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Dracula (Work)
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Dracula (Orchidaceae) , and more.
Dracula (Orchidaceae) , and more.
Frankenstein and Dracula were characters out of literature. Frankenstein began as a game in 1816 played by Mary Shelley, poet Percy Shelley and a notorious writer of the age named Lord Byron. It was on a storm-swept night that Lord Byron suggested a competition in which each of them would write a ghost story to see which could produce the most terrifying. Byron came up with a tale called The Vampyre. But Mary topped them all with her story of the modern Prometheus, as she called him, Frankenstein. Although publishers were at first reluctant to print this "blasphemous" portrait of a man who plays God by using science to create a living monster from sewn-together parts of dead human
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The initial adaptation of the text of Dracula was to the stage. In order to secure his dramatic rights to the characters and the content of his novel, Stoker took two pre-publication copies of the book and with scissors and paste selected material to work into a play. Transitional material was added as needed. He then secured the assistance of members of the drama troupe with whom he worked in the employ of Henry Irving. A single performance of what is generally considered a perfectly awful presentation of Dracula was held on May 18, 1897, with two paying customers. Reportedly, the censors went light on Stoker with the understanding that the reading was to a limited audience and would never be repeated.
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From a figure of menace and parody to a New York junkie, Dracula has had many reincarnations. But it was the 1958 film starring Christopher Lee that first made him sexy, writes Matthew Sweet
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Evaluate the effects that Dracula has on the various characters he encounters in the story. How does he bring out their best and most noble instincts? How does he bring out their worst or least attractive qualities?
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Following the publication of In Search of Dracula by Radu Florescu and Raymond McNally in 1972 the connection between Vlad III Dracula and the fictional Dracula have attracted much popular attention. Following them many authors have claimed that Stoker has based his character loosely on the historic Wallachian ruler Vlad III... known as Vlad the Impaler ( Vlad Ţepeş in Romanian). In his six year reign ( 1456 – 1462 ) he is estimated to have killed 100,000 people, mainly by using his favourite method of impaling them on a sharp pole. However, it should be noted that the history of Romania at this time was mainly recorded by German immigrants, a group with which Vlad is known to have clashed several times. Vlad is revered as a folk hero by Romanians for driving off invading Turks with his brutal tactics; his impaled victims included thousands of Turkish Muslims .
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As Ken Gelder points out, it becomes difficult not to invoke the metaphor of vampirism when discussing texts such as Dracula (1994:85), a metaphor employed here when discussing the exchange of ‘textual fluids’. Buffy’s creators, it seems, could not resist including their own highly self reflexive moment which exploits the tropes of vampirism (the penetration of flesh, the sucking of blood) as a comment on Buffy’s place in the array of vampire narratives. Buffy’s tasting of Dracula’s blood induces a (grotesque) montage flashback: we see Buffy’s slayer ancestor (first encountered in “Restless” [4.22]), the rushing of corpuscles of blood through veins accompanied by the sound of a strong pulse, and images of her previous hunting expeditions. This scene requires the cult audience to possess knowledge not only of Buffy’s diegetic and narrative histories but ... by extension, the generic history extending back beyond the show’s inception – Buffy/Buffy’s blood is also Dracula/Dracula’s blood. Buffy’s powers are most certainly “rooted in darkness”, as Dracula insists. He recognizes this darkness because it is his own.
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Dracula (Work)