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Journal articles on the topic 'Dracula'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Sari, Yulia Puspita, and Emil Eka Putra. "ARCHETYPAL IMAGES REFLECTED IN DRACULA NOVEL BY BRAM STOKER." JURNAL BASIS 8, no. 2 (October 23, 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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2

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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3

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 (October 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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4

Bâgiu, Lucian Vasile. "Death and immortality in "Dracula's Diary": readings through "Corpus Hermeticum"." Swedish Journal of Romanian Studies 6, no. 1 (May 15, 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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5

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

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6

Twisselmann, B. "Dracula." BMJ 339, sep09 1 (September 9, 2009): b3664. http://dx.doi.org/10.1136/bmj.b3664.

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7

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

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8

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 (March 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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9

Wilson, David, and Elvin Wyly. "Dracula urbanism and smart cities in style and substance." Dialogues in Urban Research 1, no. 2 (July 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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10

Marácz, Viktória. "Race, Empire, and the Horrors of a Hunnic Past in Dracula (1897)." Erdélyi Társadalom 20, no. 2 (September 15, 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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11

Mubarki, Meraj Ahmed. "Reorienting Dracula: From Nosferatu to Dracula Untold." Quarterly Review of Film and Video 38, no. 2 (May 19, 2020): 91–115. http://dx.doi.org/10.1080/10509208.2020.1764801.

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12

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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13

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

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14

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

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15

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

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16

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

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17

Urtusástegui, Tomás, and Clary Loisel. "Gay Dracula." Harrington Gay Men's Fiction Quarterly 7, no. 4 (April 26, 2006): 37–45. http://dx.doi.org/10.1300/j152v07n04_04.

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18

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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19

Lestari, Siska. "DIRECTIVE SPEECH ACTS OF THE COUNT DRACULA IN DRACULA NOVEL." Jurnal Ilmiah Spectral 6, no. 1 (September 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 speech acts based on Levinsons’ principle and three functions based on Allan. It is concluded that the directive speech act is the way how the speaker influences the addressee to do something.

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20

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 (January 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, despite there being no major feminine presence in it. We attempt some deductions regarding why the two Bengali adaptors took their respective stances.

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21

BERNI, Simone. "The Russian editions of Dracula." Bulletin of the Transilvania University of Brasov. Series IV: Philology and Cultural Studies 14 (63), Special Issue (January 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 reappeared in republications of Corelli’s and Stoker’s work in regions formerly belonging to the Soviet Union.

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22

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

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23

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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24

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

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

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26

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

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27

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

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28

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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29

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 (January 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 in his text. For his contemporaries, Dracula appears as evil and must be killed. The next generations disseminated the mythology of Dracula, each according to their cultural level and taste, from Nosferatu to The Vampire Diaries.

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30

Gerlach, Günter. "Dracula, die "kleinen Monster" unter den Orchideen." Der Palmengarten 86, no. 1 (December 18, 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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31

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 (January 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 level. In an audio-visual medium, Dracula stood as the most famous vampire and these three films would be the most important to start to form the figure of mediatic (and most of all, cinematic) vampire.

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32

Rüber, Lukas, Ralf Britz, Kevin Conway, Iliana Bista, Shane McCarthy, Jonathan Wood, Michelle Smith, Karen Oliver, Kerstin Howe, and Richard Durbin. "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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33

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 – “folk books”. The article shows how, depending on the historical situation, the evaluative position and goals of the compilers of the texts changed, and what effect this had on specific linguistic features, primarily lexical ones. he works of Antonio Bonfini and Teodor Kuritan do not seem to have influenced the German Dracula narratives: even the later German texts are close in content to the Lambach manuscripts.

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34

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 the second concept is the memetic evolution of the vampire into the character, Dracula by Bram Stoker in Romantic ballads and Victorian horror narratives within the context of Evolutionary Literary Criticism which was theorized by Professor Joseph Carroll. In this regard, the qualities of the vampire phenotype that the Dracula meme inherited some qualities from its antecedent works of vampire fiction through memetic heredity, setting and plot are examined, and the evolutionary process that literary vampire predecessor had undergone towards the Transylvanian, aristocratic, seductive, stereotypical vampire. Finally, in the appendix, the prequels, sequels, and spin-offs of Dracula to demonstrate that the Dracula meme has survived and thrived notwithstanding over a century after its first publication and the selective pressures, and subsist by copying itself.

