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1
Escandell Montiel, Daniel, and Miriam Borham Puyal. "Villains and Vixens: The Representation of Female Vampires in Videogames." Oceánide 12 (February 9, 2020): 85–93. http://dx.doi.org/10.37668/oceanide.v12i.29.
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Vampires populate our culture and have become a recurrent presence in fiction and the media. In all cases the inclusion of the vampire has given voice to “socio-culture issues faced in particular times and places; issues that may otherwise remain repressed” (Dillon and Lundberg 2017, 47). This socio-cultural subtext is complicated when the vampire is female, for she is now doubly othered by her gender. Her monstrosity is seen as twofold: as a vampire and as a transgressive woman. While many studies address female vampires in popular culture, their portrayal in videogames has been recurrently overlooked. Games potentially help shape gender attitudes in thousands of players; therefore, it is particularly relevant to examine the varied representations of these monstrous or othered female figures and to understand how they adhere to or challenge misogynistic readings of women and their bodies. In light of this, and interpreting videogames as a narrative medium, this article provides an analysis of significant vampiric videogames and discusses the female vampire in relation to violence against women and postfeminist agendas, following a narrative rather than ludology approach.
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Schumann, Nancy. "Sleeping with the Vampire." Gothic Studies 23, no. 3 (November 2021): 316–31. http://dx.doi.org/10.3366/gothic.2021.0107.
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Comparing Dracula to contemporary YA literature, including the Blue Bloods and House of Night series, this paper traces a variety of vampiric characteristics that have survived the eras these works have crossed. These include the use of gender, the vampire’s attitude towards their victims, and how these change through the ages, as well as vampiric sexuality. As more vampire literature is written by women, the fanged fiends become very modern young women and the result loses nothing of the danger or sex appeal their nineteenth-century ancestors had. Female voices, both of authors and narrators, constitute an important shift in vampire literature that combines the old femme fatale trope with women’s independence. This paper will document this development and show that as horror brings the vampire to school the genre takes its next step to immortality that is by no means boring, creating complex vampire characters that can be heroines and demons alike.
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Tikhonova, Sophia V. "The Corporeality of the Domestic Vampire in the Context of Soviet Nostalgia." Corpus Mundi 4, no. 1 (July 10, 2023): 29–49. http://dx.doi.org/10.46539/cmj.v4i1.75.
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The article deals with the analysis of the corporeality of Russian vampires, naturalized in the domestic serial cinema at the beginning of the third decade of the 21st century. The vampire was a marginal character in the Russian cultural tradition of the 19th century, combining folkloric traits with stable motifs of the Western Gothic novel. In Soviet culture, he was a total stranger, since he belonged to the subcensorship theme of mysticism and anti-Soviet propaganda. The vampire expansion of the 1990s strengthened the vampire myth as a Westernized project that assimilated poorly and slowly into domestic soil. Only a reinterpretation of the Soviet Union's image as part of Soviet nostalgia led to a flowering of the national vampire theme. This investigation is aimed at assembling the social body of the vampire clan (Vampires of the Middle Zone, 2021, 2022) into a single whole by means of Soviet nostalgia, which requires us to reconsider the contemporary trends in the dynamics of the canonical corporeality of the vampire in Western mass culture and to apply them to the Soviet-oriented model of Russian history. The author demonstrates the peculiarities of the Smolensk vampire's corporeality. It is interpreted as a tool of his adaptation to human society and, at the same time, the formation of his own family sociality. The author concludes that sovietism is a way of distributing the clan's social functions and a strategy of axiological marking of personal relationships.
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Miquel-Baldellou, Marta. "From pathology to invisibility: age identity as a cultural construct in vampire fiction." Revista Alicantina de Estudios Ingleses, no. 27 (November 15, 2014): 125. http://dx.doi.org/10.14198/raei.2014.27.08.
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A diachronic analysis of the way the literary vampire has been characterised from the Victorian era up to the contemporary period underlines a clear evolution that seems particularly relevant from the perspective of ageing studies. One of the permanent features characterising the fictional vampire from its origins to its current manifestations in literature is precisely the vampire’s disaffection with the effects of ageing in spite of its old chronological age. Nonetheless, even though the vampire’s appearance does not age, the way it has been presented in literature has significantly evolved from a remarkable aged look during the Victorian period in John Polidori’s “The Vampyre: A Tale” (1819), Joseph Sheridan Le Fanu’s Carmilla (1872) or Bram Stoker’s Dracula (1897) to young adulthood in Anne Rice’s An Interview with the Vampire (1976) and Charlaine Harris’ Dead Until Dark (2001), adolescence in Stephenie Meyer’s Twilight (2005-2008), and even childhood in John Ajvide Lindquist’s Let the Right One In (2004), thus underlining a significant process of rejuvenation through time despite the vampire’s apparent disaffection with the effects of ageing. This article shows how the representations of the vampire in literature reflect a shift from the embodiment of pathology to the invisibility, or the denial, of old age and how this, in turn, reflects cultural conceptualisations and perceptions of ageing.
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Delpietro, Horacio A., Roberto G. Russo, Charles E. Rupprecht, and Gabriela L. Delpietro. "Towards Development of an Anti-Vampire Bat Vaccine for Rabies Management: Inoculation of Vampire Bat Saliva Induces Immune-Mediated Resistance." Viruses 13, no. 3 (March 20, 2021): 515. http://dx.doi.org/10.3390/v13030515.
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The common vampire bat (Desmodus rotundus) is a hematophagous species responsible for paralytic rabies and bite damage that affects livestock, humans and wildlife from Mexico to Argentina. Current measures to control vampires, based upon coumarin-derived poisons, are not used extensively due in part to the high cost of application, risks for bats that share roosts with vampires and residual environmental contamination. Observations that vampire bat bites may induce resistance in livestock against vampire bat salivary anticoagulants encourage research into novel vaccine-based alternatives particularly focused upon increasing livestock resistance to vampire salivary components. We evaluated the action of vampire bat saliva-Freund’s incomplete adjuvant administered to sheep with anticoagulant responses induced by repeated vampire bites in a control group and examined characteristics of vampire bat salivary secretion. We observed that injections induced a response against vampire bat salivary anticoagulants stronger than by repeated vampire bat bites. Based upon these preliminary findings, we hypothesize the utility of developing a control technique based on induction of an immunologically mediated resistance against vampire bat anticoagulants and rabies virus via dual delivery of appropriate host and pathogen antigens. Fundamental characteristics of host biology favor alternative strategies than simple culling by poisons for practical, economical, and ecologically relevant management of vampire populations within a One Health context.
