Beauty And Image In Bram Stoker's Dracula

A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and

In Dracula, Stoker portrays the typical women: The new woman, the femme fatale and the damsel in distress, all common concepts in gothic literature. There are three predominant female roles within Dracula: Mina Murray, Lucy Westenra and the three vampire brides, all of which possess different attributes and play different roles within the novel. It is apparent that the feminine portrayal within this novel, especially the sexual nature, is an un-doubtable strong, reoccurring theme.

During the Romantic Era, Bram Stoker created a timeless monster in his novel, Dracula. Stoker uses a series of letters and journal entries to tell the story form a first person point of view. The Count, for whom the book is named, seems to be invincible to mere man. Stoker uses his character of Dracula to reflect the elements of romanticism through his supernatural powers, a fascination with youth and innocence, and imagery.

The theme of appearances varying from reality is also present in many instances throughout Bram Stoker’s Dracula, especially within various characters. Dracula, for example, has the ability to shape-shift and change forms. Dr. Van Helsing, one of the protagonists of the novel, explains, . . . he can, within limitations, appear at will when, and where, and in any of the forms that are to him; he can, within his range, direct the elements; the storm, the fog, the thunder; he can command all the meaner things: the rat, and the owl, and the bat—the moth, and the fox, and the wolf; he can grow and become small; and he can at times vanish and come unknown. (Stoker 237) Dracula is able to convert into a variety of forms, including a mist, bat, or wolf, depending on what best suits the circumstances; essentially,

Bram Stoker’s use of characterization and imagery to convey one of his many themes in the book Dracula. In Bram Stoker’s Dracula, the author uses characterization and imagery to convey the theme, Follow your instincts.

“He strayed away by himself from the watchers whom he had placed in ambush on the crest of the hill, and wandered far down the steep slopes amid the wild tangle of undergrowth, peering through the tree trunks and listening through the whistling and skirling of the wind and the restless beating of the

In Earnest Hemingway’s The Sun Also Rises, we gain a glimpse into the development of Jacob Barnes, an injured veteran of the First World War. This veteran does not seem to have lost any of his perseverance despite his laughable injury to his penis though, as a love-inspired Jake pursues a deeper relationship Brett throughout his time in Paris and Spain. Nonetheless, Jake never gains the relationship with Brett for which he searches, solely due to his injury. Although some may perceive the final lines of this exemplary novel, “Isn’t it pretty to think so?”, as an allusion to Jake’s inability to give up on his pursuit of Brett as a lover and sexual partner, he has rather finally recognized that Brett is unobtainable to

Society has many different views on the way that men influence a woman’s vulnerability. Individuals who lived in the 1800’s particularly, had a certain image that they sought to reflect, which is evident in the novel Dracula. Dracula by Bram Stoker showcases the superior role that men had over women in the Victorian era because they are illustrated as being dominant and controlling.

Bram Stoker’s Dracula is a story of horror, suspense, and repulsion. The main antagonist, Count Dracula, is depicted as an evil, repulsive creature that ends and perverts life to keep himself alive and youthful. To most onlookers that may be the case, but most people fail to see one crucial element to this character. Dracula is a character that, though it may be long gone, was once human, and thus has many human emotions and motives still within him. Let us delve into these emotions of a historically based monster.

Count Dracula lives in a Gothic period castle in Transylvania. He is an aristocratic nobleman who possesses gentlemanly manners but uses it to conceal his evil intentions of regaining feudal power over people. Jonathan Harker is a young and intelligent lawyer from London who visits

Bram Stoker's Dracula is a true Gothic novel that belongs on any gothic literature course. Focusing in on the recurring themes, characters and settings used throughout the novel one sees how Dracula has set the standard for Gothic literature today.

Today’s political climate is a polarizing topic. Every form of media has an opinion on it from major news outlets to adult animated sitcoms. Harry Frankfurt’s book “On Truth” is relevant to the political storm that is brewing in American society due to the manipulation of the truth by political figures and mainstream media. Frankfurt approaches the importance of truth in a unique fashion and vilifies lies and those who spread them. This directly relates to the election year and how the truth is shrouded in mystery. The Daodejing and Socrates’ writings, while both important in literature are not as pertinent to the charged political climate that is taking place in the United States right now.

The play-script book “Dracula”, adapted by David Calcutt, is a captivating reword of the iconic epistolary horror novel of a same name which was written by Bram Stoker, The author outlines the power struggle between good and evil in the text through messages and symbols. The author focuses on Dracula and a group of friend’s actions and emotions in which he uses narrative conventions to convey key messages in the book. The messages I found that were prominent were “evilness is an infection”, “greed is consuming” and “good always prevail”.

It looked like the sun had given up on trying to break through the iron curtain of clouds that it decided to lounge behind them. As we nervously walked towards the battle of our lives, the castle silhouetted behind us like someone faintly saying goodbye. The narrow barren streets were scattered with muculent mud and broken decomposed parts of the castle lay beside it reminding us that danger was slowly approaching. The street was a skeleton, stripped of its flesh. All that remains was the broken parts of the concrete structure. Quiet and derelict. The street was a river of the rusted burnt charcoal like concrete parts of the castle. Perhaps years back this street was immersed in pools of yellow light from the assaulted street lamps. Walking past the street lamps made the scent of burnt smoke go inside me like a barren soul. The street lamps were concealing us and we were inferior to the street lamps. The street lamps were covering us with darkness reminding us of the danger ahead of

The late nineteenth century Irish novelist, Bram Stoker is most famous for creating Dracula, one of the most popular and well-known vampire stories ever written. Dracula is a gothic, “horror novel about a vampire named Count Dracula who is looking to move from his native country of Transylvania to England” (Shmoop Editorial Team). Unbeknownst of Dracula’s plans, Jonathan Harker, a young English lawyer, traveled to Castle Dracula to help the count with his plans and talk to him about all his options. At first Jonathan was surprised by the Count’s knowledge, politeness, and overall hospitality. However, the longer Jonathan remained in the castle the more uneasy and suspicious he became as he began to realize just how strange and different