Relevant bibliographies by topics / Dracula

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters
  5. Conference papers
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Academic literature on the topic 'Dracula'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 June 2025

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Journal articles on the topic "Dracula"

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Sari, Yulia Puspita, and Emil Eka Putra. "ARCHETYPAL IMAGES REFLECTED IN DRACULA NOVEL BY BRAM STOKER." JURNAL BASIS 8, no. 2 (2021): 165–72. http://dx.doi.org/10.33884/basisupb.v8i2.3848.

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This research discusses archetypal in the novel Dracula written by Stoker. The purpose of this research is to find out some archetypal images in the novel. Some of the problems that exist today are readers who do not know the meaning of archetypal images contained in a novel. The data used in this study were taken from the novel Dracula written by Stoker. In this research, the researcher applies Carl Jung's theory. This study uses descriptive qualitative research, in qualitative research the key concepts, ideas, and processes studied are part of the central phenomenon. The result of this research is that the novel Dracula has many archetypal images contained in it. The archetypes in Dracula are: sun, color, the archetype women, and wise old man. Based on the results of this study, the researcher concludes that there are several archetypes in Dracula's novel that are used to convey implied meanings through the symbols used.
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Crișan, Marius-Mircea, and Carol Senf. "The Mysteries of the Post-Communist Vampire: Detective Features in the Novel Nepotul lui Dracula by Alexandru Mușina." Caietele Echinox 43 (December 1, 2022): 201–15. http://dx.doi.org/10.24193/cechinox.2022.43.13.

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"The association of the vampire with Eastern Europe has evolved in crime fictions which transform this fantastic character from a supernatural being to a means to comment on politics, many of them focusing on the imagological opposition between Eastern Europe and the Western world, a treatment that began with Stoker’s Dracula. Our paper analyses the transformation of this imagological vampiric stereotype, by investigating the deconstructivist novel Nepotul lui Dracula (Dracula’s Nephew) (2012) by the Romanian writer Alexandru Mușina."
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De Brún, Sorcha. "“In a Sea of Wonders:” Eastern Europe and Transylvania in the Irish-Language Translation of Dracula." Acta Universitatis Sapientiae, Philologica 12, no. 1 (2020): 70–83. http://dx.doi.org/10.2478/ausp-2020-0006.

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Abstract The publication of the Irish-language translation of Dracula in 1933 by Seán Ó Cuirrín was a landmark moment in the history of Irish-language letters. This article takes as its starting point the idea that language is a central theme in Dracula. However, the representation of Transylvania in the translation marked a departure from Bram Stoker’s original. A masterful translation, one of its most salient features is Ó Cuirrín’s complex use of the Irish language, particularly in relation to Eastern European language, character, and landscapes. The article examines Ó Cuirrín’s prose and will explore how his approaches to concrete and abstract elements of the novel affect plot, character, and narration. The first section explores how Dracula is treated by Ó Cuirrín in the Irish translation and how this impacts the Count’s persona and his identity as Transylvanian. Through Ó Cuirrín’s use of idiom, alliteration, and proverb, it will be shown how Dracula’s character is reimagined, creating a more nuanced narrative than the original. The second section shows how Ó Cuirrín translates Jonathan Harker’s point of view in relation to Dracula. It shows that, through the use of figurative language, Ó Cuirrín develops the gothic element to Dracula’s character. The article then examines Ó Cuirrín’s translations of Transylvanian landscapes and soundscapes. It will show how Ó Cuirrín’s translation matched Stoker’s original work to near perfection, but with additional poetic techniques, and how Ó Cuirrín created a soundscape of horror throughout the entirety of the translation.
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Bâgiu, Lucian Vasile. "Death and immortality in "Dracula's Diary": readings through "Corpus Hermeticum"." Swedish Journal of Romanian Studies 6, no. 1 (2023): 283–311. http://dx.doi.org/10.35824/sjrs.v6i1.18732.

