Academic literature on the topic '1847-1912 Dracula'

Bram Stoker (1847–1912) came from an Irish medical family whose influence is not hard to detect in his most famous work, Dracula, which sadly did not bring him the fame and fortune which his older brother William Thornley achieved. The latter was not only President of the Irish College of Surgeons and knighted, but held appointments at the two major Dublin asylums – the Richmond Hospital and St Patrick's. He was even a member of the Medico–Psychological Society for a while, and thus was well-placed to advise on the activities and thought-processes of the doctors in Dracula.

Presented here for the first time since their publication over a century ago are two previously unknown, undocumented periodical writings by Bram Stoker (1847–1912). To be sure, this discovery underscores Richard Dalby's assertion, shared too by his co-author, William Hughes, in Bram Stoker: A Bibliography (2004), that “more of [Stoker's] ephemeral stories and articles may still be awaiting discovery in obscure newspapers and magazines” (“Quest for Bram Stoker” 12). But more still, for one like Stoker whose shorter literary works, outside of “Dracula's Guest” (1913), lie on the periphery of a legacy that for many offers little distinction from the world's greatest of vampire narratives, the necessity to examine his periodical writings is twofold. For one, it will aid in the task of elucidating Stoker-as-writer; but more critically, it will allow us to engage in dialogue with scholars like Richard Dalby, William Hughes, and others who call into question our insistent tunnel view of Dracula as Stoker's only legacy worthy of consideration.

