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Journal articles on the topic 'Dracula'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Jannah, Miftahul, and Suwarni Suwarni. "The History of Vlad Dracula and its Distortion: A Study of Strengthening History Learning Literacy." Global Education Journal 3, no. 2 (2025): 447–54. https://doi.org/10.59525/gej.v3i2.727.

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Talking about civilization, there was a civilization that existed for 1300 years: Islamic civilization. This article aims to find out the history of Dracula and the distortion of Dracula's history. The method used in this study is the historical method. The historical method is used to describe the story of the past based on traces left in the past, with the following steps in writing history: (1) heuristics, (2) criticism, (3) interpretation, and (4) historiography. The study's results indicate that based on the analysis of the discussion, it can be concluded that the history of Dracula comes

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2

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 resea

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3

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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4

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 w

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5

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 repr

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6

Bogle, Joe. "Dracula." Comhar 56, no. 6 (1997): 18. http://dx.doi.org/10.2307/25573317.

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7

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

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8

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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9

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 mi

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10

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 pr

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11

Wynne, Catherine. "Fang experiences in Whitby’s Goth/ic theatre." Punk & Post-Punk 13, no. 2 (2024): 217–35. http://dx.doi.org/10.1386/punk_00251_1.

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A sign which regularly appears on the door of St Mary’s Church in Whitby, North Yorkshire, alerts visitors that Dracula is not buried in the churchyard. Dracula arrives in Whitby in Bram Stoker’s fiction, exits the stage and finally turns to dust near his Transylvanian castle. The sign, however, underscores Dracula’s enduring association with Whitby, forged by Stoker’s visit to the town in the summer of 1890. Just over one hundred years after Stoker’s visit, Jo Hampshire, a Goth from Barnsley, West Yorkshire, inspired by Dracula’s association with the town, arranged a Goth visit to Whitby, aft

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12

Talmazan, Oleg. "Author’s position and problems in chris humphreys’s novel ,,Vlad: the last confession”." Studia Universitatis Moldaviae. Seria Ştiinţe Umanistice, no. 4(184) (October 2024): 164–68. http://dx.doi.org/10.59295/sum4(184)2024_21.

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The article is devoted to the historical novel by Canadian prose writer, actor and playwright Chris Humphreys about Dracula. The novel is interesting because it is a historical novel by definition, that is, the author’s motivation to create a text is the interpretation of the image of the historical Dracula with almost no admixture of ideological, political, historical, philosophical, psychological ideas of the author himself. This story does not have an easily guessed end, it seems that the author himself does not know where the development of the plot may lead. Humphreys does not try to deny

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13

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 othe

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14

Mubarki, Meraj Ahmed. "Reorienting Dracula: From Nosferatu to Dracula Untold." Quarterly Review of Film and Video 38, no. 2 (2020): 91–115. http://dx.doi.org/10.1080/10509208.2020.1764801.

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15

Porée, Marc. "Dracula Gramophone." Revue LISA / LISA e-journal, Vol. VII – n°3 (March 1, 2009): 208–21. http://dx.doi.org/10.4000/lisa.104.

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16

Hensley, Wayne E. "Stoker's DRACULA." Explicator 58, no. 2 (2000): 89–90. http://dx.doi.org/10.1080/00144940009597020.

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17

Keats, Patrick. "Stoker's Dracula." Explicator 50, no. 1 (1991): 26–27. http://dx.doi.org/10.1080/00144940.1991.9938699.

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18

Gutjahr, Paul. "Stoker's Dracula." Explicator 52, no. 1 (1993): 36–38. http://dx.doi.org/10.1080/00144940.1993.9938731.

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19

Taylor, Susan B. "Stoker's Dracula." Explicator 55, no. 1 (1996): 29–31. http://dx.doi.org/10.1080/00144940.1996.9937312.

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20

Urtusástegui, Tomás, and Clary Loisel. "Gay Dracula." Harrington Gay Men's Fiction Quarterly 7, no. 4 (2006): 37–45. http://dx.doi.org/10.1300/j152v07n04_04.

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21

Nau, J. Y. "Dracula nippon." Revue Médicale Suisse -3, no. 2370 (2001): 2405. http://dx.doi.org/10.53738/revmed.2001.-3.2370.2405.

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22

BHATTACHARYA, Prodosh, and Abhirup MASCHARAK. "”Dracula” and Dracula in Bengal and in Bengali." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (2022): 103–14. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.6.