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The knowledge existent at present, which generates the need for a new approach to the myth of Dracula, refers to an almost unanimous reception based on the novel published in 1897 by Bram Stoker and on the tens of the subsequent portrayals which have induced a social and cultural paradigm standardized as commercial kitsch. Within this fictitious construct Dracula has been expounded in manifold keys. However, to ordinary perception, his figure is reduced to the semi-caricatural vampire character, the living-dead craving for blood. This article aims to answer a series of questions about the representations of Dracula and their relevance to the fields of cultural and literary studies: Which is the “real” Dracula? Which are the psychological, cultural, social and historical impulses determining the actions of the character and the established myth? To what extent the deeds of the personage can be accounted for through the instrumentality of psychological impetus and by the agency of cultural, philosophical, esoteric, and occult principles? Thus can the “real” Dracula be integrated into an ampler context of culture and civilization, where his alienation and his monstrosity belong less to the paradigm of “the other”, of “the stranger” and refer more to the revealing of some of “our” intimately repressed human features? The article proposes a critical examination and reinterpretation of Dracula’s image, starting from the novel Jurnalul lui Dracula (Dracula’s Diary) (1992) by the Romanian writer and academic Marin Mincu. Original responses are being suggested to the questions defined previously – through several writing and literary theory techniques, including references to Corpus Hermeticum. By comparing and contrasting the hermetic philosophical text and the Romanian novel, the essay aims at finding out whether the entire construct of the myth of Dracula can be explained through two cultural and philosophical aspects, namely death and immortality. It also offers a new reading, another conceptualization of a familiar but debatable subject, which reinterprets and even rejects the mainstream view. The work by the extremely well-informed Romanian academic, which was first published in Italy, has nothing in common with Bram Stoker’s (“vampiric falsification”, asserts the author in the preface…), but vividly portrays the “real” Dracula, the Prince Vlad the Impaler, imprisoned in the underground cave of a castle under the Budapest Danube, writing a journal between February, 2nd, 1463 and August, 28th, 1464. In his diary the character recalls his historical fate and legendary destiny through references to aspects of Romanian culture and civilization considered in a European context. For instance, the study approaches topics such as: the religion of Zalmoxis as the philosophical and existential foundation of the Romanians; Dacians’ attitude towards death, as described by Herodotus, which might have influenced Pythagoras, Socrates, the Eleusinian and the Orphic Mysteries; the boycott of history by the Romanian people (an echo from philosopher Lucian Blaga’s writings); the orality of the Romanian culture (as opposed to the written culture of the western Europe); the oral folkloric creations, the ballad Miorița (The Little Ewe) and the fairy-tale Tinerețe fără bătrânețe și viață fără de moarte (Youth without old age and life without death), etc. All of these are put forward within the humanistic, Renaissance context of the epoch, given that Dracula was a friend of Marsilio Ficino, Nicolaus Cusanus, Pope Pius II, Cosimo de’ Medici, etc. Researchers will discover new speculative themes and directions with regard to the seemingly exhausted myth of Dracula.
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Bogle, Joe. "Dracula." Comhar 56, no. 6 (1997): 18. http://dx.doi.org/10.2307/25573317.

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Twisselmann, B. "Dracula." BMJ 339, sep09 1 (2009): b3664. http://dx.doi.org/10.1136/bmj.b3664.

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Raines, Jonathan M., Lisa C. Raines, and Melvin Singer. "Dracula." Psychiatric Clinics of North America 17, no. 4 (1994): 811–26. http://dx.doi.org/10.1016/s0193-953x(18)30087-x.

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Huebner, Anna. "Who came first – Dracula or the Tourist? New Perspectives on Dracula Tourism at Bran Castle." European Journal of Tourism Research 4, no. 1 (2011): 55–65. http://dx.doi.org/10.54055/ejtr.v4i1.62.

