Comparing Dracula, And I Am Legend By Richard Matheson

This essay will attempt to discuss the two gothic tales ‘Carmilla’ and ‘Dracula’ in relation to cultural contexts in which they exist as being presented to the reader through the gender behaviour and sexuality that is portrayed through the texts. Vampire stories always seem to involve some aspect of sexuality and power.

The 1992 movie adaptation of Dracula is quite loyal to the book. However it made quite an exaggeration in Dracula and Mina’s connection. Also there are fabricated parts in the movie, particularly the way it begins having the origin of Vlad the impaler that is not technically found in Stoker’s writing. Character of Dracula is not that scary as it was in the book than being projected visually in the screen. Perhaps to have a more impact in viewers’ emotions. Some scenes were also fractured in the movie, for instance is Mina’s and Lucy’s stay in Whitby which never occurred in the book. Even so, the film had interpreted the book well and it although some scenes were fractured, it did not depart much

The first writer to introduce the vampire in literature was Lord Byron in the eighteenth century, but the most significant writer to develop the myth was Bram Stoker. He is the „father” of the vampire as he gave a complete description of the vampire in his most famous book” Dracula”. After the release of the book, the myth of the vampire became extremely popular amongst writers and as a consequence the books whose main

The truly shocking and terrible, blood-sucking-monster we once  knew have now changed into beautiful, perfect,and healthy human beings. This paper will discuss the change and the reason why  the change of idea many still accept and like the modern picture of vampires.In order to answer this, I will examine the differences between Bram Stoker's Dracula , the typical figure of horror before, and the soft light just before sunrise or after sunset's Edward Cullen, the obvious example of the 21st century vampire. From this, I will be able to decide out what changed in the features of the vampires we know today.Many would think about Edward Cullen as a "shockingly disrespectful behavior of the vampire old example" (Mole).

In the 19th century, this basis of scary and thriller books started to emerge. This essay will be about who Dracula enticed women, how his detainer was unsettling and demonic. How the era in which the novel was written plays a part in the ideas of Dracula and how behaves; with such things as women, food, and Harker. The Victorian era definitely influenced the writing of the time through reflections of exploitation of women and a certain darkness in ones self, also explains of mystery and suspense.

To start off, the manner Arnold Friend and Dracula 's facial and physiological traits are described allow us to compare how monstrous they really are. The Count is said to be a tall thin old man with a shaved face, except for his heavy mustache. His face is a strong aquiline with a high bridge of the thin nose and peculiarly arched nostrils. Stoker notes that his ears are pale and pointed, his chin is broad and strong and his cheeks firm and thin. There is an insistence on Dracula 's mouth that is fixed and cruel-looking with sharp white teeth that protruded over his vital-looking lips. His eyebrows are massive, almost meeting over his nose and he has bushy hair that grows around his temples and his lofty domed forehead. Another element that is focused on in Stoker 's novel is the vampire 's extreme pallor. This description is not particularly frightening since we immediately know the character is a monster : he does not look human at all and is not hiding it. There is no place for

“Vampire Religion” is an article written about Bram Stoker’s “Dracula.” The article is one that was found very useful in reading and understanding the story. Christopher Herbert, the author, argues of the importance that religion and events of the world played on the writing of “Dracula.” There are two parts to the article, one is “Religion/Superstition” and the second part is “The Vampire in the Church.” Both parts are vital to the article.

A noticeable difference in the way movies have changed over the years is evident when comparing and contrasting two films of different eras which belong to the same genre and contain the same subject matter. Two vampire movies, Dracula and Bram Stoker's Dracula, present an interesting example of this type of study.

Different depictions of vampires are commonly exhibited in vampire folklore in past and present literature and film. The diversity of different variations of vampire legends are prominently seen in most literature, but the main ideas and attributes are generally the same. This is not that case when focusing on specific novels discussed in class. The novels I Am Legend by Richard Matheson and Fledgling by Octavia Butler are two contrasting works of vampire folklore. The novels are about different societies of vampires. They both emerged in different ways, the survive and feed in contrasting ways, and they both represent completely different forms of vampires. This essay will examine the characterizations of the contrasting the vampire species in both I Am Legend and Fledgling, as well as, investigating how these different species of vampires relate to human species.

