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Journal articles on the topic 'Vampires'
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1
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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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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Pérez-Fernández, Francisco, and Francisco López-Muñoz. "El vampirismo desde la vertiente psicomédica Apuntes histórico-literarios para la reconsideración de una condición psiquiátrica." Mente y Cultura 3, no. 2 (November 20, 2022): 75–85. http://dx.doi.org/10.17711/myc.2683-3018.2022.009.
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In 1886, the neurologist Richard Von Krafft-Ebing published his bookPsychopathia Sexualis and offered the first explanations about paraphilias such as vampirism. This phenomenon has usually maintained in the margins of clinical research because of its rarity, receiving a literary treatment. Whenever science stopped estimating it as another medical event, it has been observed among psychologists and psychiatrists as a psychosexual bias problem that has never been well understood in mental health terms. Thus, since the end of the 19th century, a review of scientific literature has not found more than 70 cases of clinically significant vampirism. The obsession with blood sinks its roots in ancient traditions that, already merged with the business contemporary popular culture, are observed from mere curiosity. Therefore, it is difficult to decide how much in the modern vampirism is organic, mental, or simply cultural and fictional, as in the Bram Stoker’s novel. It is complex to determine how much of what today we could consider "vampiric" is genuine, while linked to the "vampire epidemic", which granted it validity in the context of Enlightened Western Europe, because the current vampires don’t look like the vampires that revolutionized the court of the Habsburgs. Vampirism is today a form of very strange mental pathology. It lacks a typical scheme that allows it to be located in its own clinical space, which has prevented its nosological categorization. However, in 1984, Herschel Prins coined the term "Renfield’s syndrome", in reference to Stoker's character, to name the picture of clinical vampirism, characterized by a sexual fetishism linked to blood. In any case, the behaviors of this clinical condition are always associated with other psychiatric disorders, usually of a psychotic type.
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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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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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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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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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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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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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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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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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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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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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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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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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Cardow, Andrew, and Robert Smith. "Using Innovative Pedagogies in the Classroom." Industry and Higher Education 29, no. 5 (October 2015): 361–74. http://dx.doi.org/10.5367/ihe.2015.0268.
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It can be difficult to interest students in academic topics if they have no prior exposure to or experience of the subject. The authors introduce and discuss a pedagogic innovation designed to trigger interest in entrepreneurship and ‘enterprise culture’. They use fiction in the form of Gothic context and the vampire motif to move the student through Bloom's cognitive levels of learning. The vampire is a mythic creature spawned from the deepest recesses of folkloric imagination. The entrepreneur might be seen in a similar light. The authors therefore explore these ‘Byronic heroes’ and vampirism as heuristic devices to help re-story and better understand entrepreneurial processes and narratives. They demonstrate that there are elements of enterprise discourse in contemporary narratives and images of vampires. The analysis is based on observations of the late 1990s early 2000s teenage television serial ‘Buffy the Vampire Slayer’, which retains its popular and academic cult status. Through the identification of the familiar (vampires and Buffy) as examples of the entrepreneurial construct, the unfamiliar (the construct of entrepreneurship) is made more accessible because both students and faculty approach it from a shared understanding rather than from a position of inequality. Themes of morphology and transformation emerge, but the paper's main contribution lies in its account of a novel way of teaching entrepreneurship to a new generation of students. It offers insights into making entrepreneurship more interesting for students and so into developing an entrepreneurial mindset. At the same time, the process allows for discussion of how the student has become aware of the concepts of entrepreneurship, thus facilitating knowledge in a non-threatening way.
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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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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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Kellermeyer, Michael Grant. "“The Subtle Craft of the Devil”: Misogynistic Conspiracy Theories and the Secret Society of Pregnancy Cravings in E. T. A. Hoffmann’s Vampirism." Humanities 12, no. 6 (December 5, 2023): 143. http://dx.doi.org/10.3390/h12060143.