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Arciszewska, Katarzyna. "Wampiryczna alternatywa starości w powieści Julii Nabokowej „VIP znaczy wampir”." Slavica Wratislaviensia 163 (March 17, 2017): 301–11. http://dx.doi.org/10.19195/0137-1150.163.26.
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Vampiric alternative of the senescencein the novel of Julia Nabokova VIP znachit vampirThe article Vampiric alternative of the aenescence in the novel of Julia Nabokova “VIP znachit vampir” shows, taking as example the novel VIP Znachit Vampir of the Russian writer Julia Nabokova, the motive of senescence and its rejection realized in vampire context. Nabokova presents the vampirism as opposition to old age. Thevampires are long-living, ever beautiful and healthy creatures, they don’t know illness, weakness, pain and other symptoms of old age. The situation of the vampires and people is in many aspects the same. After all, contemporary society strive to rejection of any results of ageing. However the author of the novel proves that natural process of human life with all life phases is more awaited than ideal vision of life without ageing and death. The writer adds her voice to those researchers who emphasize the fact that elimination of senescence can bring about social neurosis.Вампирическая альтернатива старостив романе Юлии Набоковой VIP значит вампирСтатья Вампирическая альтернатива старости в романе Юлии Набоковой „VIP значит вампир” представляет мотив старости и современный подход к этому мотиву на основе анализа романа современной русской писательницы, которая занимается вампирической темой, так популярной в последние годы так среди литераторов, как и читателей. Набокова рассматривает вампиризм как альтернативу старости, состояние продолжающейся молодости, красоты, жизненной силы, характеризующееся отсутствием болезней, беспомощности и дряхлости. Однако вампиризм в романе российской писательницы показан и с другой точки зрения. Вампирические герои Набоковой ощущают тоску по свойственным человеку чувствам, таким как, например, материнство, которое недоступно вампиру. В итоге герои романа и его автор приходят к выводу, что экзистенциальный процесс со всеми его этапами, не исключая старости и смерти, дает возможность провести жизнь в полном смысле и испытать все ее аспекты, что по мнению многих ученых, спасает от фрустрации и невроза в индивидуальном и социальном контексте.
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Kamal, Sylvia Yulita. "MYTH OF EUROPEAN VAMPIRES IN JOHN AJVIDE LINDQVIST’S LET THE RIGHT ONE IN." LINGUA LITERA : journal of english linguistics and literature 5, no. 2 (September 22, 2020): 152–67. http://dx.doi.org/10.55345/stba1.v5i2.67.
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ABSTRACT
This research aims to analyze the Myth of European Vampires in John Ajvide Lindqvist’s Let The Right One In. There are two kinds of European Vampire myth analyzed in this research. First is the myth of European Vampire characteristics which are reflected by Eli. Second is the myth of human- vampire transformation which is reflected by Virginia. Two problems appear to discuss in this research; the myth of the kinds of vampire characteristics and the myth of human-vampire transformation. The Vampire myth theories from Jay Stevenson Ph. D. and Sebastian Condado de Haza were utilized in this research.There are two concepts used in this research. They are the European Vampire characteristics concept and Human-Vampire transformation concept. A qualitative descriptive method was applied to analyze Eli’s character as a vampire and Virginia’s character as a human-vampire by finding relevant quotations. The result of this research proves the myth about European vampire characteristics by Eli and the myth of human-vampire transformation issues by Virginia. There are two criteria of European vampire characteristics categories indicating Eli as a vampire; general characteristics and physical characteristics.Meanwhile, three steps of the human-vampire transformation myth can explain the suffering of human-vampire that are perceived by Virginia, which are vampire bite, depression, and suicide.
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Lenhardt, Corinna. "Wendigos, Eye Killers, Skinwalkers: The Myth of the American Indian Vampire and American Indian “Vampire” Myths." Text Matters, no. 6 (November 23, 2016): 195–212. http://dx.doi.org/10.1515/texmat-2016-0012.
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We all know vampires. Count Dracula and Nosferatu, maybe Blade and Angel, or Stephenie Meyer’s sparkling beau, Edward Cullen. In fact, the Euro-American vampire myth has long become one of the most reliable and bestselling fun-rides the entertainment industries around the world have to offer. Quite recently, however, a new type of fanged villain has entered the mainstream stage: the American Indian vampire. Fully equipped with war bonnets, buckskin clothes, and sharp teeth, the vampires of recent U.S. film productions, such as Blade, the Series or the Twilight Saga, employ both the Euro-American vampire trope and denigrating discourses of race and savagery. It is also against this backdrop that American Indian authors and filmmakers have set out to renegotiate not only U.S. America’s myth of the racially overdrawn “savage Indian,” but also the vampire trope per se.
Drawing on American Indian myths and folklore that previous scholarship has placed into direct relationship to the Anglo-European vampire narrative, and on recent U.S. mainstream commodifications of these myths, my paper traces and contextualizes the two oppositional yet intimately linked narratives of American Indian vampirism ensuing today: the commodified image of the “Indian” vampire and the renegotiated vampire tropes created by American Indian authors and filmmakers.
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Laycock, Joseph. "Real Vampires as an Identity Group: Analyzing Causes and Effects of an Introspective Survey by the Vampire Community." Nova Religio 14, no. 1 (August 1, 2010): 4–23. http://dx.doi.org/10.1525/nr.2010.14.1.4.
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"Real vampires" believe that they must either consume blood or feed on "subtle" energy in order to maintain their physical, mental, and spiritual health. Recent scholarship has analyzed vampirism as a religious movement or as a cluster of "vampire religions." This article argues that vampirism should be viewed foremost as an identity around which social and religious institutions have formed. This model accounts for the mosaic of religious and cultural orientations held by vampires and acknowledges the vampire community's claims that vampirism is not a choice. It also facilitates a functionalist reading of vampire discourse as validating a new category of person.
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Gonçalves, Marcio A. S., Raymundo J. Sá-Neto, and Tania K. Brazil. "Outbreak of aggressions and transmission of rabies in human beings by vampire bats in northeastern Brazil." Revista da Sociedade Brasileira de Medicina Tropical 35, no. 5 (October 2002): 461–64. http://dx.doi.org/10.1590/s0037-86822002000500006.
