Relevant bibliographies by topics / Vampires in dreams

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Vampires in dreams'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Vampires in dreams"

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Winnubst, Shannon. "Vampires, Anxieties, and Dreams: Race and Sex in the Contemporary United States." Hypatia 18, no. 3 (2003): 1–20. http://dx.doi.org/10.1111/j.1527-2001.2003.tb00819.x.

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Drawing on several feminist and anti-racist theorists, 1 use the trope of the vampire to unravel how whiteness, maleness, and heterosexuality feed on the same set of disavowals—of the body, of the Other, of fluidity, of dependency itself. I then turn tojewelle Gomez's The Gilda Stories (1991) for a counternarrative that, along with Donna Harauiay's reading of vampires (1997), retools concepts of kinship and self that undergird racism, sexism, and heterosexism in contemporary U.S. culture.
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Winnubst, Shannon. "Vampires, Anxieties, and Dreams: Race and Sex in the Contemporary United States." Hypatia: A Journal of Feminist Philosophy 18, no. 3 (2003): 1–20. http://dx.doi.org/10.2979/hyp.2003.18.3.1.

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Winnubst, Shannon. "Vampires, Anxieties, and Dreams: Race and Sex in the Contemporary United States." Hypatia 18, no. 3 (2003): 1–20. http://dx.doi.org/10.1353/hyp.2003.0070.

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Jhon, Alex. "The Meanings of Vittorio’s Dreams in Vittorio, The Vampire." Humaniora 2, no. 2 (2011): 1203. http://dx.doi.org/10.21512/humaniora.v2i2.3171.

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The novel Vittorio, the Vampire has a deep interest in dream. Using Freudian Dream Theory, it can be classified for Vittorio’s dreams. The focuses are Vittorio’s dreams for the meanings. Vittorio is the protagonist of Anne Rice’s novel, ‘Vittorio, the Vampire’ and the novel is a vampire romance genre. The article is analyzing the novel through library research. The main classifications of dreams are focused on the symbols from Vittorio’s dreams. Using the Dream-work processes, the symbols then classified into more specific contents classifications. Each symbol in the Flower Meadow dream then c
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Howe, Andrew. "River of Blood: George Martin’s Fevre Dream and the road to dark designr." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 70, no. 1 (2017): 81. http://dx.doi.org/10.5007/2175-8026.2017v70n1p81.

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http://dx.doi.org/10.5007/2175-8026.2017v70n1p81Com a publicação de Sonho Febril em 1982, George R. R. Martin experimentou com a narrativa de "vampiro simpático", popularizada apenas alguns anos antes por Anne Rice. Uma história sobre vampiros que assombravam o sul americano durante os anos anteriores à guerra civil, Sonho Febril focalizou a ambiguidade moral, a brutalidade do poder, e outros aspectos narrativos que eventualmente emergirão mais desenvolvidos na grande obra do autor, a aclamada série As Crônicas de Gelo e Fogo. Muitas vezes negligenciado, Sonho Febril é importante porque uma le
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Hobeika, Léna. "Le mythe du vampire féminin dans Mademoiselle Christina." Studia Universitatis Babeș-Bolyai Philologia 66, no. 1 (2021): 63–70. http://dx.doi.org/10.24193/subbphilo.2021.1.05.

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"The Myth of the Female Vampire in Miss Christina. Mythologist, novelist and religious historian, Mircea Eliade grants a considerable place to the Fantastic as a way of reclaiming the Sacred in a deeply desecrated modern world. In his short story Mademoiselle Christina, he features a female vampire embodying the archetype of the nymphomaniac and demonic woman who returns to haunt the Mosco house and who manages to seduce Egor, a young painter visiting the castle. The prose writer creates a dreamlike story, mixing dream and reality, the natural and the supernatural while propelling the reader i
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Zigarovich, Jolene. "Death Embraced: Camilla’s Dream as Vampiric Fantasy." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 29, no. 2 (2016): 56–61. http://dx.doi.org/10.1080/0895769x.2016.1205966.

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Kulikova, Daria Leonidovna. "The vampires of A. V. Ivanov in light of the gothic tradition of Russian Literature." Litera, no. 6 (June 2021): 98–107. http://dx.doi.org/10.25136/2409-8698.2021.6.35873.

