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The origins of the vampire can be traced through oral traditions, ancient texts and archaeological discoveries, its nature varying from one culture to the next up until the 20th century. Three 19th century Irish writers--Charles Robert Maturin, Joseph Sheridan Le Fanu and Bram Stoker--used the obscure vampire of folklore in their fiction and developed a universally recognizable figure, culminating in Stoker's Dracula and the vampire of today's popular culture. Maturin, Le Fanu and Stoker did not set out to transform the vampire of regional folk tales into a global phenomenon. Their personal lives, national concerns and extensive reading were reflected in their writing, striking a chord with readers and recasting the vampire as distinctly Irish. This study traces the genealogy of the modern literary vampire from European mythology through the Irish literature of the 1800s.
The origins of the vampire can be traced through oral traditions, ancient texts and archaeological discoveries, its nature varying from one culture to the next up until the 20th century. Three 19th century Irish writers--Charles Robert Maturin, Joseph Sheridan Le Fanu and Bram Stoker--used the obscure vampire of folklore in their fiction and developed a universally recognizable figure, culminating in Stoker's Dracula and the vampire of today's popular culture. Maturin, Le Fanu and Stoker did not set out to transform the vampire of regional folk tales into a global phenomenon. Their personal lives, national concerns and extensive reading were reflected in their writing, striking a chord with readers and recasting the vampire as distinctly Irish. This study traces the genealogy of the modern literary vampire from European mythology through the Irish literature of the 1800s.
This book discusses the ancient Celtic beliefs about death and how these were assimilated by Christianity: the importance which the ancient Celts and early Christians placed on blood; and how the Christian Church transmuted the vampire from an ancestor's ghost to a malevolent demon. Stories of spooky, mystical, and bloody tales are relayed.
Bend the knee. Take the Oath. Live forever. South Boston, 1970. When Leigh Austen’s husband died in the jungles of Vietnam, her world collapsed. But two Halloweens later, she’s ready to begin living her life again — starting by making amends with a longtime friend. Charming Dublin expat Michael Kelly runs the most popular Irish pub in Southie. But no crowd of high-tipping revelers has ever been as welcome a sight as that of Leigh walking through his door. Hiding his heart — and his bloodlust —from her was difficult enough when she was married. Now? It’s impossible. But mysterious deaths have the whole city spooked, and when Leigh is the next to be attacked, Michael’s act of protection reveals his secret: he’s the leader of a clandestine order of vampires, the Morrigan Brotherhood. As Leigh steps into the world of the supernatural, she is forced to confront issues of power and politics that threaten to disrupt more than the vampire order...and has Michael always been this hot? Celtic mythology intertwines with the rich history of Irish immigration in this suspenseful paranormal romance, set against the backdrop of The Troubles. My Hot Best Friend Is An Irish Vampire is a dual POV, slow-burn, friends-to-lovers vampire romance with no cheating and an HEA. Enjoy as a standalone novel, or as the first volume in the Morrigan Brotherhood series.
In an old part of Dublin, right down by the sea, There's a moon-shaped park with a creepy old tree. The Dublin Vampire lives there. The Vampire wakes up as the sun's going down. He hops on the ghost bus and rides into town. Have you seen the Dublin Vampire? A funny, warm picture book set throughout Dublin, home to Dracula's creator, Bram Stoker. Featuring well-known sights around Dublin, including The Crescent (Marino), Five Lamps, O'Connell Bridge, Trinity, Grafton St, Natural History Museum, St Stephen's Green, Bewley's, Dublin Castle and Temple Bar.
In the predecessor to this book, The Universal Vampire: Origins and Evolution of a Legend, Brodman and Doan presented discussions of the development of the vampire in the West from the early Norse draugr figure to the medieval European revenant and ultimately to Dracula, who first appears as a vampire in Anglo-Irish Bram Stoker’s novel, Dracula, published in 1897. The essays in that collection also looked at the non-Western vampire in Native American and Mesoamerican traditions, Asian and Russian vampires in popular culture, and the vampire in contemporary novels, film and television. The essays in this collection continue that multi-cultural and multigeneric discussion by tracing the development of the post-modern vampire, in films ranging from Shadow of a Doubt to Blade, The Wisdom of Crocodiles and Interview with the Vampire; the male and female vampires in the Twilight films, Sookie Stackhouse novels and TrueBlood television series; the vampire in African American women’s fiction, Anne Rice’s novels and in the post-apocalyptic I Am Legend; vampires in Japanese anime; and finally, to bring the volumes full circle, the presentation of a new Irish Dracula play, adapted from the novel and set in 1888.
String garlic by the window and hang a cross around your neck! The most powerful vampire of all time returns in our Stepping Stone Classic adaption of the original tale by Bran Stoker. Follow Johnathan Harker, Mina Harker, and Dr. Abraham van Helsing as they discover the true nature of evil. Their battle to destroy Count Dracula takes them from the crags of his castle to the streets of London... and back again.
Vampires are much more complex creatures than Buffy The Vampire Slayer, Twilight, True Blood, or scores of other movies and television shows would have you believe. Even in America. American vampire lore has its roots in the beliefs and fears of the diverse peoples and nationalities that make up our country, and reflects the rich tapestry of their varied perspectives. The vampires that lurk in the American darkness come in a variety of shapes and sizes and can produce some surprising results. Vampires in North Carolina are vastly different from those in South Carolina, and even more different from those in New York State. Moreover, not all of them are human in form, and they can’t necessarily be warded off by the sight of a crucifix or a bulb of garlic. Dr. Bob Curran visits the Louisiana bayous, the back streets of New York City, the hills of Tennessee, the Sierras of California, the deserts of Arizona, and many more locations in a bid to track down the vampire creatures that lurk there. Join him if you dare! This is not Hollywood’s version of the vampire—these entities are real!
Since the publication of John Polidori’s The Vampyre (1819), the vampire has been a mainstay of Western culture, appearing consistently in literature, art, music (notably opera), film, television, graphic novels and popular culture in general. Even before its entrance into the realm of arts and letters in the early nineteenth century, the vampire was a feared creature of Eastern European folklore and legend, rising from the grave at night to consume its living loved ones and neighbors, often converting them at the same time into fellow vampires. A major question exists within vampire scholarship: to what extent is this creature a product of European cultural forms, or is the vampire indeed a universal, perhaps even archetypal figure? In this collection of sixteen original essays, the contributors shed light on this question. One essay traces the origins of the legend to the early medieval Norse draugr, an “undead” creature who reflects the underpinnings of Dracula, the latter first appearing as a vampire in Anglo-Irish Bram Stoker’s 1897 novel, Dracula. In addition to these investigations of the Western mythic, literary and historic traditions, other essays in this volume move outside Europe to explore vampire figures in Native American and Mesoamerican myth and ritual, as well as the existence of similar vampiric traditions in Japanese, Russian and Latin American art, theatre, literature, film, and other cultural productions. The female vampire looms large, beginning with the Sumerian goddess Lilith, including the nineteenth-century Carmilla, and moving to vampiresses in twentieth-century film, literature, and television series. Scientific explanations for vampires and werewolves constitute another section of the book, including eighteenth-century accounts of unearthing, decapitation and cremation of suspected vampires in Eastern Europe. The vampire’s beauty, attainment of immortality and eternal youth are all suggested as reasons for its continued success in contemporary popular culture.
Provides instructions to create patterns for various crafts or for drawing.