The Vampire In Nineteenth Century Literature Book in PDF, ePub and Kindle version is available to download in english. Read online anytime anywhere directly from your device. Click on the download button below to get a free pdf file of The Vampire In Nineteenth Century Literature book. This book definitely worth reading, it is an incredibly well-written.
The Vampire in Nineteenth Century English Literature by Carol A. Senf Pdf
Carol A. Senf traces the vampire’s evolution from folklore to twentieth-century popular culture and explains why this creature became such an important metaphor in Victorian England. This bloodsucker who had stalked the folklore of almost every culture became the property of serious artists and thinkers in Victorian England, including Charlotte and Emily Brontë, George Eliot, Charles Dickens, Karl Marx, and Friedrich Engels. People who did not believe in the existence of vampires nonetheless saw numerous metaphoric possibilities in a creature from the past that exerted pressure on the present and was often threatening because of its sexuality.
The Vampire in Nineteenth-Century Literature by Brooke Cameron,Lara Karpenko Pdf
Against the social and economic upheavals that characterized the nineteenth century, the border-bending nosferatu embodied the period’s fears as well as its forbidden desires. This volume looks at both the range among and legacy of vampires in the nineteenth century, including race, culture, social upheaval, gender and sexuality, new knowledge and technology. The figure increased in popularity throughout the century and reached its climax in Dracula (1897), the most famous story of bloodsuckers. This book includes chapters on Bram Stoker’s iconic novel, as well as touchstone texts like John William Polidori’s The Vampyre (1819) and Sheridan Le Fanu’s Carmilla (1872), but it also focuses on the many “Other” vampire stories of the period. Topics discussed include: the long-war veteran and aristocratic vampire in Varney; the vampire as addict in fiction by George MacDonald; time discipline in Eric Stenbock’s Studies of Death; fragile female vampires in works by Eliza Lynn Linton; the gender and sexual contract in Mary Elizabeth Braddon’s “Good Lady Ducayne;” cultural appropriation in Richard Burton’s Vikram and the Vampire; as well as Caribbean vampires and the racialized Other in Florence Marryat’s The Blood of the Vampire. While drawing attention to oft-overlooked stories, this study ultimately highlights the vampire as a cultural shape-shifter whose role as “Other” tells us much about Victorian culture and readers’ fears or desires.
The Development of the Vampire in English Literature from the 19th Century to the Present by Cindy Härcher Pdf
Bachelorarbeit aus dem Jahr 2015 im Fachbereich Anglistik - Literatur, Note: 1,3, Universität Bayreuth, Sprache: Deutsch, Abstract: This paper aims to explain the development of the vampire in English literature from the 19th century to the present, from a merciless evil monster to a beautiful hero. I will examine this evolution according to the already explained reasons: the use of vampires as metaphors for their age and as figures who give readers the possibility to reflect themselves in them. To form a basis I will start with an investigation of the vampires’ origins in Eastern European folklore and the figures’ entry into literature. This chapter will also include an examination of reasons for the vampires’ constant popularity and development, with view to the observations of different researchers. Based on this I will examine the selected works in three categories. At first I will take a look at the shape of vampires, mainly focusing on their appearances and behavior and their connection to the corresponding ages. The next two chapters will concentrate on depictions of sexuality and gender, and of religion in the novels and how different treatments of these topics led to changing images of vampires. Reasons for the selection of these topics will be given in chapter two. Finally I will summarize my observations and check if the reasons for the development of the vampire, elaborated in the second chapter, are correct.
This book sets the writings of Merimee, Le Fanu, Stoker and Verne in the context in which they were written - namely the response to Balkan, Ottoman and Austro-Hungarian politics. Gibson analyzes their works to reveal that the vampire acts as an allegory of the Near East through which constitutes a challenge to the 'orientalism' argument of today.
