Submitted by Ronildo Prado (ronisp@ufscar.br) on 2016-09-06T20:02:16Z No. of bitstreams: 1 DissTRS.pdf: 1337005 bytes, checksum: 0f39b373ef18de7238f2e55b606f96cb (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2016-09-06T20:02:44Z (GMT) No. of bitstreams: 1 DissTRS.pdf: 1337005 bytes, checksum: 0f39b373ef18de7238f2e55b606f96cb (MD5) / Approved for entry into archive by Ronildo Prado (ronisp@ufscar.br) on 2016-09-06T20:03:30Z (GMT) No. of bitstreams: 1 DissTRS.pdf: 1337005 bytes, checksum: 0f39b373ef18de7238f2e55b606f96cb (MD5) / Made available in DSpace on 2016-09-06T20:03:52Z (GMT). No. of bitstreams: 1 DissTRS.pdf: 1337005 bytes, checksum: 0f39b373ef18de7238f2e55b606f96cb (MD5) Previous issue date: 2015-09-01 / Não recebi financiamento / A presente dissertação tem como objetivo estudar o caso das representações do vampiro literário, articulando algumas reflexões em torno de suas primeiras aparições, no cenário cultural do século XVIII, propagando-se entre três textos fundamentais do século XIX de autoria de Polidori, Le Fanu e Stoker. Tais configurações imagéticas constituem passo importante para o estudo de dois casos de personagens vampiros nas literaturas africanas de língua portuguesa: “O mistério da Rua da Missão”, de Ana Paula Tavares, e “M. de Malária”, de José Eduardo Agualusa. Situados dentro do cenário literário angolano contemporâneo, procurar-se-á uma abordagem destes textos que aponte a coerência contextual de seus protagonistas com as propostas estéticas pós-coloniais. / This thesis aims to study the case of representations of the literary vampire, articulating some thoughts around their first appearances in the cultural landscape of the Eighteenth Century, spreading across three important texts of the Nineteenth Century by the novelists Polidori, Le Fanu and Stoker. Such imagetic settings are an important step for the study of the two cases of vampire characters in African Portuguese literatures: "O mistério da Rua da Missão", by Ana Paula Tavares, and "M. de Malaria",by José Eduardo Agualusa. Situated within contemporary Angolan literary scene, we will do an approach of these texts wich point a contextual coherence of its protagonists with the postcolonial aesthetic proposals.

While the term sadomasochism might conjure cursory images of whips, chains, and leather-clad fetishists, this thesis delves deeper into sadomasochistic theory to analyze dynamics of power and powerlessness represented by a chosen sample of literary relationships. Using two contemporary works of vampire literature—Anne Rice's novel Interview with the Vampire and Stephenie Meyer's Twilight series—I examine how power is structured by and between male and female characters (and vampires and humans), and particularly emphasize the patriarchal messages these works' regressive sexual politics engender. Psychoanalysis and feminist theory are employed to support my overarching argument following the gendered dynamics of male sadism and female masochism (and vampire sadism and human masochism), as this dyad reflects men's and women's "normalized" roles of power and powerlessness, respectively, in today's society. Sadomasochistic relationships as depicted in this literature are created through mutual contracts or, what I refer to as, sociocultural sadomasochism to reflect the gendered power imbalances inherent in patriarchy. By concluding with readers' responses to these franchises, this thesis further attempts to determine why such unequal and oppressive relationships are desirable. Since vampires as Gothic figures embody what specific cultures dread yet desire, this literature possesses frightening implications—gender roles are conservative and masculinity is privileged in fiction and, by extension, in twenty-first-century American culture.

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This paper examines in what way the heterosexual matrix is challenged by Stephenie Meyer in Breaking dawn (Så länge vi båda andas). By doing a thematic study on the various family constellations appearing in the novel, I search for the queer elements in it. I discuss incest, family building and motherhood, and find that there are numerous queer elements associated with the themes I have chosen. I conclude that the Cullen family challenges the heterosexual matrix, despite not being typical queer vampire characters. I also find that building a successful family is not based on gender or constellation otherwise, but is instead dependant on democracy and equality. Bella has a desire to taste the blood of both her daughter and her father, interpreted as an incestuous desire. I find similarities between Bella’s extreme motherhood behaviors and how drag show artists parody gender. / Denna uppsats undersöker på vilka sätt Stephenie Meyer utmanar den heterosexuella matrisen i Så länge vi båda andas. Genom att göra en queerteoretisk temastudie utifrån temat familj undersöker jag de queera elementen i texten. Jag behandlar incest, familjebildning och moderskap och kommer fram till att det finns många queera inslag i mina valda teman. I min analys drar jag slutsatsen att familjen Cullen, trots att de inte är klassiska queera vampyrkaraktärer ändå utmanar den heterosexuella matrisen. Jag kommer även fram till att framgången i en familjebildning inte ligger i kön, eller konstruktion, utan i demokrati och jämställdhet. När Bella åtrår sin faders och dotterns blod tolkar jag detta i sin kontext som ett incestuöst begär. Jag jämför extremismen i Bellas moderskap med hur dragshowartisten parodierar genus.