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Outbreaks of attacks upon human beings by vampire bats seems to be a common phenomenon in several regions of Latin America, but the occurrence of rabies infection among humans bled by vampires, is relatively low. In the present study, two outbreaks of human rabies transmitted by common vampire bats (Desmodus rotundus) are described from Bahia State, Northeasthern Brazil, in 1991 and 1992. The first was recorded in Aporá where 308 people were bled by vampire bats and three of these die from this zoonosis. The 2nd outbreak occurred in Conde where only five people were bled by vampires, and two deaths by rabies were registered. Our data suggest that rabies transmitted by bats basically depends on the presence of virus in the vampire bat population and not on the number of humans bled by them.
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Erickson, Gregory. "Arius and the Vampire." Religion and the Arts 20, no. 4 (2016): 442–58. http://dx.doi.org/10.1163/15685292-02004002.
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This essay focuses on two figures in James Joyce’s Ulysses, the heretic Arius and the vampire, who when examined together address issues of anxiety over the body and artistic creation. Stephen’s early musings on Arius lead directly into his primary act of artistic creation, a poem he writes that begins, “He comes, pale vampire.” Like the heretic, the vampire will recede into the background, but will continue to haunt the novel, offering troubling and disruptive commentary on the narrative. Joyce’s less literal vampires have the ability to change forms—a rat in the cemetery, a bat flying over a church, ghosts of deceased characters, and a “black panther vampire”—and along with his paradigmatic heretic, Arius, they seem to float from the mind of character to character, forcing them to question received wisdom about creation, procreation, authority, succession, and the relationship of body to mind. Throughout the novel, heretics and vampires work as figures of disruption, as symbols of an alternative taxonomy, and as reminders of the threat or promise of undeserved births and unnatural death. Ultimately, we will see that vampire narratives, classical heresy, and Ulysses share a common central project: questioning and rethinking the act of creation itself.
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Debnath, Kunal. "The Evolution of The Vampire From A Gruesome Gothic Creature To A Superstar Of Popular Culture With Reference To The Vampire Diaries Tv Series." SMART MOVES JOURNAL IJELLH 7, no. 9 (September 28, 2019): 11. http://dx.doi.org/10.24113/ijellh.v7i9.9792.
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A vampire is a mythological-folkloric creature that is said to feed on the blood of the living. It is a Gothic uncanny figure. So judging by the outlook, a vampire is not a figure with whom we should fall in love with. But judging by the current trends in popular culture, it is not true so. Though vampires were once portrayed as gruesome and horrible, with the passage of time, change in trends and paradigm shift in popular culture, they have been naturalized as normal. They have even attained celebrity status. The evolution of the vampire from a gruesome Gothic figure to a superstar of popular culture goes through a process of three stages-
Accepting the Vampire as Normal and Natural
‘Celebritizing’ the Vampire and Making a Star out of Him
Narrative Technique or Storytelling of Vampire Texts
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Morrissette, Jason J. "Marxferatu: The Vampire Metaphor as a Tool for Teaching Marx's Critique of Capitalism." PS: Political Science & Politics 46, no. 03 (June 21, 2013): 637–42. http://dx.doi.org/10.1017/s1049096513000607.
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AbstractAlthough today's undergraduates may not have considered the implications of class struggle, they are generally well-versed in the intricacies of vampire lore. This article outlines how the vampire metaphor can serve as a valuable pedagogical tool for introducing students to fundamental concepts in Marxist thought. As opposed to the supernatural vampires featured in Stoker'sDraculaor Meyer'sTwilightsaga, this approach treats capitalism as a form of economic vampirism—with the capitalist taking on the role of the vampire and the worker relegated to its prey. The article further extends the vampire metaphor and demonstrates how it can be used to teach the Marxist perspectives on class conflict, alienation, and false consciousness.
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White, David Gordon. "Dracula's Family Tree: Demonology, Taxonomy, and Orientalist Influences in Bram Stoker's Iconic Novel." Gothic Studies 23, no. 3 (November 2021): 297–315. http://dx.doi.org/10.3366/gothic.2021.0106.
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Prior to Bram Stoker's Dracula, vampires were never represented in literature as reanimated or ‘undead’ humans capable of transforming into bats. The source of Stoker's innovation may be traced to his personal acquaintance Sir Richard Francis Burton, who in his adaptation of a South Asian anthology of ‘Gothic’ tales of horror and adventure had identified its hero's antagonist, called a vetāla in Sanskrit, as both a male vampire and a giant bat. This article surveys a number of ancient, medieval, and early modern Asian and European precursors of Stoker's vampire lore, noting that unlike Stoker's shape-shifting Transylvanian Count, predatory ‘vampires’ were most often female in gender in these traditions, and their victims male; and reviews the shifting interface between the taxonomical and cultural categories of ‘vampire’ and ‘bat’ in Europe, Asia, and the Americas.
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Lindén, Claudia. "Virtue as Adventure and Excess: Intertextuality, Masculinity, and Desire in the Twilight Series." Culture Unbound 5, no. 2 (June 12, 2013): 213–37. http://dx.doi.org/10.3384/cu.2000.1525.135213.
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The vampire is still primarily a literary figure. The vampires we have seen on TV and cinema in recent years are all based on literary models. The vampire is at the same time a popular cultural icon and a figure that, especially women writers, use to problematize gender, sexuality and power. As a vampire story the Twilight series both produces and problematizes norms in regard to gender, class and ethnici-ty. As the main romantic character in Twilight, Edward Cullen becomes interesting both as a vampire of our time and as a man. In a similar way as in the 19th century novel the terms of relationship are negotiated and like his namesake Edward Rochester, Edward Cullen has to change in important ways for the “happy end-ing” to take place. In spite of a strong interest in sexuality and gender norms in relation to vampires very few studies have focused exclusively on masculinity. This article examines the construction of masculinity in relation to vampirism in the Twilight series. It offers an interpretation of Stephenie Meyer’s novels and the character of Edward as part of a broader field of feminist (re-)uses of the vampire in modern literature with its roots in the literary tradition from Austen and the Brontë-sisters as well as from classic Gothic fiction.
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Gómez Galisteo, M. Carmen. "The Twilight of Vampires: Byronic Heroes and the Evolution of Vampire Fiction in The Vampire Diaries and Twilight." VERBEIA. Revista de Estudios Filológicos. Journal of English and Spanish Studies 3, no. 2 (April 28, 2017): 158–73. http://dx.doi.org/10.57087/verbeia.2017.4218.
