The New Vampire: Bram Stoker’s Dracula and Anne Rice’s Interview with all the Vampire Dissertation

The vampire has been a secret and enticing figure since its entrance in popular culture, usually regarded as the tale Dracula written in 1897 by Bram Stoker. Stoker, sometime later it was Anne Rice, as well as a number of other writers and directors include capitalized on the fascination people has with these darker creatures in the night. Whether they are in books or perhaps on the giant screen vampires record our imagination, tantalizing all of us with a taste of the deeper side of life. When vampires are really dark and thus different than our company is, is that the actual them so fascinating? Is it because they symbolize the forbidden? Can it be because they resemble humans, but action nothing like them? Or is it because most of us have a fascination with issues that we don't understand? My goal is to find out why they may have entered the mainstream consciousness and how they may have managed to have such a successful, and relatively unending work. In order to examine the transition of goule, we must look at the idea of the vampire as portrayed in Bram Stoker's novel Dracula. The vampire is seen as a foreigner: someone very much removed from contemporary society who makes no make an effort to fit in. His accent, outfit, home and manner claim that he is absolutely not human, and he is very much a cold, bad character that could not be viewed in any other way. We cannot understand him, neither are we all supposed to possibly want to. Wood identifies these attribute depictions as " the obsolete codes” which display " humans as characters, the vampire as foe; humans as comrades, the vampire because loner; virtue as a individual trait, nasty as inhuman; humans because Christian, vampire as Satanic. ” (60) However , a lot of do credit Stoker together with the introduction with the new vampire. Surely the characters in Dracula comply with this belief of good and evil becoming completely unique from one another. Prior to the 1931 film Dracula the unoriginal vampire was presented as " an ancient, decaying, strolling corpse with distorted features, razor-sharp fangs, and prolonged fingers”. (Reep, Ceccio, Francis 124) Following Bela Lugosi's performance in the 1931 film version, the vampire started to be middle older, extremely paler, and of several aristocratic descent, usually which has a horrible accent; think " Ay vant to sack yor blud! ” and you're on the right track. This goule lived in a lot of derelict castle, or darker dank quarters, sleeping in a coffin amidst cobwebs and spiders. This individual lived a solitary existence, and was not given any sort of redemption qualities that will make the reader or viewers sympathize with him. (Reep, Ceccio, Francis 124) The introduction of Bea Rice's new Interview with the Vampire, nevertheless , changed all that. By changing the mythology of the goule she " has up-to-date the nature of the vampires; no longer simple or single-minded personifications of nasty, her blood-drinkers are totally realized heroes who sensibly confront the difficulties of their lives. ” (Wood 60) Vampires suddenly seem much more individual, much more reasonable, and much more attainable.

There are several distinctions between the classic vampire as well as the modern vampire. While Real wood points out these new ghosts are aristocratic, blood-thirsty and nocturnal, the same as their precursors, that is basically where the similarities end. Rice's vampires tend not to transform in other pets. They do not food solely about virginal women in the nighttime. (Wood 60) Her male vampires happen to be as stylish as the earlier vampires, tend to be also young, handsome, and passionate, surviving in luxury and – typically – delighting in their vampiric nature and immortality. Essentially the most profound and important transform though is that " Grain told the story from the vampire's point of view, making her vampire not only sympathetic but also glamorous and exciting. ”(Reep, Ceccio, Francis 125) Within departure from traditional middle-aged male goule, Rice created Claudia, children vampire – both gorgeous and extremely horrible concurrently. And much in contrast to the mafia chasing...

Mentioned: Wood, Martin J.. " New Existence for an Old Tradition: Bea Rice and Vampire Literature”. The Blood is the Life: Vampires in Literary works. Eds. Leonard G. Heldreth and Mary Pharr. Basketball Green, OH YEA: Bowling Green State College or university Press, 1999. 59-78.

Reep, Diana C., Frederick F. Ceccio and William A. Francis. " Anne Rice is Interview while using Vampire: Book Versus Film”. The Gothic World of Bea Rice. Eds. Gary Hoppenstand and Ray B. Browne. Bowling Green, OH: Basketball Green Point out University Press, 1996. 123-147.

Senf, Carole A.. The Vampire in Nineteenth-Century English language Literature. Etambot Green, OH YEA: Bowling Green State College or university Press, 1988.



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