Detta är en studie om det går att använda vampyrer som inspirationskälla i undervisningen på högstadiet. Syftet är att besvara följande frågeställningar: Hur kan vampyrtemat motiveras och användas i klassrummet med skräcklitteratur som Dracula (1897) och Om jag kunde drömma (2005), som är första delen i Twilight serien, som utgångspunkt? Vilka modeller inom litteraturundervisning finns att tillämpa för vampyrtemat? För att besvara frågeställningarna har närläsning använts som metod. Resultatet visar att vampyren med all rätt kan användas som inspirationskälla i undervisningssyfte. Studien visar att man måste introducera skräcklitteratur med försiktighet och användandet av olika modeller är viktigt för att nå fram till samtliga elever. I studien presenteras valda modeller för läsundervisning som är applicerbara. Eftersom ämnet bjuder på många infallsvinklar torde man kunna fånga många elevers intresse och entusiasmera till fortsatt läsning. / This is a study on whether you can use vampires as a source of inspiration when teaching at upper secondary school level. Two questions form the basis for the study: How can the vampire theme be used in the classroom with horror literature as Dracula (1897) and Twilight (2005) as a foundation? Which models for teaching literature are available for the vampire theme? In order to answer the questions of the study close reading has been used as method. The result shows that the vampire by all means can be used as a source of inspiration for an   educational purpose. The study shows that you have to be cautious when you introduce   horror literature in class and the use of different models is important due to the fact that you want to reach all students. In the study a few selected models for teaching literature are presented that are applicable. Since the subject invites to a wide range of approaches one should be able to catch most of the student’s interest and inspire with enthusiasm.

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.

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x, 195 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This dissertation explores two subgenres of popular romance fiction that emerge in the 1990s: "corporate" and "paranormal" romance. While the formulaic conventions of popular romance have typically centralized the gendered tension between hero and heroine, this project reveals that "corporate" and "paranormal" romances negotiate a new primary conflict, the tension between work and home in the era of global capitalism. Transformations in political economy also occur at the level of personal and emotional life, which constitute the central problem that contemporary romances attempt to resolve. Drawing from sociological studies of globalization and intimacy, feminist criticism, and queer theory, I argue that these subgenres mark the transition from what David Harvey calls Fordist capitalism to flexible or global capitalism as the primary social condition negotiated in the popular romance. My analysis demonstrates that corporate and paranormal romance novels reflect changing ideals about intimacy in a globalized world that is increasingly influenced, socially and culturally, by the values and philosophies that dominate the marketplace. Each of these subgenres offers a distinct formal resolution to the cultural and social effects of a flexible capitalist economy. The "corporate" romances of Jayne Ann Krentz, Nora Roberts, Elizabeth Lowell, and Katherine Stone feature heroines who constantly navigate the dual and intersecting arenas of work and home in an effort to locate a balance that leads to success and happiness in both realms. In contrast, the "paranormal" romances of Laurell K. Hamilton, Charlaine Harris, Kelley Armstrong, and Carrie Vaughn dissolve the tension between home and work, or the private and the public, by affirming the heroine's open and endless pursuit of pleasure, adventure, and self-fulfillment. Such new forms of romantic fantasy at once reveal the tension in globalization and the domination of corporate and masculinist values that the novels hope to overcome. / Committee in charge: David Leiwei Li, Chair; Mary Elene Wood; Cynthia H. Tolentino; Jiannbin L. Shiao

This thesis contains an examination in the psychosocial significance of Hans Baldung Grien’s “Death and the Maiden” art motif, created during the Renaissance period following the Black Death, and its resurgence in the vampire fiction genre of both literature and film. I investigate the motif in Bram Stoker’s Dracula (1897) and Anne Rice’s Interview with the Vampire (1976) as well as their film adaptations by Francis Ford Coppola (1992) and Neil Jordan (1994), respectively. By examining the presence of the motif in art, literature, and film, I found that the common threads across all investigated works were the dominant social fears of their relevant historical societies and the allure of the taboo, as described by Georges Bataille and Slavoj Žižek, among others. The significance of these findings lies within the ability to gauge the values and fears of societies through their use of the motif.

This thesis focuses on the significance of blood and the perception of the body in both learned and popular culture in order to investigate problems of identity and social exclusion in early modern Europe. Starting from the view of blood as a liminal matter, manifesting fertile, positive aspects in conjunction with dangerous, negative ones, I show how it was believed to attract supernatural forces within the natural world. It could empower or pollute, restore health or waste corporeal and spiritual existence. While this theme has been studied in a medieval religious context and by anthropologists, its relevance during the early modern period has not been explored. I argue that, considering the impact of the Reformation on people’s mentalities, studying the way in which ideas regarding blood and the body changed from late medieval times to the eighteenth century can provide new insights about patterns of social and religious tensions, such as the witch-trials and persecutions. In this regard the thesis engages with anthropological theories, comparing the dialectic between blood and body with that between identity and society, demonstrating that they both spread from the conflict of life with death, leading to the social embodiment or to the rejection of an individual. A comparative approach is also employed to analyze blood symbolism in Protestant and Catholic countries, and to discuss how beliefs were influenced by both cultural similarities and religious differences. Combining historical sources, such as witches’ confessions, with appropriate examples from anthropology I also examine a corpus of popular ideas, which resisted to theological and learned notions or slowly merged with them. Blood had different meanings for different sections of society, embodying both the physical struggle for life and the spiritual value of the Christian soul. Chapters 2, 3 and 4 develop the dualism of the fluid in late medieval and early modern ritual murder accusations against Jews, European witchcraft and supernatural beliefs and in the medical and philosophical knowledge, while chapters 5 and 6 focus on blood themes in Protestant England and in Counter-Reformation Italy. Through the examination of blood in these contexts I hope to demonstrate that contrasting feelings, fears and beliefs related to dangerous or extraordinary individuals, such as Jews, witches, and Catholic saints, but also superhuman beings such as fairies, vampires and werewolves, were rooted in the perception of the body as an unstable substance, that was at the base of ethnic, religious and gender stereotypes.