![It is necessary only to substitute kisses for intercourse and semen for blood to be left with a novel as sexually explicit as any of the time" [1] Bram Stokers Dracula has held a fascination for both the public](https://mbt-essays-prod-public.s3.eu-west-1.amazonaws.com/97376/listing/97376_1.jpg)
It is necessary only to substitute kisses for intercourse and semen for blood to be left with a novel as sexually explicit as any of the time" [1] Bram Stokers Dracula has held a fascination for both the public
"It is necessary only to substitute kisses for intercourse and semen for blood to be left with a novel as sexually explicit as any of the time" 1 Bram Stokers Dracula has held a fascination for both the public and literary professionals alike for over a century, in fact, since it was first published in 1897; it has never been out of print. No other Gothic character has been able to hold universal appeal in quite the same way, but why society should find this morose, rigid and monstrous creature so alluring is a mystery that has compelled many to attempt to solve. In the 1970s there were only a few articles on Dracula and a long, tedious biography of the author Bram Stoker. Consequently most peoples' perceptions of Dracula were wholly influenced by the Hammer Horror films in which Dracula was portrayed as a two dimensional, out and out evildoer. Not many people had seriously read the actual book or questioned its message. However, by the late Eighties and, more importantly, the Nineties, (which celebrated the centenary in 1997 of Stokers classic); there came a surge of interest in the actual sub-text of Dracula. Many respected writers and academics have uncovered fascinating themes within the book that appear to reflect the fin-de-siecle anxieties of the times especially the issues surrounding sex and sexuality. Dracula's conception in 1897 coincided with the peak of
Midterm Written Celebration: Jane Austen
Maureen McKenzie Jane Austen Chesley 29 October 2008 Midterm Written Celebration Mansfield Park: What role does sense play in character development? Jane Austen used sense and sensibility as personality gauges for her characters within her novel. Sense was a measurement of a character's intellect, judgment, and self-knowledge, while sensibility was a measurement of emotions, taste, and responses. These characteristics are used to define characters as to their virtue in the Jane Austen world. The sense shown in the relationship between Edmund, Fanny, and Mary Crawford in Mansfield Park is an example of how Jane Austen uses sense and one's change in sense to define her characters' virtue and how the character's personal storyline turns out in the end. Edmund Bertram is a character who fluctuates in his sense, but as long as he fluctuates back to good sense, he is worthy of a wedding in the Jane Austen world. Fanny Price is the character who displays good sense. She displays intellect, good judgment, and has a sense of self; though by modern definitions her muteness would probably not be counted as such great sense. But the modern woman wouldn't be deemed to be so sensible in Jane Austen's time. Mary Crawford, with her outspokenness and willfulness should not be mistaken for the modern feminist. In Jane Austen's time this disregard for sense was a strike to Mary's
Explore how Mary Shelley develops the gothic genre in chapter 4 and 5 of Frankenstein.
English Coursework - Frankenstein Prose Study Explore how Mary Shelley develops the gothic genre in chapter 4 and 5 of Frankenstein. Up until 1800, literature in general consisted of a spontaneous expression of idyllic images of love - ultimately categorised as "The Romantic Movement." From this sprouted Romanticism's antithesis - literary Gothicism. When it was first introduced in the late 18th century, Gothic literature featured accounts of terrifying experiences set in graveyards or ancient castles, and descriptive motifs such as flickering lamps and ghostly figures. These have now become images of stereotypical horror. As it developed, Gothic literature came to designate everything to do with the macabre, mysterious and supernatural in literature more generally. Now one of the most recognisable forms of literature, Gothicism gained its popularity due to the stark contrast from anything that preceded it, and the surrounding controversy that shocked and intrigued its audiences. New scientific discovery swept across 18th century civilization, and the need for knowledge had overcome society. To the less educated, Gothic literature, (with its strong themes of science,) was seen as a way to further understand and involve themselves within these interesting developments, while the experienced scientist would be curious of the science mentioned in Gothicism. Another major
Discuss the use and importance of symbolism in Bram Stokers Dracula.