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The emergence of the Dracula figure within popular culture has caused strong associations to vampire myths with the Romanian region of Transylvania. Bran Castle, set on the southern borders to Walachia has somewhat become a centre for ‘Dracula Tourism’, being connected not only to the fictional Dracula, but increasingly also to the historical legend of the ‘Dracul’ Vlad. In her study, Banyai (2010) examined post visitors’ images held of the Castle and the compliance of these images with tour guides on-site interpretations, identifying an imbalance between the images held and interpretations provided. This study takes its point of departure from her qualitative records and attempts a supra-analysis of these by further elaborating upon destination images being influenced by popular culture and by extending upon her framework when discussing visitors’ co-creations of experiences at Bran Castle. Findings reinforce the richness and variety of images held by visitors as well as by other stakeholders of tourism. It is furthermore highlighted that the discrepancy of images held may not necessarily need to be addressed since this rather adds to the overall experience and the contested space (some may even refer to this as the ‘mystic’ space) of Bran Castle. Rather, recommendations are made to better align images and servicescapes originating in the immediate surroundings with those represented at the Castle.
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Wilson, David, and Elvin Wyly. "Dracula urbanism and smart cities in style and substance." Dialogues in Urban Research 1, no. 2 (2023): 181–85. http://dx.doi.org/10.1177/27541258231187374.

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Dialogues in Urban Research was established to create critical yet constructive conversations about cities and urbanization at a perilous but fascinating historical-geographical conjuncture. In this vein, we thank our four interlocuters, Emma Colven, Renee Tapp, Delik Hudalah, Dallas Rogers, and Christopher Silver, for their provocative comments on our manuscript. There is much food for thought in their ideas. In response to their comments, we initially expound on three core themes in the article that address their concerns about our conceptual apparatus. Here we offer clarity to dispel any misunderstandings of what our paper is about. The discussion's cornerstone: Dracula urbanism as an important situated theorising; Dracula's complicated features, and the reality of smart city building as the leading edge of Dracula urbanism. Then, we illuminate the contributions of our critics as a collection of nuanced modifications and extensions of our work. We are heartened that these fellow urbanists, in this special journal issue, have critically appraised the Dracula urbanist concept and move it forward in meaningful ways.
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Marácz, Viktória. "Race, Empire, and the Horrors of a Hunnic Past in Dracula (1897)." Erdélyi Társadalom 20, no. 2 (2022): 101–16. http://dx.doi.org/10.17177/77171.279.

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In this thesis, I seek to answer one of the central questions in Bram Stoker’s Dracula: who is entitled to hold hegemony in Europe, and more importantly, based on what claim? The novel treats race as the primary decisive factor in answering this question, but also links race to policies of language, national identity, and civilizational progress. The novel approaches this question through a normative English subjectivity, such as that of Jonathan Harker’s travel narrative, which juxtaposes English modernity and rationalism to the, supposedly, racially decadent Transylvanian locals. On the other hand, the novel presents Dracula as a cruel, authoritarian leader constructing an ideology of Székely (Sekler) racial purity based on militaristic achievements and an ancient Hunnic origin. The novel argues that these ideas are morally reprehensible, hence it deems these ideas a despicable, dangerous monster. Ultimately the novel is ideologically confused: it both positions the Dutch and America as potential leaders of a future of indefinite Western hegemony, and, strangely, appreciates some aspects of Dracula and his Transylvanian home. The first chapter deals with Harker’s travel narrative and the English’s claim to power based on modernity, while the second chapter analyzes its counter text, Dracula’s lecture on Transylvanian history, a rhetorical speech promoting the racial status of his Hun-Székely background. Lastly, the third chapter elaborates on the novel’s indecisiveness to the hegemony question and how its treatment of Dracula with both fear and fascination reflects tendencies in nineteenth-century Anglo-Irish Gothic literature.
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Dissertations / Theses on the topic "Dracula"