À partir des années 1970, le roman Dracula de Bram Stoker (1897) a connu une série inattendue d’éditions critiques, qui ont contribué en même temps à la canonisation d’une œuvre de fiction considérée auparavant comme dédaignable et à la perpétuation des points de vue du roman sur la Transylvanie et la Roumanie. En général, les éditeurs suivent le principe selon lequel les annotations doivent permettre au public d’aujourd’hui d’avoir une expérience de lecture similaire à celle des premiers lecteurs et aussi proche de l’intention de l’auteur que possible. Dans le cas de Dracula, cela présuppose que beaucoup des choix idéologiques de Stoker restent inexpliqués et indisputés, tandis que ses représentations des peuples et des lieux “lointains” sont soutenues par l’usage que font les éditeurs des notes de travail du romancier. Stoker a pris note, en les modifiant, des centaines de citations de différentes sources qu’il a ensuite incorporées dans le texte du roman. Les éditeurs de Dracula se fient à ces notes, sans prendre en compte les changements opérés par le romancier, les passages qu’il a utilisés mais qui n’apparaissent pas dans les notes, ou le fait que les sources sont souvent biaisées ou simplement érronées. Ainsi, les éditions critiques du roman de Stoker préservent et même contribuent au processus d’altérisation commencé par l’auteur de Dracula. L’analyse du discours d’altérisation est directement liée à la discussion du contexte historique du roman, c’est-à-dire le statut néo-colonial de la Roumanie, abordé dans la deuxième partie de cette étude. Les faits qui y sont mis en valeur montrent que ce que Stoker savait et ceux qu’il connaissait ont influencé ses choix d’endroits, de personnages et d’intrigue. L’implication de la Grande Bretagne dans l’économie et la politique de la region, avant et après la Guerre de Crimée, attestée par la présence des aventuriers coloniaux britaniques et par celle de la marine militaire anglaise sur le Danube, n’a guère était étudiée par les historiens. Le même peut être dit de l’implication de Londres au sein de la Commission Européenne du Danube. La présente étude pourrait aussi être utile aux spécialistes du postcolonialisme, de la mondialisation ou à ceux qui s’intéressent aux transformations apportées par le capitalisme dans le Bas Danube et à l’intégration des principautés roumains dans le marché économique mondial. Stoker a trouvé ses sources parmi les écrits des voyageurs en Transylvanie et Roumanie qui se préoccupaient des avantages économiques offerts par ces pays. Leurs écrits ont d’abord stimulé et ensuite soutenu l’implication de la Grande Bretagne dans l’économie de la région. La présente thèse va au-delà d’une autre frontière, en passant des études littéraires à l’anthropologie. Les anthropologues culturels peuvent trouver utile la discussion du temps et de la différence dans le roman de Stoker et dans les annotations des éditeurs. Dans les deux cas, il s’agit de la collection et de la manipulation des données concernant une région européenne « lointaine ». La (non)existence des croyances aux vampires est une situation qui peut fournir un aperçu des pratiques traditionnelles mais aussi, ce qui est plus important, des conséquences profondes du travail anthropologique du dix-neuvième siècle. Bien qu’elle soit un examen des éditions les plus richement annotées du roman de Bram Stoker, la présente étude est interdisciplinaire. Elle utilise des théories et des conceptes de plusieurs domaines, tout en attirant l’attention sur les liens complexes entre la culture, l’histoire, la politique et l’économie. Ce que cette étude montre surtout, c’est le lien étroit entre l’objet littéraire et le contexte dans lequel il a été produit.
Since the 1970s, Bram Stoker’s Dracula (1897) has gone through an unexpectedly long series of scholarly editions, which has contributed both to the canonisation of a work of fiction previously considered undeserving and to the perpetuation of the novel’s views on Transylvania and Romania. As a rule, editors follow the principle according to which their annotations should allow today’s audience a reading experience similar to that of the original reader and as close to the author’s intention as possible. In Dracula’s case, this means that much of Stoker’s ideological choices remain unexplained and unchallenged, while his representations of “remote” people and places are supported by the editors’ use of the writer’s working notes. Stoker took down, in altered form, hundreds of quotes from several sources that he incorporated into the text of the novel. The editors of Dracula rely heavily on these notes, without taking into account the changes brought by the novelist, the passages that he used but do not appear in the notes, and the fact that the sources were often biased or simply wrong. Thus, the many scholarly editions of Stoker’s novel preserve and even enhance its original process of othering. The analysis of the othering discourse is closely linked to the discussion of the historical context of the novel, that is, to the neo-colonial status of Romania, examined in the second part of this study. The information unearthed here shows that who and what Stoker knew influenced his choice of place, plot and character, which can provide a new line of inquiry for both literary critics and historians. The involvement of Great Britain in the economy and politics of the region, before and after the Crimean War, attested by the presence of British colonial adventurers and by that of the British navy on the river Danube, has only been marginally studied by historians, and the same is true about the study of the British involvement in the European Commission of the Danube. The present study can be equally useful to scholars engaged with postcolonialism, globalisation, and the transformations brought about by capitalism in the Lower Danube region and by the integration of the Romanian principalities into the world market economy. Stoker’s sources were travellers to Transylvania and Romania who were preoccupied with the economic advantages those countries had to offer. Their writings both stimulated and, later, supported the British involvement in the economy of the region. This dissertation crosses yet another boundary, from literary studies into anthropology. Cultural anthropologists can find useful the discussion of time and difference in Stoker’s novel and in the annotations of the editors, both of which involve the collection and manipulation of data from a “remote” European region. In the case of Dracula, the (non)existence of vampire beliefs is an interesting case study which provides insight into the practice but, more importantly, into the far-reaching consequences of nineteenth-century anthropological work. Although an examination of the most heavily annotated scholarly editions of Bram Stoker’s vampire novel, the present study is interdisciplinary. It employs theories and concepts from several fields, thus bringing to the fore the intricate links between culture, history, politics and economy. What this study shows, more importantly, is the close link between the literary object and the context in which it was produced.

