By William Hughes, Andrew Smith (eds.)
Stoker is better remembered this present day because the writer of Dracula . besides the fact that, because the twelve essays during this quantity display, Stoker's paintings blends the Gothic with the discourses of politics, sexuality, drugs and nationwide id to supply texts that could be learn through a number of severe methodologies. Following an creation that analyses how Stoker's writings were significantly bought within the 20th century, the e-book addresses now not purely Dracula but in addition the author's different writings via historicism, psychology and genre.
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Extra resources for Bram Stoker: History, Psychoanalysis and the Gothic
He imitates Le Fanu's conclusion to Uncle Silas which urges the reader, in Swedenborgian fashion, to recognise 'under these beautiful forms of earth the ANGELS who wear them' (p. 436). In the Whitmanesque gospel, the human is similarly the site of transcendence, particularly in the union of soul and body. As a contribution to Irish understanding, the ending of Dracula with its reordering of the little group around Mina Harker and her son suggests the value of a rather literal 'Home Rule', a principle which the Liberal Stoker undeniably espoused.
In contrast, the ancient-born Dracula displays a selfish individualism where these young men recall an age in which the Bram Stoker and Medievalism 35 knight was prepared to sacrifice himself to the common good: Quincey, an adventurer who arguably might be expected to epitomise American individualism, dies in an act of chivalric unselfishness. Working not alone but as part of a group, Harker is remasculinised, discarding the isolated, feminised role of his first visit to Castle Dracula, and striking a decisive blow.
5. 6. 7. 8. 9. 10. 11. 12. 13. 14. Daniel Farson, The Man Who Wrote Dracula: A Biography of Bram Stoker (London: Michael Joseph, 1975) p. 18. J. Sheridan Le Fanu, Uncle Silas: A Tale of Bartram-Haugh, introduced by Frederick Shroyer (New York: Dover, 1966 rpt) p. xviii. All subsequent references are to this edition, and are given in the text. See also 'Earlier Type of the Sensation Novel', in Le Fanu's Dublin University Magazine, 63 (1864) 460-9. Bram Stoker, 'The Censorship of Fiction', The Nineteenth Century and After, 64 (1908) 479-87.