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

No description available.

No description available.

Made available in DSpace on 2016-04-28T20:39:06Z (GMT). No. of bitstreams: 1 Fernanda Aprile Bilotta.pdf: 1606099 bytes, checksum: 1e35d3ff4c65c6007ccd5bcb27409751 (MD5) Previous issue date: 2015-07-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The vampire is one of the most famous creatures in the history of terror. Originated from folk beliefs and legends, he won editorial and film notoriety. During the twentieth as well as early twenty-first centuries, his figure has undergone a series of transformations which ensured his permanent success with the public. In the process, his image gained new possibilities of interpretation. This study aimed at identifying and analyzing the transformations in the vampire figure and his romantic relationships in films produced in the period comprised from1922 and 2012. In addition, we had the specific aim of reflecting on the changes that have been occurring in masculinity and loving relationship nowadays. In order to do so, the qualitative method was used. The following films were watched and analyzed: Nosferatu, a Symphony of Horror (1922), Dracula (1931), Horror of Dracula (1958), Nosferatu, the vampire of the night (1979), Bram Stoker's Dracula ( 1992), Twilight (2008), New Moon (2009), The Twilight Saga: Eclipse (2010), The Twilight Saga: Breaking Dawn - Parts 1 (2011) and 2 (2012). Those ten films were described and analyzed through the theoretical principles of analytical psychology. Such procedure was base on images, significant events and sequences regarding the composition of vampire characters, women desired by them, and the type of relationship established between them. The relationship with their antagonists and other influential characters in each film were also taken into account. Through the filmic production analyzed, it was noticed that some aspects were added to the vampire figure, while others became extinct or have undergone retrofits. The analysis suggests that in such trajectory, the vampire started integrating humanity as well as embodying heroic features. In such humanizing process, the importance of the affective bond that the vampire started establishing with the woman chosen by him was highlighted. Symbolically, the contact between repressed male traits and the anima takes place. Guided by the feminine principle, feelings and emotions − once dark − have become conscious, thus enabling integration to take place. Research also suggests that masculinity can be transformed to the extent that man has contact with the shadow, thus not only becoming aware of their emotional, erotic and creative content, but also establishing less projective relationships. Such aspects, when assimilated and reconciled with the ego, assist in establishing romantic relationships in which predominates otherness / O vampiro é uma das mais famosas criaturas na história do terror. Proveniente de crenças folclóricas e lendas, ele ganhou notoriedade editorial e cinematográfica. No decorrer do século XX e inicio do XXI, sua figura passou por uma série de transformações as quais continuaram lhe garantindo sucesso junto ao público. Nesse processo, sua imagem ganhou novas possibilidades de interpretação. Este trabalho teve como objetivo identificar e analisar as transformações ocorridas na figura do vampiro e de seus relacionamentos amorosos em filmes produzidos no período de 1922 e 2012. Além disso, teve por objetivo específico refletir sobre as modificações ocorridas na masculinidade e no relacionamento amoroso na contemporaneidade. Para este fim utilizou-se o método qualitativo. Foram assistidos e analisados os seguintes filmes: Nosferatu, uma sinfonia de horror (1922), Drácula (1931), Horror of Drácula (1958), Nosferatu, o vampiro da noite (1979), Drácula de Bram Stoker (1992), Crepúsculo (2008), Lua Nova (2009), Eclipse (2010), Amanhecer - parte 1 (2011) e Amanhecer - parte 2 (2012). Os dez filmes foram descritos e analisados por meio dos pressupostos teóricos da psicologia analítica, baseando-se para isso em imagens, eventos e sequências significativas quanto à composição dos personagens vampiros, as mulheres por ele desejadas e o tipo de relação estabelecida entre ambos, além da relação com seus antagonistas e com os demais personagens influentes em cada película. Por meio das produções fílmicas analisadas, observou-se que alguns aspectos da figura do vampiro foram acrescentados, enquanto outros se extinguiram ou passaram por readaptações. A análise sugere que nessa trajetória, o vampiro foi integrando humanidade e corporificando atributos heroicos. No seu processo de humanização, destaca-se a importância do vinculo afetivo que o vampiro foi estabelecendo com a mulher por ele escolhida. Simbolicamente, tem-se o contato entre o masculino reprimido e a anima. Ao ser guiado pelo princípio feminino, sentimentos e emoções outrora sombrias tornam-se conscientes, podendo assim, serem integradas. A pesquisa também sugere que a masculinidade poderá ser transformada na medida em que o homem possui contato com a sombra, tornando-se consciente de seus conteúdos afetivos, eróticos e criativos, estabelecendo relacionamentos menos projetivos. Tais aspectos quando assimilados e conciliados com o ego, auxiliam no estabelecimento de relacionamentos amorosos onde predomina a alteridade