O objetivo deste trabalho é apresentar uma leitura do romance Drácula, do escritor irlandês Bram Stoker, publicado em 1897. O propósito do estudo é identificar os arquétipos e imagens predominantes em Drácula, mostrando em que medida eles representam questões pertinentes à sociedade vitoriana e aos públicos receptores que obra teve desde então. A obra é publicada em um momento histórico que se configura ponto crucial na conflituada transição entre os antigos valores rurais britânicos e os da moderna sociedade urbana contemporânea, e a conseqüência desta transição é uma mudança drástica no código comportamental britânico. Diversos elementos desta transformação podem ser identificados nas representações simbólicas encontradas no romance de Stoker, e a voracidade com que a obra é consumida pelos leitores desde a época vitoriana se configura sintoma das premências decorrentes da excessiva repressão daquele período. A análise do arquétipo do vampiro e das imagens arquetípicas apresentadas em Drácula se dará predominantemente através do exame das implicações psicológicas e antropológicas ligadas ao imaginário do Sangue. O embasamento teórico se ampara nas contribuições prestadas por Carl Gustav Jung e Gilbert Durand. A dissertação vem subdividida em três capítulos. Na primeira parte do capítulo um apresento as contextualizações referentes a certos fenômenos observados na sociedade vitoriana, especialmente no que tange às implicaturas de gênero no código comportamental da época, e na segunda apresento contextualizações referentes a personagens históricos que influenciaram Bram Stoker na criação de seu personagem principal. No segundo capítulo, remeto ao embasamento teórico, apresentando os conceitos definidos por Jung nos quais a leitura do capítulo 3 se ampara, bem como analiso símbolos, imagens e arquétipos em Drácula de acordo com os regimes da imaginação propostos por Durand. No terceiro capítulo ofereço minha leitura do romance, na qual identifico e analiso imagens e símbolos do Sangue presentes no romance. Na conclusão, apresento as últimas considerações, com o intuito de ratificar as fortes ligações que se estabelecem entre os significados velados inscritos no romance e as vivências da sociedade receptora, tendo como base o mito do vampiro e sua associação com o imaginário do sangue na tentativa de explicar a bemsucedida e contínua recepção do romance.
The aim of this thesis is to present a reading of Dracula, published in 1897 by the Irish author Bram Stoker. The purpose of the investigation is to identify the predominant archetypes and images in Dracula, showing to what extent they represent relevant issues to Victorian society and the audiences the novel has had since then. The work is published in a crucial historical moment, during which the British traditional rural values are replaced by modern and urban ones. A major consequence of such a transition is a drastic change in the British behavioral code. Several elements in such a transformation can be identified in Stoker’s novel, and the eagerness with which the work was accepted by Victorian audiences is a symptom of the needs that resulted from the excessive repression from that period. The analysis of the archetype of the vampire and the archetypal images presented in Dracula unfolds predominantly through the examination of the psychological and anthropological implications connected to blood imagery. The main theoretical tools come from the studies of Carl Gustav Jung and Gilbert Durand. The thesis is subdivided in three chapters. In the first part of chapter one I present some contextualization referring to certain phenomena perceived in the Victorian society, mainly the ones regarding the gender implications in the behavioral code of the time, and in the second part I present contextualization connected to historical characters who influenced Bram Stoker in the creation of his main character. In chapter two I present the theoretical approach, introducing the concepts defined by Jung upon which the reading in chapter 3 is based. I also analyze symbols, images and archetypes in Dracula according to the orders of the image proposed by Durand. In chapter three I offer my reading, identifying and analyzing blood images and symbols in the novel. In the conclusion, I present the final considerations, with the purpose of ratifying the strong bonds connecting the underlying meanings present in the novel and the life experience of the audience, having as a basis the myth of the vampire and its association to the blood imaginary, in an attempt to explain the successful and continuous reception of the novel.

Devenu célèbre sous les traits de Dracula, le vampire est un monstre révélateur et résilient qui s'est fait archétype incontournable de la culture populaire et dont l'existence diégétique précède le roman de Bram Stoker. Du folklore à la fiction et de l'ombre à la lumière, son évolution est représentative des sociétés et des époques dans lequel il revient à la vie. A la fois transgressifs et normatifs, ses avatars jouent un rôle cathartique en incarnant le refus des lois humaines naturelles et divines, mais aussi la réitération de ces règles et la création de canons littéraires. Cette étude diachronique centrée sur "Carmilla" (1872), "Dracula" (1897) et les vampires d'Anne Rice démontre que leurs aventures invitent à réfléchir autant aux conséquances des fautes qu'à la validité des normes, à l'essence de la nature et des failles humaine et à la fonction libératrice des personnages de fiction et particulièrement des monstres
Known to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters