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Silva, Ana Cristina Alves da. "The Fog era a Jungian and post-Jungian interpretation of Dracula and its filmic version Bram Stoker's Dracula." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102343.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicão e Expressão. Programa de Pós-Graduação em Letras/Ingles e Literatura Correspondente<br>Made available in DSpace on 2013-07-16T00:42:06Z (GMT). No. of bitstreams: 0<br>Esta dissertação propõe uma interpretação Jungiana e Pós-Jungiana do romance Drácula, escrito por Bram Stoker, e sua versão cinematográfica Drácula de Bram Stoker de Francis Ford Coppola. Incluindo alguns aspectos do Romantismo, características de algumas narrativas de horror e o uso de conceitos Jungianos e pós-Jungianos, apresento uma proposta de um conceito teórico e crítico que decidi chamar de "Fog Era" (a Era da Bruma). Este conceito é essencialmente dinâmico e contém um aspecto seminal e imutável que faz com que seus elementos passeiem por diferentes contextos históricos e se readaptem, adquirindo novos contornos. A função proposta para a "Fog Era" é servir como uma ferramenta para análise de algumas facetas do horror, primeiro nas narrativas mencionadas e depois em outras narrativas analisadas brevemente. Na Introdução mostro os passos que devo seguir nos outros capítulos e que bases do Romantismo e fronteiras literárias devem limitar meu trabalho. No Capítulo I, item 1, mostro quais conceitos Jungianos uso para minha análise, bem como uma perspectiva mais contemporânea dos pesquisadores pós-Jungianos. No item 2, apresento o Romantismo em antagonismo com os valores Vitorianos e explico porque o conceito Jungiano da sombra é válido para dizer que os Vitorianos são a sombra dos Românticos. No item 2.1, o arquétipo da Mãe é usado para justificar o contexto em que as narrativas de horror foram criadas. No item 2.2, uma relação entre arquétipos e personagens é feita e será o suporte para a análise no próximo capítulo. O Capítulo II traz a análise completa da versão de Coppola, sendo que no item 1 mise-en-scène e caracterização são relacionadas com os conceitos Jungianos e o item 2 mostra a reiteração da análise e o novo contexto histórico do filme. O item 3 apresenta minha proposta de um novo conceito teórico para analisar as narrativas horror, chamada de "Fog Era". Na Conclusão revejo a teoria usada, confirmo as características e a utilidade da noção de "Fog Era". This thesis proposes a Jungian and post-Jungian interpretation of the novel Dracula, written by Bram Stoker, and its filmic version Bram Stoker's Dracula, directed by Francis Ford Coppola. With the inclusion of some aspects of Romanticism, characteristics of some horror narratives and the use of Jungian and post-Jungian concepts, I attempt at defining a new critical theoretical concept that I call the Fog Era. This concept is essentially dynamic and contains a seminal immutable aspect that makes its elements travel through different historical contexts and re-adapt themselves while acquiring new contours. The function proposed to the Fog Era concept is to serve as a tool to analyze some of the horror manifestations in the narratives mentioned above; at the same time, some other narratives are analyzed briefly. In the Introduction, I show the steps I will follow in the subsequent chapters and establish what basis of Romanticism and what literary boundaries will limit my corpus. In Chapter I, item 1, I show which Jungian concepts I need in order to develop my analysis, as well as a more contemporary and reviewed perspective of post-Jungian researchers. In item 2, I present aspects of Romanticism in antagonism with Victorian values and explain why the concept of shadow proposed by Jung is valuable to define the Victorians as the shadow of the Romantics. In item 2.1, the Mother Archetype is used to justify the context in which the horror narratives were created. In item 2.2, a relation is made among the archetypes and the characters present in the narratives, which will support the analysis for the next chapter. In Chapter II a full analysis of Coppola's filmic version is done: in item 1 the mise-en-scène and characterization are related to the Jungian concepts and in item 2, a reiteration of the analysis and the new historical context of the film. In item 3, I finally present my proposal of the new theoretical concept to analyze horror narratives, called the Fog Era. In the Conclusion, I review the theoretical frame used, and confirm the characteristics and usefulness of the Fog Era.
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PETIT, JEAN CLAUDE. "Frankenstein, dracula, elephant man : terreur, solitude, esthetique." Paris 7, 1988. http://www.theses.fr/1988PA070040.