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This paper, after listing some translations of Stoker’s novel into Bengali, chooses to focus on two adaptations which totally Indianize the novel and its characters, particularly the titular antagonist, placing them, in one case, in newly-independent India and Calcutta, and in the other, in an India and a Calcutta around two decades after the independence of 1947. In the process, the vampire is queered in both adaptations, and, in the earlier one, so are its human opponents, whereas the later adaptation follows a more homophobic opposition of a queer alien and unambiguously heterosexual humans

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23

Safavi, Sarvenaz. "History Vs. Myth A Comparative Semiotic Study of Vlad Dracula." Revista de Gestão Social e Ambiental 19, no. 1 (2025): e011024. https://doi.org/10.24857/rgsa.v19n1-148.

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Objectives: The purpose of this research is the comparative analysis of two Vlad Dracula from semiotic approach. First, the Vlad the Impaler who was a historical character and second, Count Dracula who created in a possible world and have a mythological character. Value/Originality: The author tries to find out which features from historical Vlad interfered for creation the myth of Vlad by comparing these two characters. Also, what are the similarities of these two by comparative semiotic analysis. Method: this research focuses on the qualitative method based on the comparative analysis for hi

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24

Lestari, Siska. "DIRECTIVE SPEECH ACTS OF THE COUNT DRACULA IN DRACULA NOVEL." Jurnal Ilmiah Spectral 6, no. 1 (2020): 027–40. http://dx.doi.org/10.47255/spectral.v6i1.45.

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This study focused on describing types and functions of the directive speech act on Dracula's novel. The study used a descriptive qualitative method in which Dracula’s utterances were collected. It has found eighteen of Dracula’s utterances. Out of eighteen utterances, ten utterances were directive speech acts which have a function to stating and commanding, three utterances belong to requesting speech acts, two utterances were questioning, while three utterances belong to prohibiting, asking, and advisories speech act. The data analyzed has proved that there are four functions of directive sp

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25

BERNI, Simone. "The Russian editions of Dracula." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (2022): 51–66. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.4.

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Until recently, the Russian editions of Dracula have not received any attention and study. Within the framework of research for my book Dracula di Bram Stoker – il mistero delle prime edizioni (2014), I have looked into the earliest Russian-language editions, as well as the later publications, both in the Soviet Union era and afterwards. The confusion about the authorship of the novel turned out to be a red thread: Dracula was originally attributed to Marie Corelli (Mary Mackay), while works by Corelli were attributed to Stoker. Almost a century after the release of Dracula in 1897, this error

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26

Bohn, Thomas M. "Der Dracula-Mythos." Historische Anthropologie 14, no. 3 (2006): 391–409. http://dx.doi.org/10.7788/ha.2006.14.3.391.

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27

Saudo-Welby, Nathalie. "Bram Stoker, Dracula." Cahiers victoriens et édouardiens, no. 74 Automne (November 14, 2011): 260–61. http://dx.doi.org/10.4000/cve.1433.

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28

Hermans, Johan. "DRACULA VAMPIRA Orchidaceae." Curtis's Botanical Magazine 13, no. 3 (1996): 120–23. http://dx.doi.org/10.1111/j.1467-8748.1996.tb00554.x.

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29

Drinkell, Clare. "586. DRACULA CORDOBAE." Curtis's Botanical Magazine 24, no. 2 (2007): 101–7. http://dx.doi.org/10.1111/j.1467-8748.2007.00570.x.

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30

Penninger, Johannes. "Bram Stoker's Dracula." Maske und Kothurn 41, no. 1-2 (1995): 47–81. http://dx.doi.org/10.7767/muk.1995.41.12.47.

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31

Russell, Christine. "The Dracula Disease." Journal of Public Health Dentistry 46, no. 2 (1986): 105. http://dx.doi.org/10.1111/j.1752-7325.1986.tb03116.x.

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32

Daoust, Jean-Paul. "Dracula et Narcisse." Petite revue de philosophie 9, no. 2 (1988): 79. http://dx.doi.org/10.7202/1103202ar.

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33

IVĂNCESCU, Ruxandra. "Bram Stoker’s Dracula, a Mythological reading." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (2022): 197–202. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.13.

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This paper deals with mythological elements in Bram Stoker’s novel Dracula. It discusses the mythical topos of Transylvania, seen as an exotic land, a scene for romantic events and characters. This place becomes a territory of passage, with mysterious forests, mountains, and a castle placed at the heart of the mystery. The un-dead / immortal Dracula is seen as a character of classic mythology / immortality, the story of life after death, and elements rooted in folklore — both Romanian and Irish. Because of the censorship in the Victorian Age, Bram Stoker placed the seeds of mythology encoded i

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34

Gerlach, Günter. "Dracula, die "kleinen Monster" unter den Orchideen." Der Palmengarten 86, no. 1 (2023): 40–43. http://dx.doi.org/10.21248/palmengarten.2581.