Ce mémoire étudie les épitomés de la figure doppelganger en trois romans britanniques gothiques du XIXe siècle: Frankenstein de Mary Shelley, Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson et Dracula de Bram Stoker. En utilisation avec les sources secondaires dont The Origin of Species et The Descent of Man de Charles Darwin, et The Uncanny de Sigmund Freud, je soutiens que le doppelganger symbolise les conventions sociales et les angoisses des hommes britanniques dans les années 1800. Grâce à un examen des représentations physiques et métaphoriques de la dualité et de la figure doppelganger dans la littérature primaire, je démontre que la duplicité était courante au XIXe siècle à Londres. En conclusion, les doppelgangers sont des manifestations physiques gothiques de terreur qui influencent les luttes avec bien séance, des répressions des désirs et des craintes de l'atavisme, de la descente et de l'inconnu dans le XIXe siècle.
This thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.

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Conselho Nacional de Desenvolvimento Científico e Tecnológico
This work intends to do an analysis of some discourses historically constituted by modernity progress, during the last decades of XIX century, having as reflections main point Bram Stoker s novel Dracula, first published in 1897. Surrounding Stoker s novel, it is possible to glimpse the cultural lines of successful scientism allied health knowledge, especially concerned to blood. At 1880s social Darwinism opened through a biological cover hereditary degeneration theory to English people, reinforcing the sanitary idea developed by Chadwick, which has had its expression through illness control and degeneration by blood connections. The medical theories see blood as gemmules word adopted by Darwin himself to mean granule which has influence on body and mind because of hereditary presence made by ancestors, for example been a worker, been insane, develop promiscuous behavior or became a beggar. In that moment English people has been concerned about this themes, which had been debated by Galton who began the idea of good race for British society
Este trabalho pretende fazer a análise de alguns dos discursos historicamente constituídos pelo avanço da modernidade durante as últimas décadas do século XIX, tendo como eixo norteador das reflexões o livro Dracula de Bram Stoker, publicado em 1897. Através do romance de Stoker é possível vislumbrar traços culturais de um cientificismo triunfante em relação às noções de saúde, em especial no que tange ao sangue. Na década de 1880, o darwinismo social propôs aos ingleses a cobertura biológica para a teoria da degeneração hereditária, reforçando a posição da chamada idéia sanitária desenvolvida por Chadwick, encontrando sua expressão no controle de doenças e na degenerescência através da mistura do sangue. As teorias médicas investem no sangue como condutor dos gemmules termo adotado por Darwin significando grânulos -, que interferem no comportamento do corpo e da mente pela ação hereditária, assim a presença dos antepassados habilitaria o desenvolvimento de características como a disposição para o trabalho, a loucura, a promiscuidade, a mendicância, entre outros. Tema que traz preocupação à sociedade inglesa do período, sendo debatido por estudiosos como Galton, que inauguraria o conceito de boa linhagem para a sociedade britânica