No description available.

Ce mémoire réunit trois romans de la série Les Chroniques de vampires de la populaire écrivaine américaine Anne Rice (The Vampire Lestat, Memnoch the Devil et Blood Canticle) afin d'étudier l'évolution de sa critique de la religion à travers l'écriture. Une analyse précise et complète de Lestat de Lioncourt, le personnage principal de la série, est faite afin de mieux comprendre l'impact de la transformation spirituelle du protagoniste sur l'ensemble de l'oeuvre de Rice. Dans The Vampire Lestat, le rejet de toute forme de croyances religieuses de la part de Lestat ainsi que la déconstruction et l'érotisation de rituels religieux traditionnels reflètent l'influence de l'athéisme. Memnoch the Devil représente la transition entre le refus de croire de Lestat et son retour subséquent à la religion catholique. Finalement, Blood Canticle symbolise le retour vers la foi du protagoniste et de l'auteur, en plus de marquer la fin des Chroniques de vampires de Rice. L'analyse s'inspire d'éléments biographiques afin de démontrer l'importance de la religion dans les récits de Rice, sans toutefois considérer ses romans comme des autobiographies. / This thesis brings together three of Anne Rice's novels from The Vampire Chronicles series – The Vampire Lestat, Memnoch the Devil and Blood Canticle – in order to study the evolution of her critique of religion in her writing. A precise and complete examination of Lestat de Lioncourt, the series' main protagonist, allows the reader to better understand the impact of his spiritual transformation on Rice's literary career as a whole. In The Vampire Lestat, Lestat's rejection of religious beliefs as well as the deconstruction and eroticization of traditional religious rituals hint at the influence of atheism. Memnoch the Devil represents the transition between Lestat's refusal to believe in religion and his subsequent return to the Catholic faith. Finally, Blood Canticle symbolizes both the protagonist's and the writer's return to the faith, in addition to the conclusion of Rice's Vampire Chronicles. The analysis uses elements from Rice's biography to indicate religion's importance in her works without considering these novels as autobiographies.

Since its entry into the literary field in the late eighteenth century, the vampire has seen many permutations, ranging from the truly monstrous to the present-day seductive stranger. The creature’s mutability stems from its liminal placement, hovering as it does between life and death. In exploring the figure of the vampire within the Germanic tradition, two works separated not only by medium, but also by nearly a century of time, emerged as the focus of this thesis: Ludwig Tieck’s Romantic Kunstmärchen “Der Runenberg” and Friedrich Wilhelm Murnau’s Expressionist film Nosferatu: Eine Symphonie des Grauens. Superficially, this link appears tenuous, but in analyzing Tieck’s fairy tale and Murnau’s neo-Romantic film several thematic connections emerge. Both works contain a complex and fluid depiction of gender, a narrative of infection, and a vampire that is an embodiment and corruption of nature. Using a syntagmatic approach, this thesis explores the similarities between the two works, as well as the differences, with a focus on the element of vampiric nature and the representations of gender. / Graduate

Thesis (Ph. D.)--University of California, San Diego, 1998. / Vita. Includes bibliographical references (leaf 262).

