By William Hughes (auth.)
Read Online or Download Beyond Dracula: Bram Stoker’s Fiction and its Cultural Context PDF
Best gothic & romance books
Taking into consideration the recognition and diversity of the style, this collaborative quantity considers a variety of English Romantic autobiographical writers and modes, together with working-class autobiography, the popular essay, and the staged presence. within the wake of Rousseau's "Confessions", autobiography turned an more and more renowned in addition to a literary mode of writing.
Populism, Gender, and Sympathy within the Romantic Novel is a richly historicized account that explores anxieties approximately crowds, fiction and hide, girls authors, and risky gender roles. James P. Carson argues that the Romantic novel is a sort individualizing in its deal with, which exploits well known fabrics and stretches formal limitations in an try to come to phrases with the hundreds.
The Argentinian author Julio Cortázar used to be essentially motivated by means of his predecessors John Keats and Edgar Allan Poe. despite the fact that, to what quantity? Which points of the 2 Romantics were stored and which of them reworked by means of Cortázar’s mind's eye? And is there a standard bond within the works of Keats and Poe that is additionally the typical denominator for his or her works?
This e-book examines ‘Southern Gothic’ - a time period that describes many of the most interesting works of the yank mind's eye. yet what do ‘Southern’ and ‘Gothic’ suggest, and the way are they comparable? usually noticeable as drawing at the tragedy of slavery and loss, ‘Southern Gothic’ is now a richer, extra complicated topic.
- Byron and romanticism
- The Sea and Medieval English Literature (Studies in Medieval Romance)
- Giordano Bruno: An Introduction
- Theory as Practice: A Critical Anthology of Early German Romantic Writings
- Walter Benjamin and Romanticism
Additional info for Beyond Dracula: Bram Stoker’s Fiction and its Cultural Context
In effect, the Giant facilitates the repentance of those he, on first sight, persecutes. All are judged on their inner merits rather than through the superficial appearances that characterise a society where there are 'some very rich and .. many poor' (UTS 45). Even the saintly Knoal succumbs, as the final victim of the Giant, though much of his parting speech to Zaya conveys the resignation of a martyr: ' I am the last victim, and I gladly die' (UTS 68). His redemptive and medical mission over, Knoal may at last Jay down his life .
The Epistle to the Romans bluntly states that ' the Wages of Sin is death; but the gift of God is eternal life through Jesus Christ our Lord' (Rom. 6:23). The entry of sin into Stoker's allegorical paradise is, however, problematic in that, far from being the apparent consequence of an explicit act of disobedience, the change is not merely permitted but in effect facilitated by the All-Father, a deific though intangible presence whose beneficence in the volume is otherwise rendered as being beyond question.
His humility is thus entirely appropriate for a Christian knight on the eve of battle. 16 Zaphir's prayers - and his behaviour whilst at prayer - are, however, equally an expression of the story's contemporary Protestantism, albeit simplified for a junior audience. Where the Biblical David, armed by Saul with helmet, sword and mail refuses to do battle using the weapons, saying 'unto Saul, I cannot go with these, for I have not proved them' (I Sam. 17:39), Zaphir, similarly 'doffed his splendid armour, which shone like a sun on earth, he took off the splendid helmet, and he laid by the flashing sword; and they lay in a lifeless heap beside h im' (UTS 36).