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"An ingenious reappraisal of a classic text, Dracula's Crypt presents Stoker's novel as a subtly ironic commentary on England's preoccupation with racial purity. Probing psychobiographical, political, and cultural elements of Stoker's background and milieu, Joseph Valente distinguishes Stoker's viewpoint from that of his virulently racist, hypermasculine vampire hunters, showing how the author's dual Anglo-Celtic heritage and uncertain status as an Irish parvenu among London's theatrical elite led him to espouse a progressive racial ideology at odds with the dominant Anglo-Saxon supremacism. In the light of Stoker's experience, the shabby-genteel Count Dracula can be seen as a doppelganger, an ambiguous figure who is at once the blood-conscious landed aristocrat and the bloodthirsty foreign invader."--BOOK JACKET.
For too long, evil has slumbered. But now, the prince of darkness has arisen...and he thirsts. THE CRYPT OF DRACULA In 1899, master stone craftsman Andreas Wagner takes a job restoring an old castle in the rural mountains of Hungary. He and his mute young wife are hoping to find a new life, after the traumatic death of their infant daughter from a strange wasting disease in Munich. The eccentric Count who owns the castle, a suave but distant man, keeps strange hours. Still, Wagner settles in to the work nicely. But then strange things start to happen in the remote castle on the cliff. The Count's manservant is alternately elusive or confrontational. The locals are secretive and suspicious. Wagner is nearly killed by inexplicable falling masonry. A giant bat attacks his companions. Ghostly apparitions of women with claws and fangs prowl the halls of the gloomy castle late at night. When his friend falls ill from the same disease his daughter died of, Wagner decides it's time to leave and look for a doctor, even if it means abandoning gainful employment. But Count Dracula and his minions have other plans. For Wagner, what began as a simple job, soon becomes a frantic battle for survival and a race against the setting sun to rescue his wife and stop the spread of an ancient evil. "All the hallmarks of a great 1970s classic creature flick are here: spooky castle, the gentleman creature of the night, and harried villagers poised to grab pitchforks and torches. Gilmour brings Dracula back, with a dash of 21st century adventure and a twist you won't see coming." -Jeremy Bishop, #1 bestselling horror author of Torment and The Sentinel
Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles.
The bestselling author of "The New Annotated Sherlock Holmes" returns with this spectacular, lavishly illustrated homage to Bram Stoker's "Dracula." 35 color and 400 b&w illustrations.
COUNT DRACULA’S CASTLE IS FALLING DOWN, RAIN POURS IN AND ICY BLASTS RAGE THROUGH OUT. IGOR, DRACULA’S ANCIENT SERVANT DECIDES THEY HAVE TO DO SOMETHING AND PERSUADES DRACULA TO SELL SOME OF HIS LAND. WITH THE MONEY RAISED IGOR TURNS THE DRAUGHTY OLD CASTLE INTO A CHARMING HOTEL AND PUTS UP A NOTICE “COME TO DRACULA’S B &B. ‘ DRACULA THINKS IT IS SHORT FOR ‘BLOOD AND BONE”, INSTEAD OF BED AND BREAKFAST” AND AGREES. WILL THE GUESTS BE SAFE? CAN IGOR OUTWIT THE COUNT?
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.
This volume analyses the role of Bram Stoker’s Dracula and its sequels in the evolution of the Gothic. As well as the transformation of the Gothic location—from castles, cemeteries and churches to the modern urban gothic—this volume explores the evolution of the undead considering a range of media from the 19th century protagonist to sympathetic contemporary vampires of teen Gothic. Based on an interdisciplinary approach (literature, tourism, and film), the book argues that the development of the Dracula myth is the result of complex international influences and cultural interactions. Offering a multifarious perspective, this volume is a reference work that will be useful to both academic and general readers.
“Post/modern Dracula” explores the postmodern in Bram Stoker’s Victorian novel and the Victorian in Francis Ford Coppola’s postmodern film to demonstrate how the century that separates the two artists binds them more than it divides them. What are the postmodern elements of Stoker’s novel? Where are the Victorian traits in Coppola’s film? Is there a postmodern gloss on those Victorian traits? And can there be a Victorian directive behind postmodernism in general? The nine essays compiled in this collection address these and other relevant questions per the novel and the film at three distinct periods: (post)modern Victorianism, post/modernism, and finally postmodernism. Part I on (post)modernist issues in Stoker’s novel establishes the link between Victorian themes and postmodern praxes that begins with colonialist concerns and ends with poststructuralist signification. Part II looks at the post/modernist traits in Stoker’s Dracula, those obviously influenced by modernism but also, with the help of the novel’s plasticity vis-à-vis the media over the last century, by postmodernism. Part III examines more closely the novel’s postmodern characteristics, particularly with respect to Coppola’s 1992 film, Bram Stoker’s Dracula. Dracula defies time and promises to undermine any critical study of it that precisely tries to situate it within a given epoch, including a postmodernist one. Given its relationship to late-capitalist economy, to post-Marxist politics, and to commodity culture, and given its universal appeal to human fears and anxieties, fetishes and fantasies, lusts and desires, Stoker’s novel will forever remain post/modern—always haunting our future, as it has repeatedly done so our past. Though scholars of Dracula and Gothic literature in general will find some of the essays innovative and engaging per today’s literary criticism, the book is also intended for both an informed general reader and a novice student of the novel and of the film. As such, a few essays are highly specialized in postmodern theory, whereas others are more centered around the sociohistorical context of the novel and film and use various postmodern theories as inroads into the novel’s or the film’s study.
A treasury of Victorian-era vampire stories includes Edgar Allan Poe's "The Oval Portrait" and Guy de Maupassant's "The Horla," in an anthology complemented by Transylvanian superstitions.
Using question/answer format, the book covers: the origins of the vampire myth; the life of Bram Stoker, author of Dracula (1897); the novel, its genesis and sources; the historical figure (Vlad the Impaler) whose nickname Stoker borrowed for his Count; an examination of the connection between Vlad and Count Dracula; the impact the novel has had since its publication; and an overview of interpretations of the book. Included is a reading list. Some questions answered in the book: What are the roots of vampire lore? How did vampires move from folklore to literature? What do we know about the actual writing of Dracula? Where did Bram Stoker find his information about vampires? Are there any autobiographical elements in Dracula? Did Dracula originate in a nightmare? What do we know of the relationship between Stoker and his wife? Did Stoker die of syphilis? How did Count Dracula become a vampire? Does Count Dracula have any redeeming qualities? How was the novel Dracula received when published in 1897? What did Stoker himself say about the novel? Why did Stoker name his vampire "Dracula"? Why did he select Transylvania as the vampire's homeland? How much did Stoker really know about Vlad the Impaler? Was Vlad ever associated with vampire legends? What are our main sources of information about Vlad? Why do many Romanians consider Vlad to be a national hero? Which of the Dracula movies is the best adaptation of Stoker's novel? What impact has Dracula had on subsequent vampire fiction? Why does Count Dracula have such enduring appeal? How do Romanians feel about Dracula tourism in their country? Is there a real Castle Dracula? What are some of the interpretations of Dracula? Is Dracula a classic? And many, many more! Depending on the complexity of the questions, the answers range from 5-6 lines to several pages. -- from publisher description.