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The object of this research is the novel “Food Block” by A. V. Ivanov and the realization of aesthetics of the horror genre therein. The goal is to establish correlation between the gothic tradition of Russian literature and modern horror literature based on the works of the indicated authors. The article examines the influence of the gothic romantic tradition upon composition and imaginary system of A. K. Tolstoy’s novella. The material of A. V. Ivanov’s novel indicates resorting to the literary tradition on the level of composition and individual image
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Spooner, Catherine. "‘Last night I dreamt I went to Collinwood again’: Vampire adaptation and reincarnation romance in Dark Shadows." Horror Studies 8, no. 2 (2017): 205–22. http://dx.doi.org/10.1386/host.8.2.205_1.

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Williams, Tony. "More Things than Are Dreamt Of The Vampire Film: From Nosferatu to Bram Stoker's Dracula Alain Silver James Ursini." Film Quarterly 51, no. 2 (1997): 67. http://dx.doi.org/10.2307/3697151.

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Dissertations / Theses on the topic "Vampires in dreams"

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Mellins, Maria. "Fashioning the vampire : issues of dress and identity performance within the female vampire fan community in both online and face-to-face social contexts." Thesis, University of Surrey, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.685070.

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Firestone, Amanda Jayne. ""Is That What You Dream About? Being a Monster?": Bella Swan and the Construction of the Monstrous-Feminine in The Twilight Saga." Scholar Commons, 2014. https://scholarcommons.usf.edu/etd/5217.

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ABSTRACT This dissertation argues that Bella Swan is a representation of Barbara Creed's monstrous-feminine which serves to reinforce ideologies that insist women are abject, inherently dangerous to men, and threatening to a patriarchal status quo. Through close-textual analysis of The Twilight Saga, I demonstrate how the monstrous-feminine frames the hysterical teenage body, hypersexuality, and eternal motherhood as simultaneously unacceptable and unavoidable. These negative women's stereotypes continue to persist in dominant popular culture, and this doublebind is overcome only by the imposs
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Thomas, Quincy D. "Lycra, Legs, and Legitimacy: Performances of Feminine Power in Twentieth Century American Popular Culture." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1521852471021414.

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Chiung-jungTseng and 曾瓊瑢. "The Use of Vampirism: The Vampire Dream, Knowledge and Truth in Nineteenth-Century Vampire Narratives." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/56952330522902396912.

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博士<br>國立成功大學<br>外國語文學系碩博士班<br>99<br>This dissertation attempts to offer a genealogical analysis of nineteenth-century vampire narratives. The association between vampirism and human sexuality is widely agreed at and generally believed to be a vital characteristic of nineteenth-century vampire narratives. Such a specific feature intimidates a particular form of sexual fantasy in which dreaming plays an essential role. Many critics have attempted to explain this particular association and the flourishing of vampire narratives from a psychoanalytical angle. The vampire dream is accordingly taken
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Books on the topic "Vampires in dreams"

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Tyche. Vampire dreams. SparkNotes, 2004.

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Liquid dreams of vampires. Llewellyn Publications, 1996.

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Girls, Theory. Blood dreams. Detour Press, 1996.

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Krinard, Susan. Prince of dreams. Bantam, 1995.

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Captured dreams. Large Print Book Co., 2004.

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Copyright Paperback Collection (Library of Congress), ed. Captured dreams. New American Library, 2003.

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Hamilton, Laurell K. Incubus dreams. Berkley Books, 2004.

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Lichtenberg, Jacqueline. Dreamspy. BenBella Books, 2004.

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Dreamspy. St. Martin's Press, 1989.

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Vampire dreams. Broadway Play Pub., 2001.

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Book chapters on the topic "Vampires in dreams"

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Smart, Robert A. "Postcolonial Dread and the Gothic: Refashioning Identity in Sheridan Le Fanu’s Carmilla and Bram Stoker’s Dracula." In Transnational and Postcolonial Vampires. Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137272621_2.

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Conolly, Jez, and David Owain Bates. "‘I’ve dreamt about you over and over again, Doctor’." In Dead of Night. Liverpool University Press, 2015. http://dx.doi.org/10.3828/liverpool/9780993238437.003.0003.