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Le present travail est en grande partie consacre a l'etude de deux grands "classiques" du roman gothique : frankenstein et dracula. Les deux premieresparties de cette recherche ont pour but essentiel de depeindre l'environnement social et culturel dans lequel les personnages evoluent et que l'apparition du surnaturel vient pertuber. La necessite de combattre les monstres entraine parfois des commentaires et des comportements incoherents. Elle mene egalement les personnages vers des destinations lointaines, voyages au cours desquels ils affrontent des dangers venus d'un autre monde. Ces considerations se completeront, pour dracula, d'une etude sur l'errance spatio-temporelle du vampire. Ce chapitre aborde egalement le theme de la persecution et de la destinee; il s'acheve enfin sur une tentative de definition du mot "monstre", concept parfois en rapport avec l'humain. Ce developpement conduit logiquement sur une reflexion d'ordre ethique, sur quels criteres reposent les notions de bien et de mal? les elements naturels tiennent un role essentiel dans ces deux oeuvres, par le pouvoir d'evocation des paysages. L'aspect visuel contribue largement a l'entretien d'un climat plus ou moins angoissant selon l'evolution de l'intrigue. .<br>The present research mostly deals with the study of two "classicals" in the gothic tradition : frankenstein and dracula. The first two parts essentially aim at describing the social and cultural environment the characters live in. The sudden coming of the supernatural is then a cause of serious perturbation. The monsters must be fought, and this sometimes leads to intolerant comments and attitudes. To that purpose, the protagonists have to make far away trips, during which they are confronted to the unknown. The vampire's everlasting condition has also brought us to study a specific aspect : its spatial and temporal wandering existence. Other themes are also treated in this chapter, such as persecution and destiny. We have finally attempted to define the word "monster" and to explain how this concept can sometimes be related to that of "humanity". A development on ethical considerations follows these pages, what do "good" and "evil" actually mean? the natural elements -water and air, light and shadow- play an essential part in these novels. .
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Aldach, Danielle Elyse. "Six Operatic Scenes from Bram Stoker's Dracula." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1413.

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Six highlighting scenes from the novel by Bram Stoker are set in operatic form for voice and piano. Scenes will include dialogue (either spoken or recitative) and arias or ensembles. Each section will be approximately 5 to 10 minutes in length. The largest influence of this work is, of course, the novel, Dracula. The book has been in public domain since its publication in 1897. The libretto will be modeled from the book and may include direct quotes. The scenes should represent some of the crucial points in the novel and reveal the internal side of each character involved. Along with the score, included in this thesis are the libretto and notes from Dr. Jacob Juntunen on the script for the scenes, notes from Danielle Aldach about the composition, and a brief historical overview of Prince Vlad III of Wallachia- "Count Dracula". Dr. Juntunen is professor of playwright at Southern Illinois University Carbondale and has agreed to collaborate on the opera scenes based on the novel.
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Moucarbel, Roula. "Dracula et le fantastique chez Bram Stoker." Thesis, Cergy-Pontoise, 2011. http://www.theses.fr/2011CERG0490.

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Cette thèse est consacrée à l'étude d'un chef-d'uvre de la littérature fantastique : Dracula, roman que Bram Stoker avait écrit à la fin du XIXème siècle et qui n'a jamais cessé de faire rêver les générations. Doté de pouvoirs extraordinaires, Dracula apparaît comme une énigme à déchiffrer. A travers le fantastique, nous nous proposons de découvrir la véritable signification de cet être étrange et de préciser la place et le rôle de l'archétype initiatique dans le roman. Dans une première partie notre objectif est d'étudier l'émergence du phénomène fantastique et du personnage du vampire, en suivant sa naissance dans la littérature, et en retrouvant ses origines dans la mythologie et l'histoire. La deuxième partie est consacrée au fantastique dans Dracula. Elle met en lumière l'espace, les personnages, l'image et les pouvoirs surnaturels du vampire. Dans la troisième et dernière partie, il s'agit d'analyser l'approche psychanalytique du fantastique dans le roman en mettant en valeur l'image érotique, le problème du mal et les différents conflits psychanalytiques présents dans Dracula<br>This thesis is devoted to the study of the master piece from the Fantastic literature: Dracula, a novel that Bram Stoker wrote around the end of the XIXth century and that has relentlessly inspired mankind one generation after the other. Gifted with extraordinary powers, Dracula emerged as an enigma that required deciphering. Across the Fantastic, we attempt to discover the real implications of this mysterious being and to point out the position and role of the initiating archetype in the novel. The aim of the first part of the thesis is to study the emergence of the Fantastic phenomenon and of the vampire character through following its birth trail across the literature and tracking its origins in mythology and history. The second part deals with the Fantastic aspect of the novel. It highlights the setting, the characters in addition to portraying the image and the supernatural powers of the vampire. The third and last part deals with the analysis of the psychoanalytical approach of the Fantastic within the novel through appreciating the erotic image, the problem of evil and the different psychoanalytical conflicts present within Dracula
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McArthur, Ian Duncan. "Adapting Dracula: The Afterlives of Stoker's Memes in Nosferatu (1922) and Dracula (1979)." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6477.