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Bei Dracula denken die meisten vermutlich zuerst an Graf Dracula aus Siebenbürgen (Transsylvanien), den bekanntesten Vampir der Literaturgeschichte. Die Romanfigur gilt als furchterregendes, blutsaugendes Monster. Wie kommt es, dass manche Orchideen ebenfalls diesen gruseligen Namen tragen?

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35

Garcia, Yuri. "Constructing the Vampire Myth in Cinema: A Short Analysis of Nosferatu (1922), Dracula (1931) and Dracula (1958)." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (2022): 115–28. http://dx.doi.org/10.31926/but.pcs.2021.63.14.3.7.

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The present work aims to present a brief analysis of the films Noseferatu (1922), Dracula (1931) and Dracula (1958). Our hypothesis is that these productions are the core of cinematic vampirical mythology in our culture. The idea of what would be a vampire can be traced through ancient myths along different cultures and was highlighted through urban legends in the middle ages. But it was only after Bram Stoker’s Dracula (1897) that this character started to take o more delimited form. If Stoker’s novel can be a species of basis for the vampire myth, cinema would take this entity to a hole new

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36

Rüber, Lukas, Ralf Britz, Kevin Conway, et al. "The genome sequence of the Dracula fish, Danionella dracula (Britz, Conway & Rüber, 2009)." Wellcome Open Research 9 (April 12, 2024): 194. http://dx.doi.org/10.12688/wellcomeopenres.21117.1.

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We present a genome assembly from an individual Danionella dracula (the Dracula fish; Chordata; Actinopterygii; Cypriniformes; Danionidae; Danioninae). The genome sequence is 665.21 megabases in span. This is a scaffold-level assembly, with a scaffold N50 of 10.29 Mb.

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37

Talmazan, Oleg. "Image of Vlad III Basarab in German Sources of the 15th-16th Centuries." Dialogica. Revistă de studii culturale și literatură, no. 1 (April 2024): 19–23. http://dx.doi.org/10.59295/dia.2024.1.03.

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The article is devoted to the problem of the emergence of German texts about Dracula in Germany in the 15th-16th centuries and their genre evolution associated with a change in the linguo-pragmatic task. The links between the works about Dracula belonging to different genres are considered: the handwritten pamphlet of the Benedictine monks from Lambach, the historical episode in the “Chronicle of Constance” by Gebhard Daher, the poetic arrangement of “About the villain called Dracula the Voda of Wallachia” by the court poet Michael Beheim, an entertaining story in early printed editions – “fol

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38

Asoltanei, Iuliana-Elena. "REFLECTIONS OF DRACULA IN CONTEMPORARY POPULAR CULTURE." Messages, Sages and Ages 10, no. 1 (2023): 30–37. https://doi.org/10.5281/zenodo.8300833.

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From its appearance in Bram Stoker’s novel, Dracula has withstood the test of time and achieved a sense of immortality in popular culture. This is in part due to its many reflections in adaptations and retellings until today. Many of these adaptations have been on the Big and Small screens, either in the form of films or serials, and they have each portrayed their own Dracula. This paper aims to illustrate how Dracula has been reflected in a number of works in the 21<sup>st</sup> century and how the character’s versatility contributes to his immortality in contemporary popular cult

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39

Aygun, Ahmet Anil. "The Genealogy of Bram Stoker's Dracula." Technium Social Sciences Journal 9 (June 16, 2020): 651–60. http://dx.doi.org/10.47577/tssj.v9i1.961.

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British author of Irish origin, Bram Stoker’s gothic horror novel, Dracula is the most reputed and popular example of the vampire literature that first emerged in seventeenth-century poetry. The first of the two key concepts that this thesis analyzes is the concept of “meme”, which was coined by the British evolutionary biologist Richard Dawkins, that can be defined as a thought, symbol or application transmitted from one individual to another via oral, written and visual methods and means of communication within a culture, replicates itself, transforms, responds to selective pressures, and th

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40

Hluscu, Gabriela, and Marius-Mircea Crișan. "From Lugos to Hollywood: Bela Lugosi’s transnational persona and the aural construction of Dracula in Tod Browning’s Dracula (1931)." Swedish Journal of Romanian Studies 8, no. 2 (2025): 109–18. https://doi.org/10.35824/sjrs.v8i2.27799.

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In horror literature, acoustic elements heighten sensory engagement and audience immersion in an atmosphere of dread, manipulate psychology, and help transcending the boundaries of imagination. Bram Stoker’s Dracula (1897) masterfully employs voice, sound, and silence to construct Count Dracula’s enigmatic presence, and intensify his uncanny duality as aristocratic seducer and primal predator. This paper examines how Tod Browning’s 1931 adaptation transposes Stoker’s acoustic strategies into cinematic language through Bela Lugosi’s vocal performance and the minimalist soundscape of the film, a

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41

Zwart, Hub. "Vampires, Viruses, and Verbalisation." Janus Head 16, no. 2 (2018): 14–53. http://dx.doi.org/10.5840/jh201816212.

