Come freely

frøy | litt uni student | they/them | wants to write their ba on dracula.... somehow

[blackberrybisexual]

some dracula / other vampire story related articles on jstor (for my own reference but the rest of u can see them too i GUESS 🙄)

- feminism, sex role exchanges, and other subliminal fantasies in bram stoker’s ‘dracula’

- brides of dracula: from novel to film

- repossessing the body: transgressive desire in ‘carmilla’ and ‘dracula’

- ‘dracula’: stoker’s response to the new woman

- vampiric seduction and vicissitudes of masculine identity in bram stoker’s ‘dracula’

- vampiric typewriting: dracula and its media

- racialization, capitalism, and aesthetics in stoker’s ‘dracula’

- the narrative method of dracula

- canines, women, and deceptive docility in bram stoker’s ‘dracula’

- the novel as nightmare: decentering of the self in bram stoker’s ‘dracula’

- the face of evil: phrenology, physiognomy, and the gothic villain

- gender and the struggle for narrative authority in dracula

- pollution and redemption in ‘dracula’

- a century of draculas

- gender and inversion in bram stoker’s ‘dracula’

- the ambiguous nature of violence in ‘dracula’

- bisexuality, homoerotic desire, and self-expression in bram stoker’s ‘dracula’

- attention, predation, counterintuition: why dracula won’t die

- being there: gothic violence in frankenstein, dracula, and strange days

- voiceless outsiders: count dracula as bram stoker

[witchinghour]

Dracula (1931) dir. Tod Browning

[dailyhorrorfilms]

Interview with the Vampire, 1994 | Neil Jordan.

[willharker]

Blood Red: the vampire as métaphore in contemporary culture / edited by Joan Gordon and Veronica Hollinger

[forthegothicheroine]

“Set aside for a moment the details of the Dracula story. They’ve lost their meaning. They’ve been run through a thousand vampire movies too many. […] Consider instead Count Dracula. He bears a terrible cross, but he lives in a wonderful sphere. He comes backed by the music of the masters and dresses in red and black, the colors De Sade found finally the most restful. Dracula’s shame as he exchanges intimacies and elegant courtesies with you is that tonight or sometime soon he will need to drink your blood. What an embarrassing thing to know about someone else. Werner Herzog’s Nosferatu concerns itself with such knowledge. […] Sit through Nosferatu twice, or three times. Cleanse yourself of the expectation that things will happen. Get with the flow. This movie works like an LP: you can’t love the music until you’ve heard the words so often they’re sounds. It’s in German with English subtitles. It would be just fine with no subtitles, dubbed into an unknown tongue. The need to know what Dracula is saying at any given moment is bourgeois affectation. Dracula is always saying. ‘I am speaking with you now as a meaningless courtesy in preface to the unspeakable event that we both know is going to take place between us sooner rather than later.’”

— Roger Ebert, review of Nosferatu (October 5, 1979), included in Herzog by Ebert (via chthonic-cassandra)

[ligeia-of-the-rhine]

“Earlier female victims were seductive because stilled. Through them, death immobilized life, while in Dracula, life engorges death. Lucy enthralls spectators because she is not stilled. After death, she continues to writhe and foam, prowl and shriek, turning not to marble, but to blood.”

— Nina Auerbach, from Our Vampires, Ourselves.

[daarcy]

hey are you a vampire? take this quiz i just spent way too long making and find out the time period in which you were turned

[willharker]

Sure we talk a lot about ‘ad’, after Dracula, in vampire theory, but surely there should be a ‘at’, after twilight, because the ya vampire boom of the early 2000’s has truly changed the field immensely

[willharker]

A selection of the books I’m reading through at the moment

[willharker]

the things you learn when reading about dracula and monstrosity

[vfollia]

“If you want to understand any moment in time, or any cultural moment, just look at their vampires,” says author Eric Nuzum. Our vampires are not like the remorseless Victorian vampires, who had a taste for the blood of babies and did not seem to feel badly about it. Our vampires are conflicted. Some of them go hungry rather than feed on humans, and some of them drink synthetic blood. “Almost all of these current vampires are struggling to be moral,” the journalist Margot Adler observed […] “It’s conventional to talk about vampires as sexual, with their hypnotic powers and their intimate penetrations and their blood-drinking and so forth,” she reported. “But most of these modern vampires are not talking as much about sex as they are about power.”

Power, of course, is vampiric. We enjoy it only because someone else does not. Power is what philosophers would call a positional good, meaning that its value is determined by how much of it one has in comparison to other people. Privilege, too, is a positional good, and some have argued that health is as well.

Our vampires, whatever else they are, remain a reminder that our bodies are penetrable. A reminder that we feed off of each other, that we need each other to live. Our vampires reflect both our terrible appetites and our agonized restraint. When our vampires struggle with their need for blood, they give us a way of thinking about what we ask of each other in order to live.

— Eula Biss, On Immunity: An Inoculation

[willharker]

finally contacted my BA supervisor, apologising for being a bit MIA, and she was really nice with her reply, and just happy that i was still along for the ride:)

[cadaverkeys]

genuinely one of my favourite details about Bram Stokers Dracula that isn't really transferred to the pop culture is that vampires have irridescent eyes, they appear brown at a glance, however when light is reflected on them they seem to go red!

[cadaverkeys]

another thing that pop culture latched onto is this idea that you might use a wreath of garlic bulbs to ward off a vampire, however, in the book there is a popular use of garlic blossoms rather than the bulbs. i think these are a lot prettier and way more versatile for stylisation! you could have a garlic flower crown.

[cadaverkeys]

also like the cowboy part can we please stop omitting the fact that there is a real ass cowboy in Bram Stokers Dracula and hes from real ass Texas and he has a fucking gun and he tries to fucking shoot Dracula

[willharker]

hey!

i need people to follow!

RB this if you post:

Dracula (1897 mainly, but also in general)

literary theory

classic literature

gothic literature

literature in general

studyblr

and i’ll follow you!

this is a side blog so it’ll be through my main @/vassarve

[aida-amoako]

Maud Ellmann, “Introduction” from Dracula by Bram Stoker

[bluebeardsbride-deactivated2021]

But it is not blood that makes a vampire. No. It is the wanting.

Cecilia Tan, “The Tale of Christina” Dark Angels: Lesbian Vampire Stories (via bluebeardsbride)

[mxryshcllcy]

The Gothic was the first novelistic form in England to have close, relatively visible links to male homosexuality, at a time when styles of homosexuality, and even its visibility and distinctness, were markers of division and tension between classes as much as between genders.

Eve Kosofsky Sedgwick, “Toward the Gothic: Terrorism and Homosexual Panic” Between Men (via bluebeardsbride)