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This chapter discusses ‘Linking Narrative’, directed by Basil Dearden, which is considered to be loosely based on a 1912 short story by E.F. Benson entitled ‘The Room in the Tower’. While the source story's repeating dream motif defined the film's framing mechanism, its theme of vampirism failed to make it onto the screen, although it might just explain the presence of a looming, fang-baring vampire bat in Dead of Night's most well-known poster artwork painted by Leslie Hurry, a monster that is entirely absent in the film. Nevertheless, the link story that charts Walter Craig's tortuous passage through Pilgrim's Farm presents a monstrous circumstance that, gradually and horrifyingly, is altogether more frightening than any manifestation of a monster could ever be. Indeed, Dead of Night is regarded as ‘a horror film without a recognisable monster, or rather a film where the monster turns out to be the film itself’. Dearden's connective sequences are the firm foundation for the film's deserved reputation, and the seamless ellipse that they constitute has earned Dead of Night a unique place in cinema history.
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Williamson, Milly. "Vampires and Goths: Fandom, Gender and Cult Dress." In Dressed to Impress. Berg, 2011. http://dx.doi.org/10.2752/9781847888709/drsimprs0012.

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Carbonell, Curtis D. "Worlds of Darkness." In Dread Trident. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620573.003.0004.

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This chapter examines the World[s] of Darkness’s most important gametexts within the context of the move from Gothic to cosmic horror. It utilizes literary and philosophical analysis of the Gothic, especially that of Fred Botting and Noël Carroll. Botting helps by posing a question of what sort of ‘spectral return’ we might see with a reinvigorated Gothic, while Carroll views ‘art-horror,’ or the horror derived from the genre of popular culture, as a key driver in how we have come to represent horror. This chapter works through the tensions of how a Lovecraftian-like cosmic horror displaced the Gothic yet acknowledges the Gothic’s persistence. It sees in the World[s] of Darkness’s TRPGs like Vampire: the Masquerade and Werewolf: the Apocalypse attempts at a renewed Gothicism. Yet, in the New Worlds of Darkness’s, the ‘God Machine’ emerges as a novel posthuman trope, one that hints at a machinic inscrutable entity far beyond any human understanding.
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Etkind, Alexander. "Fear of the Past." In Facing Fear. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691153599.003.0010.

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This chapter examines the representation of Soviet terror in post-Soviet culture. It proposes a new concept, that of memory-dread, to analyze how Russians perceive the Soviet terror. It interprets the fearful visions of post-Soviet writers, fimmakers, and intellectuals as a territory of memory-dread, a space of the undead. Recognizing ghosts, spirits, vampires, dolls, and other man-made and man-imagined simulacra that carry the memory of the unburied Soviet dead, the chapter develops a theory of cultural memory as consisting of three elements that are intimately connected: monuments (hardware), texts (software), and specters (ghostware). It also discusses three stages in the Russian memory of the so-called “unjustified repressions”: denial, repression, and interpretation. Finally, it considers the carnivalesque dynamics of the post-catastrophic melancholia, along with Magical Historicism in the post-Soviet novel.
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"Tod Browning’s Dracula (1931):The Vampire Wears a Dress Coat." In Dracula and the Gothic in Literature, Pop Culture and the Arts. Brill | Rodopi, 2016. http://dx.doi.org/10.1163/9789004308060_008.

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Miller, Gavin. "Existential-humanistic psychology." In Science Fiction and Psychology. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620603.003.0004.

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Existential-humanistic psychology recovers neglected philosophical and spiritual categories regarded as proper to human being, in contrast with animal life or inanimate systems. Existential-humanistic proto-discourses are important to Vincent McHugh’s I Am Thinking of My Darling (1943), in which an emerging ideal of personal authenticity queries the American Dream in 1940s’ New York. McHugh’s critical utopia contrasts with the ponderous extrapolations of Colin Wilson in The Mind Parasites (1967) and The Space Vampires (1976), and Doris Lessing in The Four-Gated City (1969). Both these authors – despite their widely differing positions in the literary canon – use science fiction as a didactic and futurological (even prophetic) medium in which existential psychology serves as the supposed rationale for spiritual apotheosis (including the cultivation of psi powers). A more fruitful post-war deployment of existential-humanistic psychology can be found in texts such as Theodore Sturgeon’s ‘And Now the News …’ (1956), Naomi Mitchison’s Memoirs of a Spacewoman (1962) and Marge Piercy’s Woman on the Edge of Time (1976), which critique the instrumental tendencies of mainstream psychology.
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