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This paper considers Bram Stoker’s novel Dracula, published in 1897, as a window into techno-scientific and sociocultural developments of the fin-de-siècle era, ranging from blood transfusion and virology up to communication technology and brain research, but focusing on the birth of psychoanalysis in 1897, the year of publication. Stoker’s literary classic heralds a new style of scientific thinking, foreshadowing important aspects of post-1900 culture. Dracula reflects a number of scientific events which surfaced in the 1890s but evolved into major research areas that are still relevant today

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42

Leicester, H. Marshall. "Hammer re-reads Dracula: The second time as farce, or, keeping a stiff upper lip in the ruins." Horror Studies 14, no. 1 (2023): 135–52. http://dx.doi.org/10.1386/host_00066_1.

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This interpretation questions the standard critical assumptions about Hammer Studios’ Dracula that despite its transient improprieties, Dracula offered audiences temporary refuge from the strains of contemporary British life by having absolute good (vampire hunters) triumphing over (absolute evil) vampire. My reading explores the film’s agency through its self-conscious relation to its pre-texts in novel and films, showing how its plot conspicuously alters former cultural expectations and assumptions about the ‘rules’ of vampirism. This deliberate slippage in the stability of prior conventions

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43

Mansberg, Victor J. "Does Dracula wear glasses?" Medical Journal of Australia 163, no. 11-12 (1995): 596. http://dx.doi.org/10.5694/j.1326-5377.1995.tb124788.x.

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44

Aikens, Kristina. "Battling Addictions in Dracula." Gothic Studies 11, no. 2 (2009): 41–51. http://dx.doi.org/10.7227/gs.11.2.6.

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45

Grabias, Magdalena. "Dracula – nowe perspektywy badawcze." Perspektywy Kultury 25, no. 2 (2019): 193–98. http://dx.doi.org/10.35765/pk.2019.2502.14.

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Dziedzina studiów gotyckich, wywodząca się z romantycznej tradycji brytyjskiej i obejmująca badania nad literaturą i filmem, staje się coraz bardziej popularna także w krajach nieanglojęzycznych. Potwierdzają to liczne publikacje analizujące elementy gotyckie w pozycjach literackich i kinie narodowym krajów takich jak Hiszpania (np. Xavier Aldana Reyes, Spanish Gothic [Hiszpański gotyk], Londyn 2017) czy Włochy (np. Rober-to Curti, Italian Gothic Horror Films, 1970-1979 [Włoskie gotyckie horro-ry filmowe, 1970-1979], Jefferson, NC 2017). Na polskim rynku wydaw-niczym w ostatnich latach również

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46

Hovi, Tuomas. "Dracula tourism as pilgrimage?" Scripta Instituti Donneriani Aboensis 22 (January 1, 2010): 211–27. http://dx.doi.org/10.30674/scripta.67368.

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This article is about Dracula tourism in Romania and how it may be seen as pilgrimage. The author approaches this connection especially through the place myth of Transylvania and through the status Transylvania has in Western popular culture. The subject is approached purely from a ‘Western’ point of view, that is, in this article Romania, although a member of the EU and NATO, is treated not as part of the West but part of the East. This is due to the fact that in Western popular culture Romania and especially Transylvania have always been portrayed as the Other in relation to the West. Wester

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47

Couture, Jean-Claude. "Dracula as action researcher." Educational Action Research 2, no. 1 (1994): 127–32. http://dx.doi.org/10.1080/09650799400200002.

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48

Canainn, Aodh Ó. "An bhfaca tú Dracula?" Comhar 56, no. 12 (1997): 27. http://dx.doi.org/10.2307/25573434.

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49

Garcia, Anca Andriescu. "Dracula – Hybridity and Metafiction." Acta Universitatis Sapientiae, Philologica 10, no. 1 (2018): 53–74. http://dx.doi.org/10.2478/ausp-2018-0004.

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AbstractDue to his supernatural nature, but also to his place of origin, Bram Stoker’s well-known character, Dracula, is the embodiment of Otherness. He is an image of an alterity that refuses a clear definition and a strict geographical or ontological placement and thus becomes terrifying. This refusal has determined critics from across the spectrum to place the novel in various categories from a psychoanalytical novel to a Gothic one, from a class novel to a postcolonial one, yet the discussion is far from being over. My article aims to examine this multitude of interpretations and investiga

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Ionescu, Dan. "Who's afraid of Dracula?" Index on Censorship 15, no. 8 (1986): 24–25. http://dx.doi.org/10.1080/03064228608534143.

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