Made available in DSpace on 2014-07-29T16:17:45Z (GMT). No. of bitstreams: 1 Arturo Branco-O Lobo e o Morcego.pdf: 1235942 bytes, checksum: 0b74e156434a143d64816de8c0937e40 (MD5) Previous issue date: 2009-08-21 / This thesis was written to uncover the process were a cultural symbol of a political oppressed people gets in possession of their oppressors, is modified, inserted in their literary imaginary, and then used by the neocolonialist ideology to disqualify the oppressed people‟s culture. The vampire, in popular culture, represents the supreme evil, for them, the foreigners, which do not have the same religion and simbology, being cursed by their God and obligated to walk on the living world, even after death. Studding this character of the popular imaginary, the english intellectual Sabine Baring-Gould change and bring it to the Victorian England mass culture. The evil represented by the vampire is no more the one that was exotic for the Balcanic people, but the foreigner for the english perspective, the uncivilized natives from the colonies. Based in Sabine Baring-Gould, Bram Stoker wrote his gothic fiction book, Drácula, as a way to propagate, for the Victorian citizens, the neocolonialist values of chastity, honor, civilization and xenophobia. Stoker‟s book, besides being a very popular entertainment book, is also famous for the exaltations to the civilized world denizen, the inhabitant of the colonial potencies, in their dominance relationship over the colonial people, the inhabitants of the dark corners of the world, presenting them as monsters capable of the worst depravations / Esta dissertação foi escrita tendo como principal objetivo o desvelamento do processo pelo qual a cultura popular de um povo politicamente oprimido acabou por ser ressignificada por seu opressor e então introduzida no imaginário deste, como símbolo do imaginário literário e artístico, a fim de corroborar a ideologia neo-colonialista, sendo usada para o desmerecimento do povo em questão. O vampiro, na cultura popular, representa o mal supremo, para estes, os estrangeiros que não compartilham de sua religião e de sua simbologia, que é amaldiçoado pela divindade e obrigado a vagar pela terra dos vivos, mesmo estando morto. Perscrutando esta personagem do imaginário popular, o estudioso inglês Sabine Baring-Gould o traduz e o ressignifica para a cultura de massas da Inglaterra Vitoriana. O mal representado pelo vampiro passa a ser não mais o que era estrangeiro para os povos dos Bálcãs, mas o estrangeiro para a perspectiva dos ingleses, o homem incivilizado nativo das colônias. Baseando-se em Baring-Gould, Bram Stoker escreve sua obra de ficção gótica, Drácula, como forma de difundir, entre os cidadãos vitorianos, os valores neo-colonialistas de castidade, honra, civilização e xenofobia. O livro de Stoker, além de ser uma obra de entretenimento extremamente popular, também se destaca por exaltar o cidadão do mundo civilizado, isto é, as metrópoles coloniais, em suas relações de dominação para com as pessoas das colônias, dos cantos escuros da Terra, apresentando estas como monstros incivilizados, capazes das maiores atrocidades

In recent years, the figure of the vampire has proliferated in American literature and media. According to Stephen King, creatures of horror such as vampires appear cyclically in cultural representations to exorcise social anxieties and to cope with periods of acute crisis. In Nina Auerbach’s view, vampires are powerful representations of social critique who adapt themselves to different cultures and historical times. Against this background, I will analyze how the modern American vampire intersects with contemporary American culture in the TV series True Blood. Because the setting of this media text is the American South, my approach will be regional. I will highlight the characteristics of this area of the United States by discussing the different cultural values embodied by the Southern vampires. I will investigate how the representation of these modern vampires is an expression of the American regional past due to its connections with an important historical moment: the American Civil War. This framework will help me explain why regional vampires embody specific cultural values, and I will show how these characters are peculiar because they offer opposite portrayals simultaneously produced within the same culture. In order to highlight the cultural aspects emerging from True Blood, I will frame my analysis through the lenses of capitalism and race. These two focal points will allow me to discuss contemporary American culture and its contradictions.