It is in the spirit of a ＂new family unit＂ that Dracula attempts vampire procreation in Bram Stoker＇s Dracula （2000） The themes of proper lineage and procreation juxtaposed with archaic late Victorian ideas invit...It is in the spirit of a ＂new family unit＂ that Dracula attempts vampire procreation in Bram Stoker＇s Dracula （2000） The themes of proper lineage and procreation juxtaposed with archaic late Victorian ideas invite exploration in this timeless novel. The novel is considered Gothic, yet it meets the cultural milieu of the fin de sikcle contemporary London of the 1890s. As the novel is considered fairly contemporary for its time, it is important to note that given new scientific theories such as eugenics, it is possible that Stoker was attempting to show a new kind of family unit---one that is not begot of the actual sex-act, but rather one that is propagated through the mingling of blood as a replacement for semen. There is much evidence in the novel to suggest that he not only wants to continue his family, but also that he is a true Renaissance ＂man＂ in his knowledge of other cultures, his pleasure and decadence in the finer material possessions, and his consumption of private property to continue his lineage in comfort and safety. It is clear in the novel that a brief analysis of the concepts of progeny and eugenics that the character of Dracula can be read as a ＂regular guy＂ simply trying to continue his lineage in an unforgiving and judgmental world. Dracula is violent in his preservation of his lineage, but he only does so to ensure he will not have to be a night-dweller on his own for eternity. He is a kind of demonic cupid with piercing fangs instead of angelic arrows He has to kill the human soul to obtain this obsessive dream of hearth and home展开更多
This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems...This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny ＂pure＂ evilness. Stoker＇s Dracula （1897） introduced the plausibility--in the realm of the gothic horror novel--of finding heroes in modem day ＂villains＂. This paper will argue this influence by introducing connections with modem ＂pop＂ vampires： from the teenage vampires in the Twilight saga both the texts （2005, 2006, 2007, ＆ 2008） and the film versions （ 2008, 2009, 2010, ＆ 2012）, to the grown-up fantasies of Charlaine Harris in the True Blood saga （both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014） and Tim Button＇s Dark Shadows （2012）, the remake of the 70s American Broadcasting Company Gothic soap opera （which ran between june 1966 to April 1977）. Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modem society is out of brave good villains. The presentation will retrieve some theoretical support from Cristopher Frayling＇s analysis of the vampire myth, David Punters＇ ideas on the modem gothic and Maggie Kilgour＇s assumptions on the rise of the gothic.展开更多
Playbills, covers, and logo of an opera often reflect the meanings of the drama. This paper focuses on above mentioned issues with reference to Dracula, the rock opera of Italian band PFM （Premiata Forneria Marconi）...Playbills, covers, and logo of an opera often reflect the meanings of the drama. This paper focuses on above mentioned issues with reference to Dracula, the rock opera of Italian band PFM （Premiata Forneria Marconi）, explaining how every visual aspects （also considering scenography and costumes） are closely linked to libretto and music to show the consistency among the different facets of the opera production. In this procedure, graphic artists and designers confirm their knowledge, but apart from this awareness, there are some symptoms of an tmconscious creativity as much coherent. As a result, this study aims to show how the management of the biggest colossal in the history of rock opera tries--constantly torn between art and advertising--to attract a potential audience by means of the iconography both of the composers and of the most famous vampire in the world.展开更多
文摘It is in the spirit of a ＂new family unit＂ that Dracula attempts vampire procreation in Bram Stoker＇s Dracula （2000） The themes of proper lineage and procreation juxtaposed with archaic late Victorian ideas invite exploration in this timeless novel. The novel is considered Gothic, yet it meets the cultural milieu of the fin de sikcle contemporary London of the 1890s. As the novel is considered fairly contemporary for its time, it is important to note that given new scientific theories such as eugenics, it is possible that Stoker was attempting to show a new kind of family unit---one that is not begot of the actual sex-act, but rather one that is propagated through the mingling of blood as a replacement for semen. There is much evidence in the novel to suggest that he not only wants to continue his family, but also that he is a true Renaissance ＂man＂ in his knowledge of other cultures, his pleasure and decadence in the finer material possessions, and his consumption of private property to continue his lineage in comfort and safety. It is clear in the novel that a brief analysis of the concepts of progeny and eugenics that the character of Dracula can be read as a ＂regular guy＂ simply trying to continue his lineage in an unforgiving and judgmental world. Dracula is violent in his preservation of his lineage, but he only does so to ensure he will not have to be a night-dweller on his own for eternity. He is a kind of demonic cupid with piercing fangs instead of angelic arrows He has to kill the human soul to obtain this obsessive dream of hearth and home
文摘This article considers the implication of the main character, Count Dracula, the villain/anti-hero in Stoker＇s text, as a starting point to analysing the approaches deployed in the novel that introduce new stratagems to uncover the motives which allow the readers to find excuses to deny ＂pure＂ evilness. Stoker＇s Dracula （1897） introduced the plausibility--in the realm of the gothic horror novel--of finding heroes in modem day ＂villains＂. This paper will argue this influence by introducing connections with modem ＂pop＂ vampires： from the teenage vampires in the Twilight saga both the texts （2005, 2006, 2007, ＆ 2008） and the film versions （ 2008, 2009, 2010, ＆ 2012）, to the grown-up fantasies of Charlaine Harris in the True Blood saga （both the 13 books published between 2001 and 2012 and the Home Box Office TV series that started in 2008 and, so far is in its 7th season in 2014） and Tim Button＇s Dark Shadows （2012）, the remake of the 70s American Broadcasting Company Gothic soap opera （which ran between june 1966 to April 1977）. Bearing in mind the history of the vampire, through a brief account of its constant presence in the contemporary film and television industry, we will attempt to unveil the cultural reasons that bring light to the fact that modem society is out of brave good villains. The presentation will retrieve some theoretical support from Cristopher Frayling＇s analysis of the vampire myth, David Punters＇ ideas on the modem gothic and Maggie Kilgour＇s assumptions on the rise of the gothic.
文摘Playbills, covers, and logo of an opera often reflect the meanings of the drama. This paper focuses on above mentioned issues with reference to Dracula, the rock opera of Italian band PFM （Premiata Forneria Marconi）, explaining how every visual aspects （also considering scenography and costumes） are closely linked to libretto and music to show the consistency among the different facets of the opera production. In this procedure, graphic artists and designers confirm their knowledge, but apart from this awareness, there are some symptoms of an tmconscious creativity as much coherent. As a result, this study aims to show how the management of the biggest colossal in the history of rock opera tries--constantly torn between art and advertising--to attract a potential audience by means of the iconography both of the composers and of the most famous vampire in the world.