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This paper analyzes themes of male insecurities and distrust of the exclusive culture of female sexuality and reproduction in E. T. A. Hoffmann’s Vampirism, one of the earliest psychologically sophisticated female vampires in Western literature. The doomed heroine, Aurelia, escapes a life of maternal abuse and sexual trauma by marrying the wealthy Count Hippolytus, but his attraction warps into suspicion when she becomes pregnant and loses her appetite for his food. Worried that losing her virginity has activated promiscuity inherited from her late mother, he begins following her and thinks he sees her conspiring with a coven of female ghouls who train her to satisfy her pregnancy cravings by feeding on a male corpse. Real or imagined, this vision confirms his suspicions and leads to their mutual destruction. In my analysis, I explore vampire literature’s early history, its place within Gothic literature, the prominent role of female vampires, their relationship to gender anxieties exacerbated by the Romantic Era’s subversive political movements, and the way in which Hoffmann’s cynical story operates as a misogynistic conspiracy theory aimed at the secret female space of reproduction, symbolized by Aurelia’s cannibalistic pregnancy cravings. As such, it contributes to the destructive folklore of social distrust.
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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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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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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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Sangsue, Daniel. "Nodier et le commerce des vampires." Revue d'histoire littéraire de la France o 98, no. 2 (February 1, 1998): 231–46. http://dx.doi.org/10.3917/rhlf.g1998.98n2.0231.
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Résumé Charles Nodier, qui a joué un rôle décisif dans la diffusion des vampires dans la France romantique, n'a pas entretenu de commerce particulier avec ces créatures lors de son séjour en Illyrie. Mais ce séjour lui a conféré une autorité dont il a profité, dès l'apparition du Vampire de Byron-Polidori, pour s'assurer une sorte de monopole du thème et l'exploiter habilement, jusqu'en 1832, à travers des articles, un roman dont il n'est pas l'auteur, un mélodrame et la compilation des Infernaliana . Le cas de Nodier et des vampires permet de montrer dans quelles conditions et au terme de quelles procédures un écrivain peut investir (dans) un thème et se l'assimiler.
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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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Bodevan, Erica Sudário. "Vampires that grew sick of Dracula." Recital - Revista de Educação, Ciência e Tecnologia de Almenara/MG 2, no. 1 (June 3, 2020): 116–24. http://dx.doi.org/10.46636/recital.v2i1.84.
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Bram Stocker’s Dracula (1897) is considered a cornerstone when the subject is vampires. Although there were important works written before Stocker’s, such as “The Vampyre” (1819) by John Polidori and Carmilla (1872) by Sheridan Le Fanu, it was Dracula that established a vampiric genre and influenced countless works that came afterwards. Vampires in the contemporary, however, present some primordial differences when compared to the 19th century Count. Their relation with humans, who once were seen just as prey, evolves in the 20th and 21st century. It can be argued that these differences are due to the age those blood sucking monsters were created and “live” among society.
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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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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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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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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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Jarosz, Lucy A. "Agents of Power, Landscapes of Fear: The Vampires and Heart Thieves of Madagascar." Environment and Planning D: Society and Space 12, no. 4 (August 1994): 421–36. http://dx.doi.org/10.1068/d120421.
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Vampires and heart thieves have, it is said, inhabited the island of Madagascar for the last century. These mythic figures signify relations of identity tied to the global processes of colonial capitalism, modernism, and imperialism as they relate to a colonized Africa, and more specifically, to the island of Madagascar. The vampire and heart thief express the array of extractive processes rooted in the social relations between colonizer and colonized, political subjects, empire, church, and state. These mythic figures are manipulated by various groups to fulfil specific local political agendas and invoke difference based upon race and class. Rumors and sightings of vampires and heart thieves create a landscape of fear which enables or constrains complicity with, or rebellion against, agents of the state and the church.
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Dunea, G. "Vampires." BMJ 318, no. 7176 (January 9, 1999): 135. http://dx.doi.org/10.1136/bmj.318.7176.135a.
