on the other hand, wants to become a famous twentieth-century rock star in the United States and simply have a good time while being a vampire (Auerbach 6).</p><p>The aim of this essay is to investigate what is typical of the genres that the two novels belong to and determine what has changed in the vampires’ physical appearance, their manners and their ability to adapt to modern society. In the first section of the essay I will give a description of the typical elements of the Gothic and the Neo-Gothic genres and then compare them in order to make a generic description of the two novels, Dracula and The Vampire Lestat. Vampire fiction will be treated as a sub-genre to the Gothic genre. In the succeeding two sections I will make comparative analyses of the two novels, particularly of the main characters, in order to describe the similarities and differences between the two and study how the vampire character has changed during the last century. Much of the discussion, especially regarding Dracula, will be based on Cesare Lombroso’s concept of the ‘criminal man,’ and various modern scholars’ opinion that the vampire is seen as an outcast and a threat to society.</p>

It is widely accepted that gender is actively performed and a part of identity rather than biology, and that this is where gender differences in language stem from. Researchers have attempted to define what constitutes men and women’s language, and this paper uses some of these definitions to analyse the speech of the main character in the first season of the television show Buffy the vampire slayer. This research project investigates Buffy’s use of feminine language as well as whether her language changes when her performance is otherwise more masculine in the role of the slayer. This is done by comparing conversations between Buffy and her friends with conversations between Buffy and her enemies. The results show that Buffy uses some feminine linguistic features but that her speech is not distinctly feminine in general. Her language also does not change significantly when performing the role of the slayer.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2016-09-01T19:19:36Z No. of bitstreams: 2 Dissertação - Letícia Cristina Alcântara Rodrigues - 2014.pdf: 4488048 bytes, checksum: b927be20aa497b6a023f1b846a1857d3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-09-05T13:10:03Z (GMT) No. of bitstreams: 2 Dissertação - Letícia Cristina Alcântara Rodrigues - 2014.pdf: 4488048 bytes, checksum: b927be20aa497b6a023f1b846a1857d3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2016-09-05T13:10:03Z (GMT). No. of bitstreams: 2 Dissertação - Letícia Cristina Alcântara Rodrigues - 2014.pdf: 4488048 bytes, checksum: b927be20aa497b6a023f1b846a1857d3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2014-09-26 / Since ancient times, the vampire is known in almost every culture, being subject of legends, literary narratives and others works of art. It is a myth born in orality, which entered the world of artistic endeavors, reminding us of our subjection to Eros and the passage of time –and its main consequences: aging and death (Thanatos). This dissertation outlines the vampire myth, particularly in Literature, and looks into some specific short stories of the 19th and 20th centuries - "The Vampyre" by John Polidori; "The Fall of the House of Usher " by Edgar Allan Poe; and "The Horla" (1st and 2nd versions), by Guy de Maupassant; "Eles herdarão a terra" by Dinah Silveira de Queiroz; "Albino" by Heleno Godoy; and "Potyra" by Lygia Fagundes Telles. These narratives can offer not only a vision of the vampire’s peculiarities, already established by tradition, but also they introduce new aspects. With that corpus in mind, we intend to approach key issues of human nature - love, death and the time - related to the fascination created through time by the vampire’s myth. Therefore, our goal here is connected with one question: how the vampire becomes a reflection of mankind’s journey, and in that way, inspires our hopes and fears related to the obstacles that have us imprisoned. We rely on the theoretical assumptions of Hans Meyerhoff, Edgar Morin, Philippe Aries and Françoise Dastur concerning the passing time and the anguish of man towards death. In addition, we have brought some ideas from Sigmund Freud and Donaldo Schüler. Through Gaston Bachelard and Mircea Eliade’s symbolic hermeneutics, we have studied such symbols as the night, the moon, the water, the blood and the mirror, part of the vampiric imagery detected in the studied texts, and related to the mentioned themes. / Desde tempos remotos, os vampiros estão presentes em quase todas as sociedades, fornecendo assunto para lendas, narrativas literárias e obras-de-arte de um modo geral. É um mito nascido na oralidade, que penetrou no universo das produções artísticas, lembrando-nos que estamos sujeitos a Eros e à passagem do tempo – cuja consequência maior é o envelhecimento e a morte (Tânatos). Este trabalho traça um percurso do mito do vampiro, em especial na literatura, e detém-se em alguns contos dos séculos XIX e XX − “O Vampiro”, de John Polidori; “A queda do solar de Usher”, de Edgar Allan Poe; “O Horla” (1ª e 2ª versões), de Guy de Maupassant; “Eles herdarão a terra”, de Dinah Silveira de Queiroz; “O albino”, de Heleno Godoy; e “Potyra”, de Lygia Fagundes Telles. Essas narrativas proporcionam não apenas um olhar sobre as peculiaridades do vampiro já consagradas pela tradição, mas apresentam novos aspectos. No corpus selecionado, temos como objetivo investigar questões essenciais da natureza humana – o amor, a morte e o tempo –, que estão relacionadas ao fascínio que o mito do vampiro tem exercido ao longo do tempo. Assim, nosso objetivo associa-se à indagação do quanto o vampiro torna-se reflexo do homem em sua jornada e, como tal, inspira nossas esperanças e medos em relação às contingências que nos aprisionam. Apoiamo-nos nos pressupostos teóricos de Hans Meyerhoff, Edgar Morin, Philippe Ariès e Françoise Dastur no que diz respeito ao tempo que passa e à angústia do homem frente à morte. Além disso, buscamos alguns subsídios em Sigmund Freud e Donaldo Schüler. Por meio da hermenêutica simbólica, de Gaston Bachelard e de Mircea Eliade, estudamos os símbolos da noite, da lua, da água, do sangue e do espelho que estão ligados, no imaginário vampírico detectado nos textos analisados, aos mencionados temas.