Discuss the use and importance of symbolism in Bram Stoker's Dracula. Bram Stoker's Dracula1 is a story about the good against the evil and how five men try to fight the evil blood-drinking monster. 'Bram Stoker's Transylvanian count is one of those rare literary characters who has achieved first name basis recognition. He has achieved in fact, iconographic status' (www.lsu.edu/necrofile/drac10). This statement suggests that Dracula was an iconic figure in the nineteenth century. Dracula is written in the context of fear and anxiety; like horror stories it works on a symbolic level. The use of symbolism throughout the novel has added further interest and suspense to the story. Bram Stoker has used a range of symbolism throughout the text to draw reader's attention to different issues. I will focus on a few main symbols and discuss their use and importance in Bram Stoker's Dracula. The use of blood, garlic and the crucifix in the novel all symbolise different issues. In the first half of the story the way Jonathon describes his journey in his journal, on the way to count Dracula's castle, and the event that occur during his journey symbolise a fear factor. This is shown when Jonathon is leaving from the hotel and an old lady begs him not to go, she says 'It is the eve of St George's Day. Do you not know that tonight, when the clock strikes midnight, all the evil
In her famous novel My ntonia, Willa Cather explores and develops issues of identity in a variety of ways. As well as illustrating the divide between various ethnic groups, Cather raises questions of gender identity and attempts to redefine Ameri
Explore some of the ways American Writers have raised and developed questions of identity (racial, ethnic, gender, sexual etc.) Refer in detail to any ONE OR MORE texts. In her famous novel "My Ántonia", Willa Cather explores and develops issues of identity in a variety of ways. As well as illustrating the divide between various ethnic groups, Cather raises questions of gender identity and attempts to redefine American social norms regarding these identities. A strong underlying theme of the novel is the struggle to define gender identities. Gelfant (1971) described the novel as a "drama of distorted sexuality". Throughout the novel, Jim seems to battle somewhat between what he considers to be the socially normal way for men and women to act within society, and the reality that exists. As Cather made clear in her early essays, as an author she was highly aware of the way our culture assigns roles or positions to respective sexes. With this in mind, it can be said that she incorporates these assumptions into her work, resulting in heightened tension within "My Ántonia". Her idea seems to point strongly towards the idea of men as "subject" and women as "object". In the novel, Jim Burden seems to convey traditional male attitudes. He moves outward, engages in change and writes possessively about "his" Ántonia. The conventional pattern of development further
Fade in - Creative script writing.
FADE IN: . EXT. COUNRYSIDE. DAY The weather is dull. There is a small village of large detached houses in the middle of nowhere. There are fields for miles with sheep and cows grazing. A house sits proudly in its grounds. There is a lonely swing, moving in the wind. The woods around the house, whistle and sway. 2. INT. KITCHEN. DAY The kitchen is large with a country feel about it. All the wooden beams are in view. There is an auger at the back with large surfaces at each side of it. There is also a cooker at the far end with a pan boiling on one of the front rings. There is a wooden table in the middle of the room set for two. The clock on the wall is at 12:15pm. Amy is in her early 30's wearing a long pleated dress. Her long blonde hair is tied back in low ponytail. Amy places a glass of juice and a cup of tea on the table. AMY (Shouting) Shelly.......Dinner Amy drains the pan from the stove and serves the food on to the plates, she then takes the chops out of the auger and puts them on the plates. Amy puts the plates on the table and walks to the door. AMY (Shouting) Shelly Amy sits down to her dinner. The clock is now at 12:35pm. Amy places her knife and fork on the table, looking puzzled she gets up from her chair. 3. INT. BEDROOM. DAY The room is spacious, with plenty of clutter around. There are posters of male pop stars on the wall. On the
Find 3 passages in which Shelly explores the importance of the female.
Poppy Freeman "Find 3 passages in which Shelly explores the importance of the female." In this novel, the human female is often portrayed as passive and compliant. Frankenstein does not appear to be attracted to women and even when he marries Elizabeth he shows little of the passionate interest that he displays towards his science experiments. Although all of the females' roles are small it may be argued that the novel explores Frankenstein's fear of sexuality through his attempt to create a World that excludes women. It has been suggested that, through the novel, Shelly is trying to show that, if men continue to exclude women society will be less successful. Thus, despite writing about meek, subservient women Shelly is actually exploring radical, distinctly feminist ideas. Interestingly the only two females who are bestowed with independent behaviour are Safie and the unfinished female creature. When pages 29 and 30 are examined in detail the reader realises that from a young age Frankenstein was obsessed by Elizabeth's delicate beauty describing her as having been 'a child fairer than pictured cherub-creature who seemed to shed radiance from her looks, and whose form was lighter than the chamois of the hills.' This description reveals Frankenstein's view of Elizabeth as a perfect, angel-like being. Frankenstein enjoys the fact that she is delicate looking and
'One is not born, but rather becomes, a woman' (De Beauvoir 1949) How does Jane Austen's Sense and Sensibility reflect this statement?
