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.

This thesis paper gives a brief history of the vampire narrative and its role in representing the collective anxieties of an age as well as serving as a metaphor for oppressed peoples. It uses Bram Stoker’s Dracula and J. Sheridan le Fanu’s Carmilla as historical examples of how the vampire adapts to suit issues of the day such as reverse colonization and female sexuality, respectively. The latter part of this paper speculates on the future role of the vampire in literature and proposes that the vampire could be used to discuss transgender issues as well as challenge the gender binary. It addresses the suitability of the vampire narrative in particular for representing gender as a spectrum using the lenses of Foucault’s heterotopias, Kristeva’s abject, and Freud’s uncanny and pulls examples of early evidence of this trend from Anne Rice’s Vampire Chronicles.

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 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.

This thesis analyzes Pamela Swynford De Beaufort and Jessica Hamby from the provocative HBO series, True Blood, in order to determine what hegemonic ideologies are reinforced through their sexual representation in the series. Through analysis based on concepts of the "vagina dentata" and "monstrous feminine," and in determining whether they fall victim to the Madonna/wore dichotomy, the question of Pam and Jessica's autonomous existence falls under scrutiny - particularly in regards to their sexuality. Feminist scholarship is vital to this research in order to examine the often fetishized and marginalized sexuality of women who dare to exhibit transgressive behaviors. This thesis concentrates on Seasons One through Four of the series, and also utilizes meta-text from the official website related to each character in order to help answer the posed research questions. / by Ashley Anderson. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Ina Yee. / Thesis (M.Phil.)--Chinese University of Hong Kong, 1999. / Includes bibliographical references (leaves 87-90). / Abstracts in English and Chinese. / Acknowledgements --- p.i / Table of Contents --- p.ii / Abstract --- p.iii / Introduction --- p.1 / The Gendered Vampires in Contemporary Culture / Vampires and Contemporary Culture --- p.1 / Woman/Lesbian as Vampire --- p.7 / "Ortner and ""the Angel in the House""" --- p.9 / "Mulvey, Postfeminist Media Critics and the Female Body" --- p.10 / Butler and the Lesbian Phallus --- p.12 / Feminism and Postfeminisms --- p.14 / Chapter Chapter One --- The Woman Vampire: The Fallen Angel --- p.18 / Woman and Nature --- p.18 / The Angel and the Woman Vampire --- p.23 / The Postmodern Dracula --- p.33 / Conclusion --- p.39 / Chapter Chapter Two --- The Girl Vampire: The Resistant Female Body --- p.40 / The Male Gaze --- p.40 / """When the Woman Looks"" at a Woman" --- p.47 / The Postmodern Female Body --- p.56 / Conclusion --- p.58 / Chapter Chapter Three --- The Lesbian Vampire: The Female Desire --- p.60 / The Lacanian Phallus --- p.60 / The Lesbian Phallus --- p.64 / The Lesbian Vampire --- p.67 / The Dark Kiss and Female Sexual Pleasures --- p.70 / Conclusion --- p.78 / Conclusion --- p.81 / Towards an Autonomous Representation of Womanhood / Bibliography --- p.87

<p>Abstract</p><p>In this essay I look at the change in the symbolic function of vampires, and to see this I use</p><p>Bram Stoker’s Dracula and Anne Rice’s The Vampire Lestat. My argument is that the</p><p>difference between Dracula and Lestat is basically that they represent different ideologies,</p><p>with Dracula being an imperialist, and Lestat being an anarchist. The difference is shown by</p><p>taking examples from the text of the two novels, and also taking information about the</p><p>ideologies, and seeing if the actions and thoughts of the characters match the suggested</p><p>ideology.</p><p>First, the essay looks at Dracula and his connection with imperialism, and then it turns to</p><p>Lestat and his connection with anarchism.</p><p>The conclusion is that the facts derived from the novels make it quite clear where the</p><p>political hearts of the vampires lie.</p>

The popularity of vampire novels has come and gone over the years. And the romantic novels seem more popular than ever before. The male vampire have taken the stereotyperole as a sexual object. But what is it that makes the male characters desirable? The vampire genre was developed from defining female vampires as sexual freeand liberal but with a punishment awaiting them. Now the male side has been given thisrole, but without the punishment. Instead it gets involved with human females andpromises them true love forever and ever. This disquisition takes a closer look on thepopular male vampires: Eric Northman from Charlaine Harris Sookie Stackhouse Novelsand Edward Cullen from Stephenie Meyer’s Twilight Series. Both novels display various sexual norms, two males with different masculinities.In Twilight Series society advocates sexual restraint and intercourse for reproductionpurposes only. While Sookie Stackhouse Novels projects a sexual liberal society wherehomosexuals and heterosexuals are equal in existence and where intercourse is forpleasure and everyone’s private right. By using character analysis and critical discourse analysis regarding to thedisplayed state of the society in the novels, the purpose of this disquisition is to analysehow Eric Northman's and Edward Cullen's masculinity and sexuality are shaped.

Thesis (M.A.)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Linda Karell. Includes bibliographical references (leaves 90-94).

Le vampirisme est une parole et un discours qui circulent : il est une écriture qui contamine et qui se transmet de texte en texte, d’histoire en histoire, d’image en image. Le vampire est une forme vide, un cadavre ouvert et disséqué à la grande époque du vampirisme (le XVIIIe siècle), et que l’imagination, collective ou individuelle, a rempli de fiction(s) dans la perspective et/ ou selon le désir de « faire croire » au(x) vampire(s), même quand il s’agit de remettre en cause leur existence. Des images se réunissent pour faire le vampire et le réaliser, et circulent selon le principe « vampirique » de la contamination. Une forme vampirique au sens d’une écriture formelle se répète des écrits du XVIIIe et du XIXe siècle jusqu’aux dernières images cinématographiques, et toujours selon le même principe qui consiste à interroger la croyance d’un destinataire-récepteur : un lecteur ou un spectateur. L’objet de cette thèse est principalement de mettre en évidence et d’étudier l’identité de la croyance aux vampires du XVIIIe siècle et la croyance du spectateur devant un film de vampires. Son objet est d’étudier la genèse et les variations littéraires, cinématographiques, d’une écriture formelle de la croyance aux vampires, dans le vampire et le vampirisme, dans un corpus de textes officiels, critiques, littéraires et cinématographiques. Tous ces documents proposent un récit qui construit des formes narratives et discursives qui font croire et douter, à des fins notamment esthétiques, de plaisir, d’horreur, de peur, de fascination. C’est cette histoire que la thèse propose d’explorer. / Vampirism is a word and a speech circulating: it is a writing that contaminates and that is transmitted from text to text, from history to history, from image to image. The vampire is an empty form, an open and dissected corpse in the great era of vampirism (the eighteenth century), and that imagination, collective or individual, has filled with fiction(s) in perspective and / or desire to “make believe” the vampires, even when it is to questioning their existence.Images come together to make the vampire and realize it, and circulate according to the “vampiric” principle of contamination. A vampiric form in the sense of a formal writing is repeated from the eighteenth and nineteenth century to the last cinematographic images, and still according to the same principle which consists in questioning the belief of a receiver: a reader or a spectator.The purpose of this thesis is mainly to highlight and study the identity of belief in eighteenth-century vampires with the viewer’s belief in front of a vampire movie. Its purpose is to study the genesis and the literary and cinematographic variations of a formal writing of the belief in vampires and vampirism, in a body of official, critical, literary and cinematographic texts. All these documents offer a narrative that constructs discursive forms that make people believe and doubt, especially for aesthetic purposes, pleasure, horror, fear, fascination. This is the story that the thesis proposes to explore.