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Tembo, Kwasu David. "White Fang Ally: The Arctic As Eden of Death in 30 Days of Night." Interações: Sociedade e as novas modernidades, no. 41 (December 31, 2021): 11–32. http://dx.doi.org/10.31211/interacoes.n41.2021.a1.
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A recurrent congenital weakness of 20th and 21st century television, literature, and cinema vampires is their porphyric susceptibility to ultraviolet radiation. Central to vampires’ continued undead life is the problem of sunlight. In this way, sunless environs like the Arctic and Antarctic represent what I describe as purely Gothic environments in whose desolation, cold, and darkness, undead life is able to proliferate, unmarred and unimpeded by the typical diurnal/nocturnal cycles of luminosity that trouble the undead lives of vampires. In order to theorize the value of the Arctic as an embodiment of Gothic-horror, this essay uses Steve Niles and Ben Templesmith’s 30 Days of Night (2002) as a case study of the pathetic resonances between the Arctic and the figure of the vampire. Following on from this, the analysis turns to Michel Foucault’s concept of the heterotopia in order to theorize the manner in which the Arctic, whose nocturnal/diurnal rhythms stand in radical opposition to the majority of seasonal cycles elsewhere on earth, represents an onto-existential paradise of death for the undead: a chronotope that embodies the essential attributes of the onto-existential condition of the undead.
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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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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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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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RISTIĆ, ALEKSANDAR. "THE VAMPIRLIJA HILL IN THE VILLAGE OF MIJAJLOVAC (TRSTENIK): A POSSIBLE LOCATION FOR THE BIRTHPLACE OF EUROPEAN ‘VAMPIROLOGY’." ISTRAŽIVANJA, Јournal of Historical Researches, no. 32 (December 3, 2021): 116–32. http://dx.doi.org/10.19090/i.2021.32.116-132.
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Vampires gained worldwide popularity due to the classic novel about the most famous one, Dracula, written by Bram Stoker in 1897. Bram Stoker’s Dracula has very little in common with his inspiration, the fifteenth-century Wallachian ruler Vlad III (1431‒1476), who was a real historical figure. However, some strange events involving the dead seem to have occurred in Southwest of Transylvania a few centuries after the Wallachian prince’s death. In some parts of the Habsburg Kingdom of Serbia (1718‒1739), the local Austrian authorities recorded some cases of ‘vampirism’, which Europe would be introduced to shortly afterward, along with this newly accepted word. This paper will present historical facts about one particular case recorded at the southernmost border of the Habsburg Empire, which at the time was the West Morava River. It was the case of a ‘vampire’ named Arnold Paole, who died in 1726/7 in the border village of Medveđa and whose case ‘infected’ the whole Europe with the ‘virus’ of ‘vampiromania’. The main goal of the paper is to locate the spot where one of the first ‘vampire slayings’ ever recorded could have taken place, and to direct further investigations within early modern age archaeology.
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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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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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Kakkar, Angadbir Singh. "More than human: Analysing Edward Weyland as a post-human self-humanizing vehicle in Suzy McKee Charnas’s The Vampire Tapestry." Technoetic Arts 21, no. 1 (August 1, 2023): 91–98. http://dx.doi.org/10.1386/tear_00099_1.
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Vampires are portrayed opposite to humans, depicted as the dichotomy between predator and prey. Being ever so near to their prey, vampires develop a proclivity for imbibing or emulating characteristics that are considered to be in the sole charge of humans. This text employed is The Vampire Tapestry by Suzy McKee Charnas. The article will analyse Edward Weyland as a post-human symbol, positing himself as an ever-evolving entity that is both human as well as a threshold to gauge humanity of the other characters involved. The article underlines the ways in which Giorgio Agamben’s concept of Anthropological Machine and Katherine Hayles’s concept of Technogenesis will be used to examine Weyland and other characters as being participants in mutual evolution, tacitly affecting each other through performative actions. The article will inspect the term ‘human’ as more than just a reified concept, as a term that is constantly in flux and how bio-politics is immanent to the very concept of human.