Vampires have aroused a perennial fascination within humanity since their fictional materialization into history. However, it is over the course of the last century that these creatures have become an iconic symbol of mystifying horror and inexplicable desire. Recently, the vampire has undergone a significant reconstruction of physical appearance, behaviour, and surroundings, along with, extensive modifications to its super-natural disadvantages. These distinct character adaptations are imperative when considering two of the most notable vampires ever fashioned: Count Dracula and Edward Cullen. The dissimilarity between Bram Stoker’s 19th century, Count Dracula, and Stephenie Meyer’s 21st century, Edward Cullen, is a complex reflection of the contrasting societies from which these vampires emerged.

“He speaks in perfect English and welcomes Harker inside, shaking his hand with an ice-cold, vice-like grip” (Dracula, 55). Dracula explains to him that he will no be able to make the trip to London, but one of his trusted servants will be going along with Harker back to London. After supper Jonathan analyzes Dracula and notices one very strange feature, his mouth is thick and white; they cover sharp white teeth, which stick out over his lip. What Jonathan does not know is that those teeth are canine teeth only found in animals. There are exceptions, for instance, vampires have these teeth so they can puncture the human’s carotid vessel in their neck and suck their blood. The first time that Jonathan sees Dracula’s cannibal teeth grow is when Harker starts shaving. He accidentally cuts himself and Dracula leaps for his throat so he can suck his blood. Harker touches his crucifix and Dracula’s “demonic fury” vanishes. The strangest event that Harker notices in Dracula’s castle is “Dracula emerge from his room on the floor below, slither out, head downward, in lizard fashion, with his cloak spread out around him like great wings” (Dracula, 179). This shows that “Dracula is not a person. He is a presence, an absence that requires concealing” (Wolf, 368). This tells Harker that something is very wrong with this man. He recalls how the peasants behaved

As one of the most attractive and enduring figures in the Gothic literature, the vampires have moved from being a peripheral element with the genre to a place near the center and are capable of generating its own massive tradition now. In the recent literary history, they have already been adapted to play a role of a rebel against the moral, social, religious, and even sexual taboos. Put simply, the vampires are now a metaphor of human beings in the modern society and life.

In this article it shows how the vampire started as a bloodthirsty monster in stories and how the eventually evolved into the modern envisage seen in media. What makes this important for the thesis, is the evolution form the first stories that spurred this villain in the shadows. The evolution of the vampire across the cultures is a very important aspect for research within this paper in order to fully describe how this creature was first envisioned in the early folklore to what we see today in the recent adaptations. Attempting to describe this progression without bringing to the forefront the classics such as Bram Stokers would be a large disservice to this paper.

The legend of the vampire has emerged countless times within human imagination over the past few centuries. The first available representation of the mythical creature in prose fiction can be found in John Polidori’s “The Vampyre” (1810). It was not until eight decades later that Bram Stoker popularized the existence of this figure with the publication of “Dracula” in 1897. The folklore of the vampire has come a long way since and can be found in today’s popular media more frequently than ever before. However, with due course of time, the representation of the creature has taken alternate routes and today’s vampires are noticeable different – socially and physically – from their predecessors. One effective path to trace this

Dracula still maintains a strong connection to modern day readers through its similarities to female vampire myths from Europe, most of them including the male characters dominating the females. The Dearg-Due, an Irish vampire, is an example of a creature similar to those in Stoker's novel. According to Kim, an author on Got Ireland, the Dearg-Due is "a legendary beauty, with blood-red lips and pale blonde hair," however, before turning into a monster, she had been given to a cruel man and "suffered terrible mental and physical abuse at the hands of her new 'husband.'"1 As a mortal, she had no influence on her life, and was married off to a abominable man just so her power-hungry father could earn more money and a higher social status.