The creatures known as vampires have inspired authors for several hundred years. These beings are stereotypically described as belonging to a “nocturnal species” who live “in shadows” and drink “our lives in secrecy” (Auerbach 1). However, they have by now appeared so often in literary works, and in so many different shapes and sizes, that they are much too nuanced to be called ‘stereotypes.’ This essay will make a historical comparison between two fictional vampires, one hundred years apart, in order to show that a change has taken place when it comes to how vampires as fictional characters have been portrayed in terms of their appearance, their psychology, and their roles in society. The first novel chosen is, for obvious reasons, Bram Stoker’s Dracula. It was written at the turn of the nineteenth century by a male author and is probably the first novel that comes into mind when the word vampire is mentioned. The second novel, The Vampire Lestat, was written almost a century later, in 1986, by a female author, who, to readers of vampire fiction, is a worthy successor of Stoker. Her name is Anne Rice, best known for her debut novel Interview with the Vampire (1976). The two novels are naturally chosen because of their similarities, but perhaps even more so because of their differences. Dracula is a typically Victorian Gothic novel, which is set in the remote mountains of Transylvania, and in the modern capital London, contemporary to when the novel was published. It is written in epistolary form but never allows for the main character, Count Dracula, to defend or explain himself and his actions in a first-person narrative. The Vampire Lestat, on the other hand, is a Neo-Gothic novel that focus less on conventional Gothic elements, for example gloomy settings, and more on the psychological aspects of what it is like to actually be a vampire. Unlike Dracula, it is the main character’s fictional autobiography in which he recalls his life in France, his transformation into a vampire, and his current career in the United States as a famous rock star. Nina Auerbach calls it “a series of temporal regressions in which Lestat . . . embarks on a backward quest out of the knowable world” (172). Both novels used in this analysis are thus part of the Gothic genre, one being a Victorian Gothic and the other Neo-Gothic, but there are significant differences between the two. I will investigate how these differences reveal themselves when it comes to setting and plot. However, the novels are similar in that they present two male vampires who belong to the nobility and have lived on through the centuries. The vampires both want to be where the power is, which means, in the case of Stoker’s Dracula, that he tries to conquer nineteenth-century London and seduce a young intelligent woman named Mina. Lestat, on the other hand, wants to become a famous twentieth-century rock star in the United States and simply have a good time while being a vampire (Auerbach 6). The aim of this essay is to investigate what is typical of the genres that the two novels belong to and determine what has changed in the vampires’ physical appearance, their manners and their ability to adapt to modern society. In the first section of the essay I will give a description of the typical elements of the Gothic and the Neo-Gothic genres and then compare them in order to make a generic description of the two novels, Dracula and The Vampire Lestat. Vampire fiction will be treated as a sub-genre to the Gothic genre. In the succeeding two sections I will make comparative analyses of the two novels, particularly of the main characters, in order to describe the similarities and differences between the two and study how the vampire character has changed during the last century. Much of the discussion, especially regarding Dracula, will be based on Cesare Lombroso’s concept of the ‘criminal man,’ and various modern scholars’ opinion that the vampire is seen as an outcast and a threat to society.