The Origins of the Literary Vampire by Heide Crawford Pdf
While there have been many illuminating studies of pre-literary vampires and vampires that have already been firmly established as literary figures, the story of the crucial moment of transition from folkloric figure to literary subject has not yet been told. The Origins of the Literary Vampire redirects scholarly attention to the body of German poetry and prose where vampire folklore becomes vampire literature. This book focuses on the adaptation of the vampire superstition from central European folklore by German poets in the eighteenth and early nineteenth centuries for an audience that had become increasingly interested in superstition and occult phenomena in an Age of Enlightenment.
An authoritative new history of the vampire, two hundred years after it first appeared on the literary scene Published to mark the bicentenary of John Polidori’s publication of The Vampyre, Nick Groom’s detailed new account illuminates the complex history of the iconic creature. The vampire first came to public prominence in the early eighteenth century, when Enlightenment science collided with Eastern European folklore and apparently verified outbreaks of vampirism, capturing the attention of medical researchers, political commentators, social theorists, theologians, and philosophers. Groom accordingly traces the vampire from its role as a monster embodying humankind’s fears, to that of an unlikely hero for the marginalized and excluded in the twenty-first century. Drawing on literary and artistic representations, as well as medical, forensic, empirical, and sociopolitical perspectives, this rich and eerie history presents the vampire as a strikingly complex being that has been used to express the traumas and contradictions of the human condition.
String garlic by the window and hang a cross around your neck! The most powerful vampire of all time returns in our Stepping Stone Classic adaption of the original tale by Bran Stoker. Follow Johnathan Harker, Mina Harker, and Dr. Abraham van Helsing as they discover the true nature of evil. Their battle to destroy Count Dracula takes them from the crags of his castle to the streets of London... and back again.
This “vigorous, witty look at the undead as cultural icons in 19th- and 20th-century England and America” examines the many meanings of the vampire myth (Kirkus Reviews). From Byron’s Lord Ruthven to Anne Rice’s Lestat to the black bisexual heroine of Jewelle Gomez’s The Gilda Stories, vampires have taken many forms, capturing and recapturing our imaginations for centuries. In Our Vampires, Ourselves, Nina Auerbach explores the rich history of this literary and cultural phenomenon to illuminate how every age embraces the vampire it needs—and gets the vampire it deserves. Working with a wide range of texts, as well as movies and television, Auerbach follows the evolution of the vampire from 19th century England to 20th century America. Using the mercurial figure as a lens for viewing the last two hundred years of Anglo-American cultural history, “this seductive work offers profound insights into many of the urgent concerns of our time” (Wendy Doniger, The Nation).
When Anthony Pennell received the Baroness's invitation, penned in the delicate foreign handwriting of Harriet Brandt, he accepted it at once. Being out of the season, he had no engagement for that evening, but he would have broken twenty engagements, sooner than miss the chance, so unexpectedly offered him, of meeting in an intimate family circle, the girl who appeared to have led his cousin Ralph's fancy astray. He pictured her to himself as a whitey-brown young woman with thick lips and rolling eyes, and how Ralph, who was so daintily particular where the beau sexe was concerned, could have been attracted by such a specimen, puzzled Anthony altogether. The knowledge that she had money struck him unpleasantly, for he could think of no other motive for Captain Pullen having philandered with her, as he evidently had done. At anyrate, the idea that there was the least chance of allying herself with their family, must be put out of her head, at once and for ever.
The Blood is the Life by Leonard G. Heldreth,Mary Pharr Pdf
The essays in this volume use a humanistic viewpoint to explore the evolution and significance of the vampire in literature from the Romantic era to the millennium."--BOOK JACKET.
