A Marxist Interpretation Of Dracula

Vampires have been around for centuries, they represent the fear of many things such as sexuality, race, gender, etc. and above all, they stand for the fear of diseases. Vampires have once been the symbol of horror due to their terrific depictions and were described as a threat to the humanity. Throughout time, the image of vampire has changed dramatically from a monstrous, inhumanely creature that doesn’t belong to human society to such an attractive and adaptive figure that expresses more of the human side than the evil. They developed human feelings, senses, and live within our society. Modern vampire movies are often more romantic and “sympathetic” comparing to the past. Vampires have abandoned their horror and evolved to a more

Unremarkable though it may seem, to affirm the obvious truism that Bram Stoker’s Dracula originates from a century that historians often describe as the most significant in terms of revolutionary ideology, whilst wishing to avoid the clichéd view held, it is undeniable that the more one delves into the depths of this novel the greater wealth of meaning demonstrates significant correlation with Marxist ideology. The 19th Century saw the emergence of revolutionary socialist Karl Marx, who himself used the vampire metaphor to describe the capitalist system as ‘dead labour which, vampire like, lives only by sucking living labour’. Through Stoker’s opulent use of narrative structure, use of setting and imagery, this novel presents a multiple

Batman beats the Joker. Spiderman banishes the Green Goblin. For centuries story tellers have used the basic idea of good beats bad to guide their tales. Stories of blood sucking, human possessions and other tales have been passed down generations and vary between cultures. Among the creators of the famous protagonists is, Bram Stoker, the creator of Dracula. This fictional character was soon to be famous, and modified for years to come into movie characters or even into cereal commercials. But the original will never be forgotten; a story of a group of friends all with the same mission, to destroy Dracula. The Count has scared many people, from critics to mere children, but if one reads betweens the line, Stoker’s true message can be

Are there still connections between Bram Stokers famous novel Dracula and modern day society? In Dracula, Stoker expands on many themes that indeed exist today. Not only does he touch on the most obvious theme, sex. He expands on gender division and good versus evil. Some say since times have changed the themes I introduced have changed as well, leaving connections between then and now irrelevant. However, I feel that although times have changed they still have roots from the time of the novel to now. In this essay I will expand on the themes of this novel while connecting them to modern day society, the critical texts I have chosen and will mention later on in the essay are a good representation of the commonalities between the chill, dark Victorian days in which the era that Dracula was written in and modern day.

Bram Stoker’s “Dracula” is a story about a Vampire named Count Dracula and his journey to satisfy his lust for blood. The story is told through a series of individuals’ journal entries and a letters sent back and forth between characters. Bram Stoker shows the roll in which a certain gender plays in the Victorian era through the works of Dracula. This discussion not only consists of the roll a certain gender takes, but will be discussing how a certain gender fits into the culture of that time period as well as how males and females interact among each other. The Victorian era was extremely conservative when it came to the female, however there are signs of the changing into the New Woman inside of Dracula. Essentially the woman was to be assistance to a man and stay pure inside of their ways.

Bram Stoker's Dracula is highly acclaimed and has received many different interpretations which deal with complex symbolisms and metaphors. These interpretations often require a great deal of knowledge in psychology, political science, anthropology, and other non-literary disciplines. These interpretations may be valid, as they are related to the disciplines on which their arguments are based, but the true power of the novel is due to a very simple theme that lies beneath the other, more convoluted interpretations. This theme is the universal concept of identity: us versus them. This criticism sets aside outside disciplines and focuses on the literary motif of identity. John

Humans adore all aspects of control, and the most crucial aspect that anyone person can control is their own life. Many believe how hard someone works will determine what outcome they will achieve. Humans have a drive to control their lives in hopes to obtain what they desire and deserve. In Bram Stoker’s Dracula, the fear of being powerless in a situation is shown repeatedly to reinforce the notion that not all can be controlled. There is an ongoing power struggle between the characters and never a truly clear winner.

Dracula is a proud of his lineage. His blood is noble among gypies (criminals) but when placed in comparison to the elite of England, he is considered primitive, “…Dracula's criminality dominates over his noble blood: 'science' assimilates him to a lower type, associating him with animals and 'inferior' human groups” (McWhir 34).

From the viewpoint of Marxism, the Count is seen as a type of capital that sucks the life out of the working, proletariat class. Having money, gold, and other materialistic items, increase the capital of an individual. Having no life, Dracula lives his life by taking the life from others. This occurs when Dracula states. As Marx explains, Draculas' actions of draining blood and stealing the lives of mortals illustrates the power hungry Count, trying to gain more capital. For gaining more power, blood acts as a capital in Dracula. This is how Marxism views that acquiring capital is seen as a profit only for the bourgeoisie, since they have more than enough, and still want more and more capital.

The main thing discussed in the first part is how different Dracula is compared to the rest. He is not pure,

As we all know Dracula not only has to do with the horror, blood and vampires, but religion, christianity and the Victorian society that play a huge role in the story. These topics all have a reasonable amount of influence on how Dracula was written, and how the various themes in Dracula were developed. The input of religion is seen from the start all the way to the ending no doubt about it. In addition, there are also various examples of how the Victorian society also mixed in with religion, like the ideas of people back then and what they thought was wrong and right due to society’s beliefs . The exploration of thoughts and ideas by all the characters regarding what is wrong and right due to society and religion is also easily seen throughout the story. In the novel Dracula, written by Bram Stoker, the Victorian society influenced overall in the way it was written, and how their beliefs at this time of Christianity are being explored to these new ideas.

Bram Stoker’s Dracula magnificently portrays Anti-Christian values and beliefs through one of its central characters, Dracula. Dracula himself, a demonic figure, both in appearance and in behavior, could be considered the Anti-Christ. This idea of Dracula as a gothic Anti-Christ is a major element in the novel. Stoker displays numerous Anti-Christian values, superstitious beliefs, and compares and contrasts the powers of God with those of Dracula.

In everyday life, as in literature, there will always be an opposing force to evil. In the novel “Dracula,” by Bram Stoker, Professor Van Helsing acts as Dracula’s main antagonist. An antagonist is the character who acts against the main character, which increases the conflict of the story and intensifies the plot. Through the use of theme, characterization and specific events, the author shows readers how Dr. Van Helsing effectively fits the role of Dracula’s most threatening adversary.

In his Literary Theory: The Basics, H. Bertens classifies stereotypes of women in literature into a number of categories; dangerous seductress, self-sacrificing angel, dissatisfied shrew, and defenseless lamb, completely incapable of self-sufficiency, or self-control, and dependent on male intervention. Bertens concludes that the primary objective of these women – or “constructions” – is to serve a “not-so-hidden purpose: the continued cultural and social domination of males”. One such novel that came under feminist scrutiny for these particular reasons was Bram Stoker’s Dracula, although this perlustration didn’t occur until 70 years after Stoker originally penned his masterpiece. However, during the mid-1960s, the rise of the feminist

The legend of the vampire has emerged countless times within human imagination over the past few centuries. The first available representation of the mythical creature in prose fiction can be found in John Polidori’s “The Vampyre” (1810). It was not until eight decades later that Bram Stoker popularized the existence of this figure with the publication of “Dracula” in 1897. The folklore of the vampire has come a long way since and can be found in today’s popular media more frequently than ever before. However, with due course of time, the representation of the creature has taken alternate routes and today’s vampires are noticeable different – socially and physically – from their predecessors. One effective path to trace this