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Contemporary teenage vampire fiction has helped revitalize the genre by attracting a new generation of readers. In so doing, some changes have been introduced so as to make the figure of the vampire more appealing to a largely female teenage readership. Coinciding with the tenth anniversary of the publication of Twilight by Stephenie Meyer, this article analyzes how the Twilight series and the earlier The Vampire Diaries by L. J. Smith update and modernize the Byronic hero on which vampires are largely modeled. It also explores the possible effects of this new characterization on readers’ minds and the alarm it has created.
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Alcantud-Diaz, María. "Characterization of a multiple-identity Vampire. Matthew Clairmont in A Discovery of Witches by Deborah Harkness." Revista Alicantina de Estudios Ingleses, no. 40 (January 31, 2024): 23–42. http://dx.doi.org/10.14198/raei.2024.40.02.
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The combination of historical and fantastic literatura featured with romance, conflict and supernatural characters seem to be the ingredients of the new bestseller sagas focused on creatures such as vampires. An example is the All Souls Trilogy by Deborah Harkness. This autor uses different characteristics to report a current shift in traditional style, traits, and behaviour that the vampire figure seems to have experienced. This study has been set out with the objective of examining the character of the vampire Clairmont aimed at exploring the complexity of his multiple identities and demonstrating a shift in his role and traits regarding the traditional vampire. This has been done through a corpus study utilizing a thematic qualitative textual analysis. The study has revealed seven distinct themes related to new vampire characters and their potential to create a hook effect in the aforementioned readers.
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Barrenechea, Antonio. "Dracula as Inter-American Film Icon: Universal Pictures and Cinematográfica ABSA." Review of International American Studies 13, no. 1 (August 16, 2020): 259–77. http://dx.doi.org/10.31261/rias.8908.
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My essay explores the vampire cinema of Hollywood and Mexico. In particular, I trace the relationship between Universal Pictures as the progenitor of horror during the Great Depression and Cinematográfica ABSA's "mexploitation" practices. The latter resulted in the first vampire film in Latin America--"El vampiro" (1957). Rather than strengthening separatist national cinemas, the unintended consequences of genre film production make this a case of inter-American scope.
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Salazar, Anthony. "Curing the Vampire Disease with Transfusion: The Narrative Structure of Bram Stoker’s Dracula." English Language and Literature Studies 7, no. 3 (August 9, 2017): 1. http://dx.doi.org/10.5539/ells.v7n3p1.
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Blood transfusion in Bram Stoker’s Dracula serves as a vital component to life for characters who have been bitten by vampires. But blood transfusion can mean much more when comparing it to the narrative’s structure. While characters contribute to the narrative, parallels between blood transfusion and narrative assembly emerge, which thus grants characters within the novel immortality as their writing lives on while they slowly die from the vampire disease. Although transitioning into a vampire can also grant these characters immortality, vampires and other supernatural creatures during the Victorian Era were frowned upon by nineteenth century values and religious beliefs. Therefore, seeking immortality through narration allows these characters to abide to Victorian values while also living eternally.
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Armanda Šundov, Lucijana. "Vampires and Infection in Croatian Literature." Slavica Wratislaviensia 177 (December 30, 2022): 269–84. http://dx.doi.org/10.19195/0137-1150.177.23.
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Vampire characters in Croatian literature are a rare and marginal occurrence within fantastic Gothic literature, and their main task is to undermine the existing social order. Since the late 17th century, vampires were part of folklore writings and archive documents in which they were an explanation for the spread of infectious diseases and unexplainable epidemics, while from Romanticism onwards, they moved to literature in which they became metaphors for familial violence, mental and physical illnesses of individuals and of society as a whole. The author analyses vampire characters and vampirism as presented in popular novels by Boris Perić and Robert Naprta. In these novels, vampires function as multi-layered metaphors related to, inter alia, war traumas. Both novels feature characters of doctors, and the writers mostly use them to criticise corruption in and disadvantages of the health system. In Naprta’s case, real-life Croatian scientists Ivan Đikić and Miroslav Radman are parodied, which gives a touch of contemporaneity to those novels. The final gallery of vampire characters includes those from the novel written by Milena Benini.
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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.
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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.
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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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Dec, Olga. "Potrzeba rekonceptualizacji wczesnośredniowiecznych pochówków „wampirów” z ziem polskich." Folia Praehistorica Posnaniensia 25 (December 15, 2020): 63–70. http://dx.doi.org/10.14746/fpp.2020.25.03.
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The aim of the article is to outline the need to reconceptualized the early medieval burials of “vampires” from Poland. These burials are understood as the remains of the so-called “anti- vampire” practices resulting from the social perception of bad death. These, in turn, are recognized as a socio-religious phenomenon, the assumption of which was to postpone the evil actions of the ‘vampire’ by means of certain measures. Due to doubts about the term “vampire”, concerning both the linguistic sphere and the cultural and historical realities, it is suggested not to use it. The proposed alternative, more precise terms would therefore be the terms “returning dead” or “(un)dead”. Another issue raised is the setting of ‘anti-vampire’ burials in an atypical framework. “Anti-vampirical” burials meet the criteria of atypicality on a macro scale, however, it is possible to consider them typical, assuming that they functioned in the culture of Western Slavs in the early Middle Ages as belonging to a specific social group.
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Trbojevic, Danilo. "Slaying the “political vampire”: Aberration as a socio-political construct." Bulletin de l'Institut etnographique 70, no. 2 (2022): 217–44. http://dx.doi.org/10.2298/gei2202217t.
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The concept of vampirism in the tradition of peasant culture is an inversion of social norms by individuals or groups, which the community recognizes as responsible for social problems and crises. ?Vampire? as a social institution has a role in resolving the crisis, but also manifests power of the collective and the desirable model of worldview. However, the experience of field research imposes a perspective that does not perceive the ?vampire? as a rigid institution, but also an adaptable tool of social or political communication. By analyzing two cases (performances) of ?murder of a political vampire? (Josip Broz Tito and Slobodan Milosevic), as a performance of political communication, I try to point out the crucial importance of understanding the context, position and motivation of actors in dialogue. The focus of the analysis is on ?vampires?, the signifier of the aberrant, who uses vampire symbolism as a means of spreading political information but also achieving political goals.
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Setiawan, Rizal Justian, Ageng Widi Atmoko, and Imam Fauzi. "IoT-Based Electric Vampire Remover to Overcome Electric Vampire On Electronic Equipment." JTECS : Jurnal Sistem Telekomunikasi Elektronika Sistem Kontrol Power Sistem dan Komputer 1, no. 2 (July 14, 2021): 115. http://dx.doi.org/10.32503/jtecs.v1i2.1690.
