Bram Stoker was an Irish author born in the nineteenth century. Dracula, Stoker drew from a rich heritage of vampire legends of the Middle Ages and added a historical realism to the story by incorporating the tale of Vlad and thus immortalizing the Dracula myth. Stoker’s novel, published in 1897, was also making many commentaries about England and the world in a time of great social change. This paper, however, is focused on one type of critical theory: the feminist theory in literature. When I say feminist theory I mean a feminist literary analysis that arises from the viewpoint of feminism, feminist theory or feminist politics. The basic method of feminist literary criticism includes “the identifying with female characters, which is a way to challenge the male-centered outlook of authors. It suggests that women in literature were historically presented as objects seen from a male perspective.” According to feminist theory, in a patriarchal society there are “good girls”, who are pure and useful to their husbands, and there are “bad girls” who are sexually explicit in their nature and are considered to be not the “marrying type”.
In the fallowing commentary I would like to draw your attention to the feminine characters Lucy Westenra, Mina Harker, and the three brides of Dracula in Bram Stoker’s Dracula. Through feminist theory I will first tackle with the idea that Stoker’s novel is built on a patriarchal model and that women exist only to support male characters and to bring the attention to them. From there, I will move on to discuss the fact that women in literature are historically presented as objects seen from a male perspective, which implies that sexuality is not accepted in Victorian society. To do so I will follow Lucy’s, Mina’s, Jonathan’s, Dr. Seward’s and Van Helsing’s diaries. To explore the subject further I will also discuss Francis Ford Coppola’s adaptation of Bram Stokers novel.
Table of Contents
Introduction
A Close up on Lucy Westera
Paternalism and Mina Harker
Dracula’s Three Brides
Conclusion
Objectives and Themes
This paper examines Bram Stoker’s "Dracula" through the lens of feminist literary theory, exploring how the novel reinforces Victorian patriarchal structures and gender roles. It specifically investigates the binary representation of women as either "good" or "bad" and analyzes how female characters are objectified or repressed to maintain the social order.
- Analysis of Victorian patriarchal models and gender stereotypes.
- Character study of Lucy Westenra and Mina Harker as archetypes.
- Examination of the "good girl" vs. "bad girl" dichotomy.
- Evaluation of sexual repression and liberation in female vampire portrayals.
- Comparative insights into Francis Ford Coppola’s film adaptation.
- Critique of male paternalism and protectionism toward female characters.
Excerpt from the Book
A CLOSE UP ON LUCY WESTERA
When reading Bram Stoker's Dracula, one finds the treatment of the two main female characters, Lucy Westenra and Mina Harker, especially intriguing. These two women represent two opposite archetypes created by a society in which women have begun to question Victorian stereotypes and men have realized that women are no longer satisfied with their position in society. ‘In the Second Sex’ Simone de Beauvoir accuses Victorian England of having isolated women in the house. The amount of homage men paid to women has been offset by the degree to which Victorian men believed women’s natural place to be in the home- in a state of purity and exemplary morality which depended on their ignorance of the outside world. In an age ruled by a woman it seems inconceivable that woman should have felt totally powerless.
In nineteenth century England, girls of the upper and middle classes were raised for the purpose of one goal: to marry. Marriage at the time was often viewed as a business prospect. Women brought dowries and household labour to the table, while the men naturally provided financial security. The ladies largely outnumbered the men, and those who could not win a husband had very few respectable ways of supporting themselves. For this reason girls were trained to be desirable to a society of men who saw women as high priestess of the home, with her piety, forbearance, and kindliness of love. A wife was to be the manager of the home and the amusement for the gentlemen. They were not encouraged to be intellectual, or even thoughtful.
Summary of Chapters
Introduction: Provides the theoretical background of feminist literary criticism and outlines the focus on female characters in Stoker’s novel.
A Close up on Lucy Westera: Analyzes the Medusa archetype through Lucy’s character and contrasts Victorian marriage expectations with her later transformation into a vampire.
Paternalism and Mina Harker: Examines how paternalistic structures in the novel serve to infantilize Mina Harker and restrict her agency through male protection.
Dracula’s Three Brides: Discusses the sexualized representation of the three brides as "bad women" and analyzes their roles as both objects and figures of potential gender role reversal.
Conclusion: Summarizes how the novel ultimately functions to restore patriarchal order by punishing female rebellion and asserting male dominance.
Keywords
Feminist theory, Bram Stoker, Dracula, Victorian Era, Paternalism, Gender roles, Patriarchy, Lucy Westenra, Mina Harker, Female vampire, Sexual repression, Archetypes, Literary criticism, Identity, Social order.
Frequently Asked Questions
What is the core focus of this research paper?
The paper explores Bram Stoker’s "Dracula" using feminist literary theory to critique the portrayal of female characters and the underlying patriarchal values of Victorian society.
Which specific themes are examined?
The central themes include Victorian gender stereotypes, the binary division between "good" and "bad" women, male paternalism, and the representation of female sexuality.
What is the primary objective of the work?
The goal is to demonstrate how the novel presents women as objects within a patriarchal model and how the narrative structure functions to maintain male dominance.
Which critical methodology is employed?
The author applies feminist literary criticism, focusing on how female characters are viewed from a male perspective and challenging male-centered narratives.
What topics are covered in the main body?
The main body covers the archetype of the "perfect" Victorian woman through Lucy Westenra, the paternalistic treatment of Mina Harker, and the sexualized portrayal of Dracula’s brides.
How is the work characterized by its keywords?
The work is defined by terms such as Feminist theory, Patriarchy, Victorian Era, Gender roles, and the character-specific analysis of Lucy and Mina.
How does the author analyze the transformation of Lucy Westenra?
The transformation is viewed as a liberation from Victorian "chains," where her suppressed sexuality finally finds expression, albeit labeled as "impure" by male characters.
What is the significance of the analysis of Coppola’s film adaptation?
The author uses the film to highlight how modern interpretations still struggle with patriarchal norms and sometimes reinforce sexist suggestions regarding "bad" women.
Why does the author consider Van Helsing’s behavior toward the brides patriarchal?
The author argues that Van Helsing’s hesitation to kill the brides is rooted in a paternalistic belief that men must protect all women, regardless of their nature.
- Citation du texte
- Lora Cvetanova (Auteur), 2014, Bram Stoker's "Dracula". Feminist Theory and Sexuality, Munich, GRIN Verlag, https://www.grin.com/document/278591