Le projet de mémoire cherche à retrouver les influences de la Fantasmagorie du 19e siècle dans le cinéma d'aujourd'hui, en particulier dans le genre du film de vampire. Nous abordons les procédés et techniques optiques qui mettent en images l'expérience d'un monde en proie à de grands changements sociohistoriques, et surtout, comment le cinéma a intégré ces données. L'imaginaire fantasmagorique a conditionné l'émergence des techniques optiques qui ont mené au cinématographe, et en cela, le médium cinématographique est bien emblématique de cette époque caractérisée par l'industrialisation et le retour d'un passé laissé en arrière par la modernité historique. Le cinéma, comme dispositif comprenant machine, image et sujet regardant, est mis en relation avec les dispositifs optiques du théâtre d'ombre, de la lanterne magique de Robertson et de la photographie, pour ainsi faire émerger le contexte technique, historique et psychologique de l'époque. Nous mettons l'accent sur les notions visuelles de l'apparition, de la projection et de la réification afin de souligner le retour d'un ancien regard qui prévalait avant l'arrivée de l'image mécanisée. En somme, lors des deux premières parties, c'est à l'Histoire moderne, son temps linéaire et la hantise qu'ils provoquent, que le cinéma sera relié. C'est à travers la figure du vampire que nous examinerons le cinéma; cette créature fantastique entretient bien des affinités métaphoriques avec le médium et elle nous permet d'entrevoir clairement toute la Fantasmagorie du 7e art. Avec un corpus filmique incluant certains films découlant du roman Dracula de Bram Stoker, nous allons voir comment la technologie du 19e siècle dévoile l'aspect mythique de la pensée rationnelle et moderne. L'image, dans sa grande tradition cultuelle ou/et artistique, semble répondre à des impératifs inconscients et archaïques, à des fantasmes premiers devant la mort et l'éternité, même si elle est produite par un appareil mécanique. C'est en cela que la technique moderne arbore des qualités fantasmagoriques qui, tout comme le vampire, nous remettent en contact avec ce que la civilisation occidentale a refoulé. Notre attention est donc portée avec insistance sur les façons dont l'image filmique et le regard qu'elle convoque, font resurgir d'anciens modes de perception et d'interprétation illusoirement relégués à l'époque pré-moderne. ______________________________________________________________________________

Tese de mestrado, Ciências da Cultura, Universidade de Lisboa, Faculdade de Letras, 2011
Partindo dos conhecimentos adquiridos no curso de Ciências da Cultura, esta dissertação é produto da articulação entre um documento cultural importante, como um grande clássico da literatura inglesa, Dracula, e o respectivo estudo segundo a perspectiva sociológica das Ciências Sociais. Utilizando os conceitos de género, status, classe social e representação, é possível analisar se as quatro personagens centrais inglesas presentes em Dracula correspondem aos ideais tipo weberianos dos indivíduos que viviam na era vitoriana tardia. Partir da obra literária como um documento pertencente a um determinado tempo e espaço permite extrair a essência da era sem um enfoque na importância estética deste livro. Para isso, é importante conhecer o estilo literário utilizado no documento, os factos sociais da época e o autor que escreveu Dracula. Deste modo, após a criação da pergunta de partida e respectivas hipóteses, será elaborada uma breve explicação do gótico na literatura e o impacto do fin the siècle. A descrição de como as interacções sociais na era vitoriana, incluindo a moralidade e os costumes são cruciais para, no final, articular as personagens com os indivíduos que viveram naquela época. Por último, conhecer o autor e as suas ideias ajuda a evitar alguns desentendimentos culturais, nomeadamente quanto às normas morais então vigentes. No final, as quatro personagens que nos escrevem nesta obra epistolar serão analisadas de acordo com os quatro conceitos principais de género, status, classe social e representação, permitindo comprovar se Jonathan, Mina, Lucy e Dr Seward são ideais tipo dos homens e mulheres que viveram durante a era vitoriana em Inglaterra.
Abstract: Based on the knowledge acquired in the Cultural Sciences course, this dissertation is the product of an important cultural document such as a great classic of English literature, Dracula, entwined with the sociological view of the document. Using concepts such as gender, status, social class and representation we will be able to theorize if the four main English characters in Dracula represent, in fact, the Weberian ideal types of the individuals living in the late Victorian era. Using a literary manuscript as a document belonging to a certain space and time, enables us to extract the essence of an era without focusing on the aesthetic importance of the book. Thus, it is important to fully acknowledge the literary style used in the document, the social facts of the epoch and the author who wrote Dracula. Actually, after the creation of a main question and following hypothesis, there will be a brief explanation about Gothic in literature and the impact of the fin the siècle. A description of how the Victorian social interaction, including their moral thoughts and social behaviours is crucial to the further connecting of the selected characters with the individuals who lived in that time. Finally, to know the author and his ideas will help us avoiding some cultural misleads, namely concerning the established moral conducts. In the end, the four characters that write to us in this epistolary work will be studied according to the four important concepts, genre, status, social class and representation; therefore, it will enable us to prove if Jonathan, Mina, Lucy and Dr Seward are indeed ideal types of the men and women that lived during the Victorian era in England.