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Dracula is a narrative that has risen above its own origins, having been translated and adapted across mediums it has inundated culture with vampires. However, with each adaptation the narrative and characters adapt into something new. This study is interested in the mechanism behind this evolution and argues that memes and, and their interpretations, are largely responsible for these shifts across adaptations. Three memes, in particular, tend to be adapted in films of Dracula. They include Dracula's appearance, Mina's empowerment, and the nature of the bite that they share. This analysis covers how these memes functioned in Stoker's original novel and how they adapted in the films Nosferatu (1922) and Dracula (1979) to reflect the developing culture norms regarding sexuality.
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Bahrman, Alexander. "En påle genom Dracula-filmernas hjärta? : En komparativ analys av adaptationer av Bram Stokers Dracula (1897) från åren 2000-2014." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-295233.

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En komparativ analys av adaptationer av Bram Stokers Dracula (1897) från åren 2000-2014 med syfte att undersöka resultatet av nästan 100 år av adaptationer och ett mål för att verkställa om en filmkanon har skapats kring karaktären.
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Kemlo, Justine. "A systemic-functional framework for the multimodal analysis of adaptation: the case example of Dracula." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209633.

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This thesis proposes a multimodal systemic functional model for adaptation. Its aim is to provide the analyst with wider insight into the process(es) of adaptation but also with a complex yet manageable apparatus which enables comparison and articulation of these comparisons over and above intersemiotic boundaries. The model has been applied to the case example of Bram Stoker's novel Dracula and seven different film adaptations.<br>Doctorat en Langues et lettres<br>info:eu-repo/semantics/nonPublished
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Grimm, Gunter E. "Dracula und seine Erben. Über einen Horror-Mythos." Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-09082002-155027/.

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Petrikis, Titus. "Creating a sound world for Dracula (Browning, 1931)." Thesis, Bournemouth University, 2014. http://eprints.bournemouth.ac.uk/21390/.

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The first use of recorded sound in a feature film was in Don Juan (Crosland 1926). From 1933 onwards, rich film scoring and Foley effects were common in many films. In this context, Dracula (Browning 1931)1 belongs to the transitional period between silent and sound films. Dracula’s original soundtrack consists of only a few sonic elements: dialogue and incidental sound effects. Music is used only at the beginning and in the middle (one diegetic scene) of the film; there is no underscoring. The reasons for the ‘emptiness’ of the soundtrack are partly technological, partly cultural. Browning’s film remains a significant filmic event, despite its noisy original soundtrack and the absence of music. In this study Dracula’s original dialogue has been revoiced, and the film has been scored with new sound design and music, becoming part of a larger, contextual composition. This creative practice-based research explores the potential convergence of film sound and music, and the potential for additional meaning to be created by a multi-channel composition outside the dramatic trajectory of Dracula. This research also offers an analysis of how a multi-channel composition may enhance or change the way an audience reads the film. The audiovisual composition is original, but it uses an existing feature film as an element of the new art piece. Browning’s Dracula gains a new interpretation due to the semantic meaning provided by associations with major cataclysmic events of the 20th century, namely the rise of two totalitarian powers in Europe. The new soundtrack includes samples from the original that are modified, synthesised and re-worked: elements of historical speeches; quotes from Stoker’s Dracula; references to the sounds of the time period (Nazi rallies, warfare, Soviet prosecution), and the original recordings of Transylvania (similar to the geographical location and season Stoker describes in Dracula). 1 Dracula (in italics) will refer to Browning’s film (1931) throughout this paper. The soundtrack composition also includes elements of a new, specially composed Requiem, which share the same sonic and musical expression tools: music language, varying sound pitch, time stretch, granular synthesising, and vocal techniques such as singing, speech, whispering, etc.).
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Moore, Jeffrey Salem. "English Assimilation and Invasion From Outside the Empire: Problems of the Outsider in England in Bram Stoker's Dracula." University of Dayton / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1291134372.