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Based on data from PLN, in 2020 the number of PLN customers has reached 77,19 million or increase of 3.59 million customers compared to 2019 which amounted to 73,6 million customers. Along with modernization in Indonesia, without realizing it there is still a lot of wasted electrical energy from electronic devices that are left on standby and not used or electric vampires. The purpose of this research created a tool to overcome the problem of electric vampires in electronic equipment in order to reduce the number of losses below the national electric losses of 8%. The implementation method used for the design and manufacture of the Electric Vampire Remover is the Research and Development (R&D) research method. The steps taken are: 1) analysis of tool requirements, 2) design of tool, 3) manufacture of tool in the laboratory, 4) testing of tool functions and performance, 5) concluding the results. These stages are conducted in cycles to get the best result. The result of the research is the creation of an Electric Vampire Remover which is functionally proven to be able to control electrical equipment properly. This tool can be operated stand-alone or based on internet network. The results showed that the tool was able to reduce losses caused by electric vampires by 99%. The application of this tool at home is able to save 36,908 kWh which is equivalent to Rp. 53,320.99/month in the fare class or R-1/1300 VA power.
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Vasileva, Elmira V. "Mythologems of english vampire fiction in Stephen Edwin King’s ‘Salem’s Lot." Vestnik of Kostroma State University 29, no. 4 (March 29, 2024): 98–103. http://dx.doi.org/10.34216/1998-0817-2023-29-4-98-103.
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The article offers an interpretation of Stephen Edwin King’s novel ‘Salem’s Lot (1975) in the context of how its author productively works with the elements of the ‟vampire myth” created and developed by British gothic writers of the 19th century (John William Polidori, Joseph Thomas Sheridan Le Fanu, Bram Stoker, etc.). The principal of these mythologems (“the depravity of the century, condensed in the figure of a vampire”; “the foreign origin of a vampire, which emphasises its otherness”; “the aristocracy of a vampire”) are successfully adapted by King in accordance with his artistic objectives, which allows the writer to include his text in a rich literary tradition, while preserving the opportunity to express his own creativity. An important artistic finding of King is the synthesis of two genre subforms of the horror novel proposed by him – a vampire novel and a small-town-horror novel: King fruitfully works with the special aesthetics of the first subform and the ideological content of the second, thus making his novel a socially engaged one and turning the plot about the appearance of vampires in New England provincial town into an allegorical narrative about the loss of moral guidelines and general spiritual degradation in America in the 1970s.
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Cooper, Chris. "Is artificial blood safe for vampires to eat?" Biochemist 37, no. 6 (December 1, 2015): 10–13. http://dx.doi.org/10.1042/bio03706010.
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What are the daily recommended nutritional requirements for a vampire? What does artificial blood taste like? Would you rather be a vampire or a zombie? These are not questions I ever thought I would be asked as a young scientist, but both have featured when I have been communicating my science to the general public. When I was growing up, vampires were evil and to be feared. Yet in recent years it appears that they were, in fact, much maligned and misunderstood; they really just want to live their lives in peace with their mortal compatriots. It is not reported what the late – and recently much lamented – Sir Christopher Lee thought of this transformation, although I strongly suspect that, like myself, he prefers his vampires raw in tooth and claw (or rather fang).
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Owen, A. Susan. "Vampires, Postmodernity, and Postfeminism:Buffy the Vampire Slayer." Journal of Popular Film and Television 27, no. 2 (January 1999): 24–31. http://dx.doi.org/10.1080/01956059909602801.
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Kuznetsova, Ekaterina V. "Vampire Motif in O. Mirtov’s Novel Dead Swell: Gender Aspect." Studia Litterarum 9, no. 1 (2024): 186–205. http://dx.doi.org/10.22455/2500-4247-2024-9-1-186-205.
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The article discusses the reinterpretation in O. Mirtov’s (Olga Negreskul) novel Dead Swell (1909) of the images and plot moves of the novel by English writer Bram Stoker Dracula (1897) and, in general, the vampiric myth peculiar to romantic and neo-Gothic literature. Recognizable clichés associated with the appearance and abilities of vampires manifest themselves at different levels of the novel: at the level of subtext in ambiguous conversations about blood, in the description of the appearance of the characters (red lips, a string of red coral beads around the neck, pallor, haggardness), in the characteristics of their actions (the physical attraction of a man to a woman is compared with the craving of a vampire to fresh blood, it is realized in the form of sadistic pleasure associated with violence: forced intimacy, neck bites, beatings, tickling). These artistic details form a cross-cutting motif of vampirism. The writer’s appeal to the vampiric myth is due to the gender issues of the novel Dead Swell. The reader reveals the picture of psychological and sexual vampirism and the eternal conflict between man and woman in an androcentric society. In this struggle of the sexes, a woman, as a rule, finds herself in the role of the defeated and most often dies, and her tormentor, like a vampire, goes in search of the next victim. With the help of the motif of vampirism, Negrescul reveals and comprehends from the point of view of a woman the taboo themes of violence, sex, and death in Russian classical literature, which allows her to express her attitude to the “women’s question,” “the problem of gender,” the concepts of eros and platonic love.
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Carvalho, Fernanda Sousa. "BREAKING CODES OF SEXUALITY: ANGELA CARTER’S VAMPIRE WOMEN." Em Tese 16, no. 3 (December 31, 2010): 184. http://dx.doi.org/10.17851/1982-0739.16.3.184-191.
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This essay analyzes the depiction of vampire women in Angela Carter’s “The loves of Lady Purple” and “The lady of the house of love.” Exploring the vampires’ potential of abjection, this depiction subverts patriarchal ideologies about women’s sexuality.
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Fathallah, Judith. "Sex, race and Romanticism: The meta-vampire in emo fandom." Journal of Fandom Studies 9, no. 3 (September 1, 2021): 253–73. http://dx.doi.org/10.1386/jfs_00044_1.
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The genealogy stretching from Romanticism to the tortured poets of the emotional hardcore music scene is by now well established. Emotional hardcore, or emo, is invested in the construction of the usually White male artist, a sensitive and creative being subject to a great deal of suffering ‐ as a result both of his artistic nature and of the external forces aligned against him. The European Romantics invented the concept of artist as cultural icon ‐ Lord Byron is often considered Britain’s first celebrity. He was also, not coincidentally, Britain’s first literary vampire. This article utilizes a discursive analysis based in open coding to consider emo fandom’s obsession with the figure of the vampire, especially what emo fans ‐ who are mostly girls ‐ have done with it in fanfic. Considering the gendered genealogy of the vampire, and the problematic gender politics of the emo scene, I explore how the constraints and opportunities of these discursive structures influence the ways emo fans imagine vampires, who appear so often in their writing. Picking out key themes of sex, race and the ethics of the vampire inherited from both emo fandom and vampire literature generally, I argue that the selected sample demonstrates a transformative impulse towards race and sex, which is ultimately still contained by the overarching discursive structures within which artists operate.
