Taking a look (an not even a close one) at movies or TV-series dealing with vampires, one immediately recognizes the vampire as a sexed-up figure, conveying the notion of the lascivious vamp as in Underworld, the noble alpha-male as in Blood Ties or the longed-for guardian and lover as in Moonlight. In her novels, Anne Rice describes the vampire’s bite as a liturgical act (cf. Brittnacher 1994:131), Sheridan Le Fanu’s female vampire Carmilla is actually a lesbian (cf. Leatherdale 1985, 54) and John Polidori’s early story The Vampyre is considered to have successfully combined the vampire-motif with a seducing romanticism (Hurst 2002, 139; Leatherdale 1985, 51). There is a long tradition in sexing up vampire-figures, reaching back even to Bram Stocker’s Dracula.
Indeed, Bram Stoker combined different aspects of the literary vampire when he created Count Dracula (cf. Brittnacher 1994, 119ff; Hurst 141f). This mixture of well-tried elements may be one of the reasons why Bram Stoker’s novel is widely seen as the “by far best-known literary treatment of the vampire myth” (Bentley 1972, 27). Amazingly, Dracula has never been out of print since it was first published in 1897 (Leatherdale 1985, 11; McNally et.al. 1994, 133) and can thus be said to have become the figurehead for the vampirism-phenomena. Consequently, James Twitchell asserts that “vampire and Dracula have become synonymous” (1981, 132).
Table of Contents
Introduction
Dracula as an (un-) conscious sexual allegory
The Issue of the New Woman in Dracula
Conclusion
Research Objectives and Themes
This paper explores the underlying sexual imagery and allegorical content within Bram Stoker’s novel "Dracula," investigating whether the author consciously embedded these themes or if they emerged inadvertently. Furthermore, it examines the character of Mina Harker in relation to the Victorian "New Woman" ideal to determine Stoker’s stance on female independence and shifting gender roles during the nineteenth century.
- Analysis of sexual symbolism and repressed desire in the text.
- Evaluation of Stoker's conscious intent regarding erotic narrative elements.
- Critique of the "New Woman" archetype and feminist interpretations of Mina Harker.
- Exploration of Victorian societal anxieties and gender role reversals.
- Review of critical discourse surrounding "Dracula" as a sexual allegory.
Excerpt from the Book
Dracula as an (un-) conscious sexual allegory
“Vampirismus und Sexualität – ein Begriffspaar, das […] sich vor allem in Stokers Dracula zu einer neuen, unheiligen Allianz zusammengefunden hat […] (Hurst 2002, 143).” As Hurst points out, Dracula is widely seen as a very sexual novel. Even if sexual actions are not mentioned explicitly, sexual symbolism in Stokers novel is striking to the reader. However, sexuality was a very sensitive issue in Victorian society which was coined by an intensive prudishness and a high moral tone (cf. Mendes 2005, 46; Bentley 1972, 27f; Leatherdale 1985, 146). So Clive Leatherdale rightly wonders how a book like Dracula could not be censored, considering the strong taboo which rested on sexual topics (1985, 145).
Indeed, even if the sexual content in Dracula is “effectively camouflaged” (Leatherdale 1985, 146), there might still have been a risk for Stoker to be confronted with bawdily matters. A very dangerous venture, since all “the obscenity laws, the tyranny of the circulating libraries and the force of public opinion” (Bentley 1972, 27f) made it nearly impossible for any author to run the risk of mentioning sexual issues. Therefore, the question has to be asked whether Bram Stoker was actually aware of the sexual symbolism which lies in Dracula. Daniel Farson brings it right to the point when he writes: “Is it possible that Stoker did not realise he had written one of the most erotic books in English literature (1975, 210)?”
Summary of Chapters
Introduction: This chapter contextualizes "Dracula" within the tradition of vampire literature and introduces the scholarly debate regarding the novel’s pervasive sexual energy and underlying allegorical meanings.
Dracula as an (un-) conscious sexual allegory: This section analyzes specific, highly eroticized passages from the novel, arguing against the notion that the sexual subtext was accidental and asserting that Stoker was fully in control of the novel’s sexual dynamic.
The Issue of the New Woman in Dracula: This chapter investigates the novel’s portrayal of women, specifically focusing on whether the character of Mina Harker represents a positive or chauvinistic depiction of the "New Woman" movement.
Conclusion: This final chapter synthesizes the findings, confirming that while "Dracula" is a multi-layered gothic work, its sexual and gender-critical underpinnings reflect both Victorian anxieties and deliberate thematic choices by the author.
Keywords
Bram Stoker, Dracula, Vampire, Sexuality, Victorian Literature, Gothic Fiction, New Woman, Mina Harker, Gender Roles, Allegory, Sexual Symbolism, Literary Criticism, Eroticism, Censorship, Feminism.
Frequently Asked Questions
What is the primary focus of this academic work?
The work focuses on analyzing the sexual symbolism and gender-related themes within Bram Stoker’s "Dracula," specifically evaluating how these elements reflect Victorian societal norms and the author's intent.
What are the central themes discussed in the paper?
The central themes include repressed sexuality, the "New Woman" feminist ideal, the role of female characters, and the balance between traditional Victorian values and emerging modern gender dynamics.
What is the core research question?
The research seeks to determine whether Bram Stoker was consciously aware of the sexual allegories he embedded in the novel or if these elements were accidental projections.
Which methodology is employed in this research?
The paper utilizes a qualitative, literature-based analysis of the novel, contrasting various critical interpretations from scholars such as Christopher Bentley, Salli Kline, and Carol Senf.
What topics are covered in the main body?
The main body examines sexually charged scenes, the symbolic nature of blood transfusions, the reversal of active and passive roles in vampirism, and the critical debate regarding Mina Harker's alignment with feminist ideals.
Which keywords best describe this study?
Key terms include Bram Stoker, Dracula, sexuality, Gothic fiction, the New Woman, gender roles, and literary symbolism.
How does the author interpret the sexual nature of the vampire bites?
The author argues that the "kisses" and bites are deliberately stylized to serve erotic purposes, suggesting that Stoker knowingly employed euphemistic language to bypass Victorian moral censorship.
What is the author's final stance on the "New Woman" interpretation?
The author concludes by favoring the interpretation that Mina Harker, while possessing talents associated with the "New Woman," ultimately remains a figure who conforms to male-dominated systems, reflecting a potentially chauvinistic "perfect woman" ideal.
- Quote paper
- Christoph Haeberlein (Author), 2006, Issues of Sexuality in "Bram Stoker’s Dracula", Munich, GRIN Verlag, https://www.grin.com/document/113255