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Books on the topic "Dracula"

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(Erwin), Steinhauer E., Graf Georg, and Rosmanith Peter, eds. Dracula, Dracula. Mandelbaum, 2008.

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Stoker, Bram. Dracula and Dracula's Guest. Edited by Mathew Staunton and Michael Everson. Evertype, 2016.

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Stoker, Bram. Dracula. Simon & Brown, 2016.

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Stoker, Bram. Dracula. Dorling Kindersley, 1997.

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Stoker, Bram. Dracula. Brilliance Audio, 2005.

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Stoker, Bram. Dracula. J.W. Edwards, Inc., 2009.

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Stoker, Bram. Dracula. Start Publishing LLC, 2013.

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Stoker, Bram. Dracula. Clipper Large Print, 2012.

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Stoker, Bram. Dracula. Blackstone Audiobooks, 1998.

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Stoker, Bram. Dracula. Argo, 1986.

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Book chapters on the topic "Dracula"

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Crişan, Marius-Mircea. "“Welcome to My House! Enter Freely and of Your Own Free Will”: Dracula in International Contexts." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_1.

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Bone, Kristin L. "Location and the Vampire: The Impact of Fictional Stories upon Associated Locations." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_10.

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Browning, John Edgar. "In Search of Dracula’s Oracular History." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_11.

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Schumann, Nancy. "Vampiric Emotion and Identity in Dracula and Interview with the Vampire." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_12.

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Grabias, Magdalena. "Gothic and Horror in Contemporary Cinema and Television: Aesthetic Experience and Emotional Impact." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_13.

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Babilas, Dorota. "Papa Dracula: Vampires for Family Values?" In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_14.

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Senf, Carol. "The Evolution of Gothic Spaces: Ruins, Forests, Urban Jungles." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_15.

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Hughes, William. "The Casework Relationship: Le Fanu, Stoker and the Rhetorical Contexts of Irish Gothic." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_2.

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Badin, Donatella Abbate. "The Discourse of Italy in Nineteenth Century Irish Gothic: Maturin’s Fatal Revenge, Le Fanu’s Exotic Tales, and The Castle of Savina." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_3.

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Szabo, Lucian-Vasile, and Marius-Mircea Crişan. "“Bloodthirsty and Remorseless Fangs”: Representation of East-Central Europe in Edgar Allan Poe’s Gothic Short Stories." In Dracula. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63366-4_4.

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Conference papers on the topic "Dracula"

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Samuell, Gemma. "Dracula untold." In SIGGRAPH '15: Special Interest Group on Computer Graphics and Interactive Techniques Conference. ACM, 2015. http://dx.doi.org/10.1145/2745234.2746960.

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Tahara, Takamitsu, Katsuhiko Gondow, and Seiya Ohsuga. "DRACULA: Detector of Data Races in Signals Handlers." In 2008 15th Asia-Pacific Software Engineering Conference. IEEE, 2008. http://dx.doi.org/10.1109/apsec.2008.25.

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Candrea, Adina Nicoleta. "IS BRAN CASTLE THE PLACE TO MEET DRACULA? A QUALITATIVE STUDY ON VISITORS' OPINIONS REGARDING DRACULA TOURISM IN THE MEDIEVAL FORTRESS." In 6th SWS International Scientific Conference on Social Sciences ISCSS 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscss.2019.2/s04.024.