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Grabias, Magdalena. "Droga, podróż, wędrówka w Tylko kochankowie przeżyją Jima Jarmuscha." Humaniora. Czasopismo Internetowe 30, no. 2 (June 15, 2020): 91–100. http://dx.doi.org/10.14746/h.2020.2.7.
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Two first decades of the 21st century have revealed an increasing popularity of the horror genre. In particular, we have been witnessing the renaissance of Gothic cinema, especially the vampire sub-genre. It is conspicuous that the original vampire story formula has lately undergone numerous significant alterations. Vampires have evolved from cold and soulless monsters to humanised romantic heroes. In the new millennium, a static Gothic diegesis gets frequently replaced by a dynamic reality, in which movement is a predominant feature. This article is devoted to the motifs of the road, journey and travels in Jim Jarmusch’ film Only Lovers Left Alive.
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Ogden, Daniel. "Did the Classical World Know of Vampires?" Preternature: Critical and Historical Studies on the Preternatural 11, no. 2 (September 1, 2022): 199–224. http://dx.doi.org/10.5325/preternature.11.2.0199.
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ABSTRACT Did the classical world know of vampires? No. This piece asks instead what phenomenon of the classical world most closely anticipates the modern conceptualization of the vampire—a conceptualization extracted from the two classics of Victorian vampire fiction, Sheridan le Fanu’s Carmilla and Bram Stoker’s Dracula. Consideration is given first to a series of ancient entities in later Greek literature that approach a simplistic definition of “returning from the dead and eating people”: Phlegon’s Philinnion and Polycritus, Pausanias’s Hero of Temesa, and Philostratus’s Lamia and Achilles. But it is then contended that if one considers the full sweep of motifs associated with the modern vampire in the round, a better overall alignment is to be found for it with the Roman figure of the strix-witch, as described by Ovid and Petronius and later on by John Damascene and Burchard of Worms, for all that she is not actually dead.
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Palumbo-DeSimone, Christine. "‘Dreadful Women’: Vampires and Storytellers in Mary E. Wilkins Freeman's ‘Luella Miller’." Gothic Studies 22, no. 2 (July 2020): 165–82. http://dx.doi.org/10.3366/gothic.2020.0047.
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Mary E. Wilkins Freeman's ‘Luella Miller’ is the most critically acclaimed and puzzling story in her 1903 The Wind in the Rose-Bush and Other Stories of the Supernatural. As described by the tale's storyteller, Lydia Anderson, Luella Miller is a parasitic creature who drains those closest to her of their life force, leading many scholars to label Luella ‘vampire’ despite the many ways Lydia Anderson's storytelling runs counter to literary vampire conventions. Even so, Freeman's haunting tale of death and community paranoia strikingly mirrors the claustrophobic small-town New England that Freeman knew intimately and depicted unflinchingly. Tapping into pervasive rural folklore, Lydia Anderson casts Luella as a ‘New England Vampire,’ a figure that served important social and psychological functions throughout backwoods New England. Ultimately, Freeman's ‘vampires’ expose how easily – and disastrously – unconventional women are transformed into ‘dreadful women’ in this closed, cannibalistic world.
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Süner, Ahmet. "Gothic Horrors of the Private Realm and the Return to the Public in John Polidori’s The Vampyre." Moderna Språk 112, no. 1 (June 29, 2018): 187–200. http://dx.doi.org/10.58221/mosp.v112i1.7717.
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This study of Polidori’s story, The Vampyre, written at the beginning of the 19th century aims at relocating the social relevance of both the story and Gothic literature in the contentious zone between the private and public sphere. The story vacillates between private and public realms, drawing its vampiric theme from such vacillations. It expresses the horrors of vampiric intimacy inherent in private life, which opposes the moral character of the public realm. The most dangerous sites of private life are represented as the realm of the imagination and that of intersubjective intimacy. The story also contains several prominent Romantic tropes, including nature and orientalism, all pointing to the intimate dangers of the private realm. Lord Ruthven, Polidori’s “vampire” is an explosive figure at the fraught intersection between a private life that demands secrecy for its private pleasures, and a public realm that demands exposure to regulate and control.
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Hinton, Sasza. "Biting Back at Society." Crossings: An Undergraduate Arts Journal 4, no. 1 (July 7, 2024): 110–18. http://dx.doi.org/10.29173/crossings283.
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The myth of the lesbian vampire spiked in popularity throughout the late 1960s and early 1970s, inspiring erotic horror films, like Roy Ward Baker’s The Vampire Lovers (1970). While the easing censorship regulations allowed the film to depict more overt scenes of sex and violence, it was the second wave of feminism that allowed the film to be as erotic as it was (Baker 556), as the traditional gender role of men was called into question. Protesting for bodily autonomy, the right to express their sexual identities and overall looking for equal opportunities to their male counterparts, the traditionally superior man was under threat by female bonding. Lesbian vampires like Mircalla were unchained to a male figure and were able to liberate other women through their mental strength, physical beauty and by providing deeper emotional connections than men could. The lesbian vampire presented a reality where women could receive everything from a female partner, rendering the male useless.
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Rawski, Jakub. "Kierunki interpretacji motywu wampira w wybranych tekstach kultury od XIX do XXI wieku (rekonesans)." Studia Litteraria 16, no. 1 (2021): 29–48. http://dx.doi.org/10.4467/20843933st.21.003.13383.
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Artykuł ma na celu przedstawienie przeglądu kierunków interpretacji motywu wampira w kulturze popularnej od XIX do XXI wieku. Skupia się na najważniejszych, najbardziej reprezentatywnych tekstach, które wywarły największy wpływ na ewolucję postaci wampira od romantyzmu do czasów współczesnych, takich jak: Dracula, Miasteczko Salem, Wywiad z wampirem, Zmierzch. Zamierzeniem było ukazanie różnych sposobów odczytywania i analizowania wampiryzmu w zależności od przyjętej metodologii. Niewątpliwie – tytułowe kierunki interpretacji utworów wampirycznych były warunkowane możliwościami egzegetycznymi, jakie niesie metodologiczny rozwój literaturoznawstwa i kulturoznawstwa. Directions in Interpretation of the Vampire Theme in Selected Texts of Culture from the 19th to the 21st Century (Reconnaissance) The article aims at offering an overview of directions of interpretation regarding the motif of vampire in popular literature from the 19th to the 21st century. It focuses on the most important, representative texts of culture that have had the greatest influence on the evolution of the vampire figure from Romanticism to the modern times, such as Dracula, Salem’s Lot, Interview with the Vampire, Twilight. The article intends to present various ways of reading and analysing vampirism depending on different methodologies. Undoubtedly, the approaches regarding interpretations of films and literary works featuring vampires have been conditioned by exegetical possibilities brought about by the methodological development in literary and cultural studies.