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35

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. Rather than seeing science and literature as separate realms, moreover, Stoker’s masterpiece encourages us to address the ways in which techno-scientific and psycho-cultural developments mutually challenge and mirror one another, so that we may use his novel to deepen our understanding of emerging research practices and vice versa (Zwart 2008, 2010). Psychoanalysis plays a double role in this. It is the research field whose genealogical constellation is being studied, but at the same time (Lacanian) psychoanalysis guides my reading strategy. Dracula, the infectious, undead Vampire has become an archetypal cinematic icon and has attracted the attention of numerous scholars (Browning & Picart 2009). The vampire complex built on various folkloristic and literary sources and culminated in two famous nineteenth-century literary publications: the story The Vampyre by John Polidori (published in 1819)2 and Stoker’s version. Most of the more than 200 vampire movies released since Nosferatu (1922) are based on the latter (Skal 1990; Browning & Picart 2009; Melton 2010; Silver & Ursini 2010). Yet, rather than on the archetypal cinematic image of the Vampire, I will focus on the various scientific ideas and instruments employed by Dracula’s antagonists to overcome the threat to civilisation he represents. Although the basic storyline is well-known, I will begin with a plot summary.

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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 (April 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 generates tension between two modes of reading Dracula – as a conventional horror movie about the melodramatic struggle between good and evil – or a depiction of domestic life as a tissue of improvisations that highlight the instabilities and contradictions of desire and gender, family organization, personal and class relations. This article shows how Dracula gradually shifts emphasis from the melodrama to agential improvisation, re-reading the horror movie and its pretensions in order to blur the distinctions between good and evil in both its imagined Victorian fiction and modern life.

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

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

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Grabias, Magdalena. "Dracula – nowe perspektywy badawcze." Perspektywy Kultury 25, no. 2 (July 1, 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 nie zabrakło publikacji poświęconych omawianej tematyce. Ukazały się m.in. pozycje takie jak: Groza w kulturze polskiej pod redakcją Roberta Dudzińskiego, Kamila Kowalczyka i Joan-ny Płoszaj (Wrocław 2016); Upiór w kamerze. Zarys kulturowej historii kina grozy autorstwa Magdaleny Kamińskiej (Poznań 2016); Anatomia strachu. Strach, lęk i ich oblicza we współczesnej kulturze pod redakcją Bogusławy Bodzioch-Bryły i Lilianny Dorak-Wojakowskiej (Kraków 2017); Oblicza wampiryzmu pod redakcją Anny Depty, Szymona Cieślińskiego i Michała Wolskiego (Wrocław 2018) i wiele innych.

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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. Western popular culture plays a significant role in Dracula tourism.

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

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

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Garcia, Anca Andriescu. "Dracula – Hybridity and Metafiction." Acta Universitatis Sapientiae, Philologica 10, no. 1 (October 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 investigate their possible convergence. It will also explore the ambivalence or even plurivalence of the character who is situated between the limit of life and death, myth and reality, historical character and demon, stereotype and fear of Otherness and attraction to the intriguing stranger, colonized and colonizer, sensationalism and palpable fin-de-siècle desperation, victim and victimizer, host and parasite, etc. In addition, it will investigate the mythical perspective that results from the confrontation between good and evil, which can be interpreted not only in the postcolonial terms mentioned above, but also in terms of the metatextual narrative technique, which converts into a meditation on how history and myth interact. Finally, it will demonstrate that, instead of being a representation of history, Bram Stoker’s novel represents a masterpiece of intergeneric hybridity that combines, among others, elements of history, myth, folktale and historical novel.1

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

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Woods, Josh. "Ring-wraiths and Dracula." Tolkien Studies 17, no. 1 (2020): 195–201. http://dx.doi.org/10.1353/tks.2020.0009.

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Cottom, Daniel. "Sherlock Holmes Meets Dracula." ELH 79, no. 3 (2012): 537–67. http://dx.doi.org/10.1353/elh.2012.0028.

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Walsh, Louise. "Dracula and Tropic Death." Caribbean Quarterly 64, no. 3-4 (October 2, 2018): 521–43. http://dx.doi.org/10.1080/00086495.2018.1531561.

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Dorian, Marguerite, Marin Sorescu, and Dennis Deletant. "Vlad Dracula, the Impaler." World Literature Today 62, no. 2 (1988): 267. http://dx.doi.org/10.2307/40143599.

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Washburn, A. "The Communist Dracula Pageant." Theater 39, no. 1 (January 1, 2009): 45–81. http://dx.doi.org/10.1215/01610775-2008-013.

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Altschuler, Eric Lewin. "Hereditary Somnambulism in Dracula." Journal of the Royal Society of Medicine 96, no. 1 (January 2003): 51–52. http://dx.doi.org/10.1177/014107680309600124.

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