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Stoleriu, Oana Mihaela. "DRACULA TOURISM IN ROMANIA: FROM NATIONAL TO LOCAL TOURISM STRATEGIES." In SGEM 2014 Scientific SubConference on POLITICAL SCIENCES, LAW, FINANCE, ECONOMICS AND TOURISM. Stef92 Technology, 2014. http://dx.doi.org/10.5593/sgemsocial2014/b24/s7.029.

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A Fillerup, M., J. H. Knapp, and C. C. Knapp. "Subhorizontal Fabric Of The Transylvanian Lithosphere From The Dracula I Profile." In 4th Congress of the Balkan Geophysical Society. European Association of Geoscientists & Engineers, 2005. http://dx.doi.org/10.3997/2214-4609-pdb.26.p3-03.

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Lucero, Briana, Cameron J. Turner, and Julie Linsey. "Design Repository and Analogy Computation via Unit Language Analysis (DRACULA) Repository Development." In ASME 2015 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2015. http://dx.doi.org/10.1115/detc2015-46640.

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Abstract:
Engineering designs are typically constrained by requirements and specifications. The Design Analogy Performance Parameters System (D-APPS) project seeks to provide engineers with a means to transform these product requirements and specifications into functional analogies. D-APPS employs design-by-Analogy (DbA) via critical functionality and the engineering performance parameters from the specifications to produce functional alternative options to design engineers. Repositories, or databases, provide structured storage of information for retrieval by users in an systemic manner. D-APPS utilizes a repository to store analogy entries, capable of being polled by the developed algorithm. Analogous matches are formulated with the weighting scheme of the algorithm. This research investigates the structures of three alternative repositories, and the current D-APPS database with its interface to the algorithm and design engineer. The architecture of the repository is discussed with example entries and rationale for inclusion.
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Teodorescu, Camelia. "CULTURAL-HISTORICAL TOURISM OR FICTION TOURISM IN ROMANIA? CASE STUDY: VLAD THE IMPALER OR DRACULA." In 4th International Multidisciplinary Scientific Conference on Social Sciences and Arts SGEM2017. Stef92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/14/s04.024.

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Akbari, Najva, Rose L. Tatarsky, Kristine E. Kolkman, Joseph R. Fetcho, Andrew H. Bass, and Chris Xu. "Whole-brain optical access and longitudinal imaging in an adult vertebrate, Danionella dracula, with multiphoton microscopy." In Multiphoton Microscopy in the Biomedical Sciences XXIII, edited by Ammasi Periasamy, Peter T. So, and Karsten König. SPIE, 2023. http://dx.doi.org/10.1117/12.2648088.

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Akbari, Najva, Rose L. Tatarsky, Andrew H. Bass, and Chris Xu. "Label-free Map of Adult Danionella dracula Brain for in vivo Navigation Using Third Harmonic Generation Microscopy." In Optics and the Brain. OSA, 2021. http://dx.doi.org/10.1364/brain.2021.btu3b.3.

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Hai, Bui Tuan, Motokawa Masaharu, and Ninh Thi Hoa and Le Xuan Canh. "A REVISION OF THE GEOGRAPHICAL DISTRIBUTIONS OF THE SOUTHEAST ASIAN SHREWS (Crocidura dracula & C. fuliginosa) BASED ON NEW COLLECTION IN VIETNAM." In HỘI NGHỊ KHOA HỌC QUỐC GIA VỀ NGHIÊN CỨU VÀ GIẢNG DẠY SINH HỌC Ở VIỆT NAM. Nhà xuất bản Khoa học tự nhiên và Công nghệ, 2020. http://dx.doi.org/10.15625/vap.2020.0001.

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Reports on the topic "Dracula"

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Ragalie, Kelly. Dracula and Dictators: The Changes in Tourism in Romania After the Fall of Communism. Portland State University Library, 2014. http://dx.doi.org/10.15760/honors.40.

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Abba, Agustín M. Desmodus cf. D. draculae. Categorización 2019 de los mamíferos de Argentina según su riesgo de extinción. Lista Roja de los mamíferos de Argentina, 2019. http://dx.doi.org/10.31687/saremlr.19.051.

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