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Nagaeva, E. Yu. "The Thousand-Year Kingdom: Historical Russia in Russian vampire TV series." Shagi / Steps 9, no. 1 (2023): 47–64. http://dx.doi.org/10.22394/2412-9410-2023-9-1-47-64.
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The paper examines the phenomenon of the vampire “new wave” of 2021 – еarly 2022 in the context of cultural policy in Russia. The author focuses on the fact that compared to foreign TV series, the image of a vampire in Russian series is strongly instrumentalized, and a reference to history becomes extremely important in them. In an analysis based on three popular series (Svyatoslav Podgayevsky’s Pischeblok, Anton Maslov’s Central Russia’s Vampires, and Danila Kozlovsky’s Karamora) the author problematizes the representation of history in the newest Russian quasihistorical series. It is argued that a new “commonplace” in the politics of history in Russia is the tendency to create narratives that inconsistently combine the aesthetics of the political regimes of Imperial, Soviet, and contemporary Russia. Thus, a new genealogy of the current sociopolitical order is being constructed, inextricably linking this order with the previous unified tradition. The fantastic figure of the vampire is the keystone of this new narrative. The author suggests that the construction of historical experience is isomorphic to the popular state mythologem of ‘historical Russia’. At the same time, the vampire metaphor vividly embodies not only the idea of the ‘organic’ nature of Russian political power, but also the notion of its necessary transgressiveness.
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Sasongko, Sudi Mariyanto Al, A. B. Muljono, I. M. Ari Nrartha, I. M. Ginarsa, and S. Sultan. "Sosialisasi Radiasi Telepon Seluler dan Fenomena Vampir Energi di Desa Perampuan, Labuapi, Lombok Barat." JURNAL KARYA PENGABDIAN 2, no. 1 (April 29, 2020): 45–52. http://dx.doi.org/10.29303/jkp.v2i1.53.
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Handphone produce electromagnetic fields of varying magnitude. SAR (Specific Absortion Radiation) and power density affect radiation exposure. WHO set the SAR radiation limit to be 1.6 W/Kg and the power density limit was 4.5 watts/m2 for the 900 MHz, and 9 watts/m2 for the frequency 1800 MHz. SAR values that exceed the threshold can cause physiological and psychological effects on humans. Electronic equipment connected to electrical installations still absorbs energy even though it inactive and termed vampire energy. The PKM team's measurements of the energy vampire of household electrical appliances range from 0.1 watts to 8.3 watts. The socialization activities on cellular phone radiation and energy vampires carried out in Perampuan Village is for sharing knowledge. The method used: presentation, electrical installation demonstration and measurement of energy vampires. The enthusiasm of the participants was quite high and hoped that there were regular activities for themes related to the electrical field.
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Westengard, Laura E. "Vampire Fantasy: Twilight’s Post-9/11 Neoqueer Vampires." Assuming Gender 5, no. 1 (March 1, 2015): 9. http://dx.doi.org/10.18573/ipics.72.
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Mansbridge, Joanna. "Endangered Vampires of the Anthropocene: Jim Jarmusch’s Only Lovers Left Alive and the Ecology of Romance." Genre 52, no. 3 (December 1, 2019): 207–28. http://dx.doi.org/10.1215/00166928-7965805.
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Among the recent spate of independent vampire films, Jim Jarmusch’s Only Lovers Left Alive uniquely depicts vampires whose immortality is under threat in a world tainted by environmental toxins. Facing their mortality as we humans face our own extinction, Adam and Eve are vampires of the Anthropocene. Only Lovers was often dismissed by critics as easy on substantial ideas and heavy on seductive sheen, and yet the film deftly deploys the vampire trope to explore enduring attachments, as well as endangered and endangering ways of life. Set in Detroit and Tangier, Jarmusch’s film tracks the roaming romance of his vampires, Adam and Eve, who are both cultured cosmopolitans and endangered species seeking refuge in an increasingly uninhabitable world. Adam and Eve keep alive forms of intimacy and aesthetic appreciation on the verge of extinction even as they adapt to ecological crises by adopting twenty-first-century modes of global consumption. Jarmusch strikes a careful balance between his characters’ complicity with and critique of the world they feed on. In the end the film is about survival and a white Euro-American hegemony that refuses to die.
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Betsinger, Tracy K., and Amy B. Scott. "Governing from the Grave: Vampire Burials and Social Order in Post-medieval Poland." Cambridge Archaeological Journal 24, no. 3 (October 2014): 467–76. http://dx.doi.org/10.1017/s0959774314000754.
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Mortuary treatments are ways in which archaeologists can learn about the culture and lifestyle of past societies, in terms of how they view the dead. The dead, however, can continue to play a role in the lives of the living, which may also be reflected in funerary rites and burial treatments. This article explores the social agency of the dead, focusing on the ‘vampire burials’ of the post-medieval Polish site of Drawsko 1. These burials, identified through their grave goods, provide a unique opportunity to learn how vampire folklore and the deceased ‘vampires’ influenced the living, most notably as ways to encourage social order, as an explanation for the unknown, and as an economic commitment.
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Artamonov, Denis, and Sophia Tikhonova. "THE VAMPIRE AS AN AGENT OF THE CHRONOPOLITICS OF SOVIET NOSTALGIA." Experience industries Socio-Cultural Research Technologies, no. 3 (2023): 95–115. http://dx.doi.org/10.34680/eiscrt-2023-3(4)-95-115.