'One is not born, but rather becomes, a woman' (De Beauvoir 1949) How does Jane Austen's Sense and Sensibility reflect this statement? Simone De Beauvoir's famous quotation 'One is not born, but rather becomes, a woman' comes from The Second Sex (1949), which 'highlights the extent to which the masculine is represented as the positive or the norm, while the feminine is portrayed as the "other"' (Heywood 2003:258). De Beauvoir argues that women's freedom is limited through this 'otherness' and does not allow them to express their full humanity. She used rationality and critical analysis to show how this process takes place in society and aimed to try and give women a feeling of responsibility for their own lives. 'No biological, psychological or economic fate determines the figure that the human female presents in society; it is civilisation as a whole that produces this creature, intermediate between male and eunuch, which is described as feminine' (De Beauvoir 1949:295). Distinguishing between 'sex' and 'gender' is one of the core concepts of feminism, and as De Beauvoir states 'gender' as a construct is imposed by patriarchal society. Kate Millett notes that there are no differences in personality or behaviour between the sexes at birth and so 'psychosexual personality is therefore postnatal and learned' (1977:30). The majority of feminists agree that gender is
Compare and Contrast the Techniques Used by Bronte in Describing Thornfiled Hall in Chapter 11, with those used by Woolf in Describing London in the Early Pages of Mrs. Dalloway
Compare and Contrast the Techniques Used by Bronte in Describing Thornfiled Hall in Chapter 11, with those used by Woolf in Describing London in the Early Pages of Mrs. Dalloway? Jane Eyre's tone is both gothic and romantic, often conjuring an atmosphere of mystery and secrecy. Her description of Thornfield in chapter 11, is very Victorian and thorough, which draws us into the novel. On page 122 of Chapter 11, when approaching the third floor, Jane uses a visual first person narrative text. When Bronte writes, "Mrs Fairfax stayed behind a moment to fasten the trap-door", she is giving us an aspect of ambiguity, the word 'fasten' emphasises the refusal of entry. The description of the staircase in Thornfield Hall illustrates the rigid and constricted atmosphere, as they are described as 'the narrow garret staircase'. Bronte uses alliteration when stating, "lingered in the long passage", to emphasise the description of her movement in the surroundings. The phrase 'separating' used in the passage exemplifies the secrecy within Thornfield, which also intrigues us. The use of semicolons and commas in the passage, adds to the appeal of Thornifield, illustrated when Bronte writes, "the third story; narrow, low, and dim". These techniques disrupt the flow of the sentence to show the fascination and anxiety that she has for the attic. This allows the structure of the sentence to be
Elizabeth Taylor's Journey in Life: Analyzed by Erik Erikson's Theory of Psychosocial Development.
Elizabeth Taylor's Journey in Life: Analyzed by Erik Erikson's Theory of Psychosocial Development By Theories of Personality December 4, 2003 Elizabeth Taylor's Journey in Life Elizabeth Taylor is one of the most recognized and successful movie stars of our era: violet-eyed, luminously beautiful, although never the most gifted actress, she was the most magnetic; elebrity is her lifeblood; tragedies her life-long struggles, the public eye her constant companion. She knew no moderation - it was all or nothing. Whether good (two Oscars, the first-ever one-million-dollar pay check, and charity work), bad (health and weight problems, drug battles, and other tragedies), or ugly (eight failed marriages, movie disasters, and countless scandals), no triumph or setback was too personal for media consumption. Elizabeth Rosemond Taylor was born in London in 1932 to American parents. Her father came from a family of reasonably affluent midwestern art dealers and had moved to London in the late 1920s to set up an English branch of the business. and moving with him to the centre of his family's gallery business in St Louis. Her mother had enjoyed some success on the stage, so the world of Hollywood and that of a touring actress was familiar to her, but she claimed it up for her marriage and two children, Elizabeth and her older brother.(Morley, 1998). Until she was seven years