Seward father of Mina No Arthur or Quincy Renfield solicitor goes to castle

Seward father of mina no arthur or quincy renfield

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Dr. Seward father of Mina No Arthur or Quincy Renfield: solicitor goes to castle Dracula, becomes Dracula’s slave Van Helsing is friend of Mina’s father Dracula is a neighbor checking in on Mina Lucy becomes a Vampire and is then forgotten Mina unwillingly bitten and get well after Dracula killed Dracula killed by Van Helsing with wood from coffin
Stephen Arata: The Occidental Tourist Reverse colonization: East colonizing the West (Dracula’s vampires colonizing London), Dracula’s expertise in English life and customs and manners provides the groundwork for this exploitative invasion of Britain, the reverse of Orientalism o Guilt and fear because his practices simply repeat what the “good” characters participated in the colonization of others o Lucy becomes sexual and Mina becomes virtuous Dracula is vigorous and energetic: not pale, wan or weak (like Carmilla) Humans couldn’t reproduce because weak and powerless but Dracula can produce endless numbers of offspring Carol Senf: Dracula: The Unseen Face in the Mirror The “heroes” in Dracula do not see Dracula’s reflection because they are too busy looking at their own (narcissism, lack of moral vision, insensitivity to others, inability to perceive certain traits within himself) Sexualized women are a threat Narrators are unreliable (discrepancies between professed beliefs and actions, half of them are insane) Pursuers picture themselves as protectors of hapless millions; to protect the innocent (can justify killing Dracula because of Lucy’s death, affair with Mina and questions characters motives) Phyllis Roth: Suddenly Sexual Women (Sexualized women but add Freud) Hostility towards female sexuality, desire to kill aggressive sexual women Pre-Oedipal conflict Big Daddy Dracula vs. Mortal men, Lucy and Mina as “mother,” rivalry between sons Van Helsing as good Father vs. Dracula as bad father Christopher Craft: Kiss Me with Those Red Lips (Build on sexuality but less Freud and more changes and how reflects view of times) “Dracula’s authorizing kiss, like that of a demonic Prince Charming, triggers the release of this latent power and excites in these women a sexuality so mobile, so aggressive, that it thoroughly disrupts Van Helsing’s compartmental conception of gender” Lucy changes from pure and sweet to “voluptuous” red lipped, adamantine and heartless Threat of the inversion of sexual identity, she is now the penetrator Stoker’s “sexualized women are men too” “A woman is better still than mobile, better than sexual” Natural order restored at the end
Nina Auerbach: “Vampires in the Light” Editor of the Dracula Critical Edition we are reading Hammer’s vampires changed the portrayal of vampires For Stoker, Dracula was “vulnerable to time, not light” (aged and needed blood to become and remain young)

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