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the article is devoted to the consideration of the image of a vampire in modern popular culture in the context of chronopolitics, which constructs Soviet nostalgia. The authors consider the work of chronopolitics in relation to historical memory, which provides continuity between various collective memories existing within the framework of macronarratives. The theme of vampires in popular culture is a symbolic trend of popular culture, serving as a link between the past, present and future in alternative history projects, which successfully forms a picture of the world for virtual local communities. Thus, the image of a vampire can be considered an agent of chronopolitics, which today is mostly implemented in the format of nostalgia for the Soviet past. Nostalgia for the Soviet era reflects the constructed concept of historical memory of modern Russian society, in which there is a place not only for ideas about the real past, at least somehow consistent with historical reality, but also for various images of mass culture integrated into Russian history. The authors, using the example of the TV series “Food Unit” (2021), “Vampires of the Middle Lane” (2021-2022), “Karamora” (2022), show that despite the initial Western perception of the vampire as an image of mass culture, they organically fit into the ideas of the alternative Soviet past, acting as an agent of chronopolitics, keeper of historical memory and mediator between the past, present and future.
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Prins, Herschel. "Vampirism—A Clinical Condition." British Journal of Psychiatry 146, no. 6 (June 1985): 666–68. http://dx.doi.org/10.1192/bjp.146.6.666.
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The phenomenon of the vampire is ancient, ubiquitous, and fascinating; moreover, it can only be understood adequately within the context of more general blood reliefs and rituals. (See Prins, 1984 for a review). References to vampires and associated phenomena may be found in the world's great literature long before Bram Stoker created his notorious and evil Count (Summers, 1960, 1980). Belief in the vampire's actual physical existence was probably encouraged by the prevalent practice of premature burial during times of plague, by the large numbers of itinerants and beggars that abound at such times, and by the fact that many of them took refuge in vaults and graveyards. In addition, the myth was probably given more tangible reality by such physical explanations asErythropoietic Protoporphyriaor its variants. This disorder is said to induce the body to produce an excess of porphyria, which results not only in excess redness of the eyes, skin and teeth, but also a receding of the upper lip and cracking of the skin, which bleeds when exposed to light. It has been suggested that physicians of the day could only treat sufferers by secluding them during the day and by persuading them to drink blood to replace that lost by bleeding (Illis, 1964; Milgrom, 1984; Prins, 1984). In more modern times, there have been accounts of people seeking to protect themselves from vampiric attentions (Farson & Hall, 1978).
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Bahna, Vladimír. "Explaining Vampirism: Two Divergent Attractors of Dead Human Concepts." Journal of Cognition and Culture 15, no. 3-4 (August 26, 2015): 285–98. http://dx.doi.org/10.1163/15685373-12342151.
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This paper explores the cognitive foundations of vampirism beliefs. The occurrence of beliefs of the dead rising from graves and returning to harm the living across many cultures indicates that this concept has features that make it successful in the process of cultural transmission. Comparing ghost- and vampire-like beliefs, it is argued that bodiless agents and animated but dead bodies represent two divergent cognitive attractors concerning concepts of dead humans. The inferential potential of the classic idea of a bodiless ghost is based on intuitions produced by the mental system of Theory of Mind, while the traditional concepts of a vampire attribute to the dead only minimal intentionality. The inferential potential of a vampire is based on the system of disease avoidance and the emotion of disgust related to the dead body. Vampirism beliefs represent a cognitively attractive combination of a hazard and relevant actions to eliminate it: they postulate a threat of an animated corpse and relevant behavioral reaction, namely fatal interventions on vampire’s body.
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Denton-Edmundson, Matthew. "Vampire." Massachusetts Review 63, no. 2 (June 2022): 279–97. http://dx.doi.org/10.1353/mar.2022.0041.
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Pickett, G. "Vampire." Canadian Medical Association Journal 174, no. 1 (January 3, 2006): 70. http://dx.doi.org/10.1503/cmaj.050970.
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SARHAN, QASSIM, and ZAHRAA' SAHIB. "The Sympathetic Vampire:A Study of Anne Rice’s Interview with the Vampire." Kufa Journal of Arts 1, no. 18 (April 21, 2014): 33–60. http://dx.doi.org/10.36317/kaj/2013/v1.i18.6429.
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The myth of the vampire has continued to frighten and fascinate people all over the world. The idea of an undead night-stalker that feeds on human blood has been around for centuries and endures to this day. Numerous countries and cultures across the globe have personal deviations of a similar mythical entity. No matter the variation, all the vampire tales have a key commonality ‒ the lust for human blood. The cornerstone upon which all the vampire characters now turn was established in 1897 byBram Stoker in his novel Dracula which, since its publication, has never been out of print and its title character, Count Dracula, has become an icon of terror that inspired many subsequent novels and stories of the vampire fiction genre. However, only a handful of these novels were considered of literary merit. That handful includes the works of Anne Rice (1941‒) in which she develops a new way of portraying the vampire in fiction. The figure of vampire has changed from the evil and menacing figure of Dracula to a kinder and more sympathetic vampire who questions the meaning of its existence.
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Saint-André, S., Y. Richard, and A. Lazartigues. "Actualité psychiatrique sur les vampires. Vampire : un mythe contemporain ?" Annales Médico-psychologiques, revue psychiatrique 167, no. 6 (August 2009): 416–21. http://dx.doi.org/10.1016/j.amp.2009.04.014.
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Navarro-Goig, Gema, and Francisco Javier Sánchez-Verdejo-Pérez. "Una pulsión vampírica: la reinvención del mito en el cine de Neil Jordan." Revista Colombiana de Pensamiento Estético e Historia del Arte, no. 17 (January 1, 2023): 10–29. http://dx.doi.org/10.15446/rcpeha.n17.97586.
Full textAbstract:
el propósito de este artículo es analizar la figura del vampiro, en el cine de Neil Jordan, con su mezcla de horror y seducción. Analizamos dos de sus obras que tratan esta temática basadas en fuentes literarias: Interview with the Vampire (1994) y Byzantium (2012). Se constata la complejidad del fenómeno vampírico y su indiscutible dimensión mítica en un director en el que pervive la obsesión por la fantasía romántica, los cuentos de hadas y el mito desde diferentes perspectivas y enfoques. Hemos evidenciado, entre otros factores, que en ambas existe un paralelismo entre sus respectivos personajes, que comienza por el periplo vital de dos siglos hasta la época actual, en esta última alternando flashbacks episódicos puntuales. También la particularidad de la confesión de ambos vampiros a un humano, el periodista en el primer caso y el enamorado Frank en el segundo, que enlaza ambas historias. El vampiro representa un arquetipo del inconsciente colectivo y una manifestación de la alteridad, del lado oscuro, del caos frente al orden. Se actualiza su figura en la producción literaria y cinematográfica contemporánea. Verificamos que forma parte de la mitología contemporánea, siendo el cine el medio que más ha conseguido popularizarlo.