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Gaynor, Tia Sherèe. "Vampires Suck." Administrative Theory & Praxis 36, no. 3 (September 2014): 348–72. http://dx.doi.org/10.2753/atp1084-1806360305.
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Motoret, Laurence. "Invisibles vampires." Sigila N°45, no. 1 (2020): 167. http://dx.doi.org/10.3917/sigila.045.0167.
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Groom, Nick. "Viral Vampires." Critical Quarterly 62, no. 4 (December 2020): 9–16. http://dx.doi.org/10.1111/criq.12576.
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Schetters, Theo. "Vampires only." Trends in Parasitology 17, no. 10 (October 2001): 467. http://dx.doi.org/10.1016/s1471-4922(01)02127-4.
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Milius, Susan. "Vampires Run." Science News 167, no. 12 (March 19, 2005): 179. http://dx.doi.org/10.2307/4015937.
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Burnum, John F. "Medical Vampires." New England Journal of Medicine 314, no. 19 (May 8, 1986): 1250–51. http://dx.doi.org/10.1056/nejm198605083141910.
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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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Radulović, Lidija. "The vampire: Thwarted mythical ancestor and symbol of the thwarted male sexual potential." ISSUES IN ETHNOLOGY AND ANTHROPOLOGY 1, no. 1 (May 22, 2006): 181–202. http://dx.doi.org/10.21301/eap.v1i1.10.
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Ethnographic literature from the late eighteenth and during the course of nineteenth and twentieth century, presents us with a diverse but insufficiently conceptualized notions based on which vampire could be discussed in the context of aberrant life, untypical death, or inadequate burial practice. The structure of ancestral cult, containing among other things ideas of the "nature" of interrelationships between the living and the dead, is only one of the constructions imitating the ideological discourse of old-fashioned cultural pattern, certain relations in the society and structural order. Relations between the living and the dead are limited to ones on the male side, implying the reciprocal obligation: on one hand, respect of the burial rituals and mourning determine the "posthumous destiny", as well as the obligation of sacrificial offerings to godly ancestors, on the other the requirement of ancestors to protect and watch over their descendants in return. In order to be able to reproduce at all a community must mind the deceased’s soul, i.e. prevent the possible demonization by properly observing the rituals. In that sense, notions of vampires and the devil are emblematic warnings of the fact that each deceased, necessarily, is not an ancestor, and that the ideal model of generational hierarchy and of awe sustained by the proclaimed old-fashioned relations is actually relative, that is to say the notions of vampires and the devil point to the split in generations and to the governing relations in an old-fashioned society. Directly dependant on the male descendents, aberrant life as well as the aberrant "posthumous destiny" are mechanisms for excluding from the social relations with the dead the ones that can not be given the status of ancestors, so we can conceive them as thwarted mythical ancestors. In the second part of the paper, I endeavored to demonstrate that the conceptions of masculinity could also be deconstructed through analysis of mythical imagery, for mythological images of say vampires are based on contradictions between objectively different scripts – religious and secular ones. Images of vampires could as well be viewed as symbolic constructions of certain masculinity patterns, first of all church, non-Christian (pagan) and secular patterns that collide. The collision of different masculine scripts results in repression of those not belonging to public Orthodox discourse, so the latent processes of Christianization implicitly reproduced the notions of vampire as thwarted male sexual potential.
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Adicaram, D. R. S., E. S. Wijayamunige, and S. C. A. Arambepola. "Vampires! Do they exist? A case of clinical vampirism." Sri Lanka Journal of Psychiatry 12, no. 2 (December 31, 2021): 38. http://dx.doi.org/10.4038/sljpsyc.v12i2.8299.
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Hyungji Park. "Vampires with Day Jobs －The K-Vampire and the Law－." 사이間SAI ll, no. 21 (November 2016): 255–86. http://dx.doi.org/10.30760/inakos.2016..21.007.
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