Metamorphoses of the Vampire in Literature and Film by Erik Butler Pdf
For the last three hundred years, fictions of the vampire have fed off anxieties about cultural continuity. Though commonly represented as a parasitic aggressor from without, the vampire is in fact a native of Europe, and its "metamorphoses," to quote Baudelaire, a distorted image of social transformation. Because the vampire grows strong whenever and wherever traditions weaken, its representations have multiplied with every political, economic, and technological revolution from the eighteenth century on. Today, in the age of globalization, vampire fictions are more virulent than ever, and the monster enjoys hunting grounds as vast as the international market. Metamorphoses of the Vampire explains why representations of vampirism began in the eighteenth century, flourished in the nineteenth, and came to eclipse nearly all other forms of monstrosity in the early twentieth century. Many of the works by French and German authors discussed here have never been presented to students and scholars in the English-speaking world. While there are many excellent studies that examine Victorian vampires, the undead in cinema, contemporary vampire fictions, and the vampire in folklore, until now no work has attempted to account for the unifying logic that underlies the vampire's many and often apparently contradictory forms. Erik Butler holds a PhD from Yale University and has taught at Emory University and Swarthmore College. His publications include The Bellum Gramaticale and the Rise of European Literature (2010) and a translation with commentary of Regrowth (Vidervuks) by the Soviet Jewish author Der Nister (2011).
The Universal Vampire by Barbara Brodman,James E. Doan Pdf
Since the publication of John Polidori's The Vampyre (1819), the vampire has been a mainstay of Western culture, appearing consistently in literature, art, music (notably opera), film, television, graphic novels and popular culture in general. Even before its entrance into the realm of arts and letters in the early nineteenth century, the vampire was a feared creature of Eastern European folklore and legend, rising from the grave at night to consume its living loved ones and neighbors, often converting them at the same time into fellow vampires. A major question exists within vampire scholarship: to what extent is this creature a product of European cultural forms, or is the vampire indeed a universal, perhaps even archetypal figure? In this collection of sixteen original essays, the contributors shed light on this question. One essay traces the origins of the legend to the early medieval Norse draugr, an "undead" creature who reflects the underpinnings of Dracula, the latter first appearing as a vampire in Anglo-Irish Bram Stoker's 1897 novel, Dracula. In addition to these investigations of the Western mythic, literary and historic traditions, other essays in this volume move outside Europe to explore vampire figures in Native American and Mesoamerican myth and ritual, as well as the existence of similar vampiric traditions in Japanese, Russian and Latin American art, theatre, literature, film, and other cultural productions. The female vampire looms large, beginning with the Sumerian goddess Lilith, including the nineteenth-century Carmilla, and moving to vampiresses in twentieth-century film, literature, and television series. Scientific explanations for vampires and werewolves constitute another section of the book, including eighteenth-century accounts of unearthing, decapitation and cremation of suspected vampires in Eastern Europe. The vampire's beauty, attainment of immortality and eternal youth are all suggested as reasons for its continued success in contemporary popular culture.
In his Preface to The Living Dead: A Study of the Vampire in Romantic Literature, James Twitchell writes that he is not interested in the current generation of vampires, which he finds "rude, boring and hopelessly adolescent. However, they have not always been this way. In fact, a century ago they were often quite sophisticated, used by artists varied as Blake, Poe, Coleridge, the Brontes, Shelley, and Keats, to explain aspects of interpersonal relations. However vulgar the vampire has since become, it is important to remember that along with the Frankenstein monster, the vampire is one of the major mythic figures bequeathed to us by the English Romantics. Simply in terms of cultural influence and currency, the vampire is far more important than any other nineteenth-century archetypes; in fact, he is probably the most enduring and prolific mythic figure we have. This book traces the vampire out of folklore into serious art until he stabilizes early in this century into the character we all too easily recognize.
The Blood Delirium is a definitive collection of 19th century European literature in which the vampire, or vampirism - both embodied and atmospheric - is featured or evoked. 23 seminal works by classic European authors are included, covering the whole of Gothic and Romantic, through Symbolism, Decadence, proto-Surrealism and beyond. This volume is charged with sex, blood and horror. Features a detailed introduction by editor Candice Black, which not only examines these texts and their meaning, but also the literary and cultural climate in which the vampire cult flourished.