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The Gothic- Dracula Add in library

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Question:

Describe about the Gothic- Dracula?
 
 

Answer:

The desire between the men is one of the most important aspects in the Gothic fictions and the story Frankenstein is also not an exception to the rule.  The homosexual element of the film is Frankenstein is also well depicted by Walton. Since Walton was in need and desire of the Victor’s tale. The male attraction is personified by the way the two used to listen, talk and gaze to each other (Stoker, 1996) (page 59). The difference between the male and the female characters in the Frankenstein is very evident. The women of the story are always subdued and their roles are used as a passive tool for the depiction of the male characters. From the story Frankenstein it can be said though the story represents the male dominated society and the world, Mary Shelley had succeeded in her attempt (DIFILIPPANTONIO, 2015). The book became famous as she was able to identify the highlighting the men in the story will be acknowledged in the society.

It is important to draw our attention to the gender and the sexuality roles in the society in the Victorian era (Knudsen, 2015). The female sexuality was not accepted and was very much suppressed in the society. It was seen that the women should not have any sexual desirability during that time and was seen as a mean necessary for reproduction after being married. This was the period of the confronting ‘New Woman’, who strives to be liberated both sexually and politically, a perception which most of Britain at that time found to be extremely unsettling and seditious.

 

Moreover, in the first part of Dracula, it indicates that there is sexual tension between Harker and Dracula. Christopher Craft argues, Dracula poses a sexual threat towards Harker, namely that he “will seduce, penetrate, drain” him in a homoerotic grip. The novel builds up this anxiety but by no means fully expresses it. Instead the elusive fulfillment of this craving is channeled through heterosexual displacement. Furthermore, Dracula’s had incestuous connection with his victims. “He is the father vampirizing a daughter”; in both the cases of Mina and Lucy (Stoker, 1996) (page 205). The creation of a vampire is incestuous; the representation of Mina drinking Dracula’s blood from the chest is evidently an image of a baby suckling milk from its mother’s (Sigurbjörnsdóttir, 2015).

The implication of the women and Stoker’s obsession with female sexuality is attested to by the information that they in fact come to control the story. This is for the reason that he works all the way through women (they are his lone true conquests in the work of fiction), and the consequences of the seductions he make are far more dreadful than he himself because of the severe contrasts that they evoke. Phyllis A. Roth suggests that much of Dracula’s appeal comes from its lack of sympathy toward the female sexuality, because the feminine vampires are the same to the fallen women who belonged to the eighteenth and nineteenth-century novel. Roth gives other examples of this incident in the novel by the two female characters, Lucy and Mina. In the start of the story when Lucy was yet to be vampirised, her hair was described in its natural sunny ripples (Pektas, 2015). But later when everyone watches her go again to her vault Lucy is changed into “a dark haired woman”. Hughes´ opinions are fairly similar to Roth’s, script that Stoker makes or portraits his heroines as virgins, and since virginity was the base in patriarchal society (Stoker, 1996) (page 381). Virtuosity and Virginity was viewed as the “codification of established behavioral norms for the female”.

Conclusion:

Lucy's doctors are incapable of saving her from Dracula, after several blood transfusions. Dracula changes Lucy into a vampire by feeding her his blood. All of Lucy's lovers and their friends join in a common ground: to kill the vampire Lucy so as to make her die a natural, serene death. Subsequent to saving Lucy by killing her, they all agree to work as one to kill Dracula. Dracula attacks Mina, of Jonathan Harker, under the nose of the Crew of Light. He forces her to sip his blood, forming a relation between them that allows him to be in command of her – but he also allows her to perceive into his mind. If Dracula is killed, Mina will ultimately change into a vampire like Lucy did. Thus we can see that Dracula I some way or the other tried to suppress the women around him by making them like his own.

 

References

DIFILIPPANTONIO, A. (2015). BRAM STOKER’S DRACULA: A PSYCHOANALYTIC WINDOW INTO FEMALE SEXUALITY (1st ed.). Retrieved from https://www.ed.psu.edu/englishpds/10-11/difilippantonio/Home_files/Dracula%20Thesis.pdf

Knudsen, L. (2015). An analysis of Mary Shelley’s Frankenstein, or, the Modern Prometheus, using Horace Walpole’s The Castle of Otranto as an example of male discourse about women (1st ed.). Retrieved from https://projekter.aau.dk/projekter/files/65640208/frankenstein_thesis.pdf

Pektas, N. (2015). The Importance of Blood during the Victorian Era: Blood as a Sexual Signifier in Bram Stoker’s Dracula (1st ed.). Retrieved from https://sh.diva-portal.org/smash/get/diva2:16204/FULLTEXT01.pdf

Sigurbjörnsdóttir, E. (2015). Fatal Attraction Comparing Sexualities in Dracula, The Vampire Chronicles, and The Twilight Saga (1st ed.). Retrieved from https://skemman.is/en/stream/get/1946/13691/32775/1/Eyd%C3%ADs_Arna.pdf

Stoker, B. (1996). Dracula. Charlottesville, Va.: University of Virginia Library.

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