Devenu célèbre sous les traits de Dracula, le vampire est un monstre révélateur et résilient qui s'est fait archétype incontournable de la culture populaire et dont l'existence diégétique précède le roman de Bram Stoker. Du folklore à la fiction et de l'ombre à la lumière, son évolution est représentative des sociétés et des époques dans lequel il revient à la vie. A la fois transgressifs et normatifs, ses avatars jouent un rôle cathartique en incarnant le refus des lois humaines naturelles et divines, mais aussi la réitération de ces règles et la création de canons littéraires. Cette étude diachronique centrée sur "Carmilla" (1872), "Dracula" (1897) et les vampires d'Anne Rice démontre que leurs aventures invitent à réfléchir autant aux conséquances des fautes qu'à la validité des normes, à l'essence de la nature et des failles humaine et à la fonction libératrice des personnages de fiction et particulièrement des monstres. / Known to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters.

From the beginning of the twenty first century vampires begin to appear in other genres other than the horror and their image in popular media starts to change. The changes begin not only in the image but also the perception of vampire in popular media shifts into new directions. These changes are interconnected and influence each other. The thesis will analyse the ways vampires are portrayed in films and TV series from the end of the twenties century until recent times. The changes happening will be explored across different genres and across time. The thesis will then attempt to examine whether there is a pattern of trends within the observed forms, and whether these trends are common across the different genres.

The thesis deals with the transformation of perception of vampire in Western culture from early modern period to present. The vampire in modern Western culture is very popular and has an unwavering place. Vampires are now attractive and basically not dangerous. The subject of this work is question whether it was so in previous centuries. Work present the change in appearance and character, both fictional character and "real vampires." Based on the analysis of selected fictional works (literary and visual) from the late 18th century, when the vampire came to Western fiction, work shows how gradually transforms the image that this supernatural beings attributes in West. An essential part of how culture perceives certain phenomenon is a belief in it. Therefore I am interested in how the West over time explaining this phenomenon. Work also introduces the Norbert Elias's civilization theory. Analysis of transformation in the perception of a vampire in Western culture follows it's tracks and the results are compared with it with the goal to give answer on question whether this phenomenon is turning into the terms of this theory.

In this essay, the works Interview with the Vampire (1976) by Anne Rice and Carmilla (1872) by Sheridan Le Fanu will be placed together and compared via close reading, and discussed alongside queer theory. The focus is to find similarities and contrast between these two vampiric tales as well as discuss how the queer element is shown. The main questions with this text will be; How is the queerness portrayed in the texts and what is the difference between them? There will also be a discussion about male versus female homosexuality and how this is portrayed in the texts. The point of this study is to show how similar grounds can culminate into different outcomes with the vampiric origin accounted for. The result showed a clear difference between the two texts, but also some similarities. The vampire stays queer in both.