Bram Stoker’s novel Dracula is known and read all over the world ever since it was first published 1987. It is regarded as a classic work of horror literature, and as such has attracted the attention of many scholars and students in the field of literary studies. As with many other canonical books, one reason for the novel’s popularity lies in the number of possible
interpretations. But even though the possibilities are many, over the years certain readings have come to dominate the discourse.
This paper aims for a reading of Dracula that is less common. The focus in the following chapters lies on the concepts of captivity presented in the novel. Their content is meant to answer the following questions: How is captivity explored as a literary concept or device? How is it framed in the larger context of the narrative? Is there more to captivity as a concept in the novel than literal imprisonment?
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Genre, Style, and Narrative of Dracula
- Captive Characters in “Dracula”
- Jonathan Harker
- Count Dracula
- Lucy Westenra
- Mina Harker
- Renfield
- Conclusion
- References
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This paper explores the concept of captivity in Bram Stoker's Dracula, focusing on the novel's characters and their experiences of confinement. It analyzes how captivity is presented as a literary concept and device, examining its role in the narrative and exploring its broader significance beyond literal imprisonment.
- The exploration of captivity as a literary concept and device in Bram Stoker's Dracula.
- The framing of captivity within the larger context of the narrative.
- The various forms and manifestations of captivity, including physical imprisonment and psychological constraints.
- The impact of captivity on the characters' experiences and actions.
- The novel's genre as imperial gothic and its connection to the concept of captivity.
Zusammenfassung der Kapitel (Chapter Summaries)
The introduction sets the stage for the paper by establishing the context of Dracula and highlighting the novel's enduring popularity. It introduces the concept of captivity as a central theme and outlines the paper's objectives and structure.
The second chapter delves into the genre, style, and narrative of Dracula, placing it within the framework of imperial gothic and examining the use of diary entries, letters, transcripts, and newspaper articles as the chosen form of narrative presentation. It also highlights the novel's potential for interpretation as a captivity narrative.
The third chapter examines five central characters from the novel: Jonathan Harker, Count Dracula, Lucy Westenra, Mina Harker, and Renfield. It analyzes the different modes of captivity each character represents, exploring both physical and psychological forms of confinement.
Schlüsselwörter (Keywords)
The primary keywords and themes explored in this paper include captivity, imperial gothic, diary narrative, character analysis, Dracula, Bram Stoker, physical imprisonment, psychological constraints, and the novel's narrative structure.
- Quote paper
- Thomas Akehurst (Author), 2021, Houses, Castles and Holy Circles. Concepts of Captivity in Bram Stoker’s "Dracula", Munich, GRIN Verlag, https://www.grin.com/document/1215562
