This dynamic shows that vampires are frightening not only because they are

This dynamic shows that vampires are frightening not

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attractive male figure who preys upon young, beautiful, innocent virgins. This dynamic shows that vampires are frightening not only because they are monstrous creatures, but also because they play on fears about sexuality. Vampirism is as much about “body shame and unwholesome lust,” seduction, temptation, selfishness, and exploitation as it is about actual bloodsucking bat-people. Chapter 9: Weather Foster asks: why has it become a cliché to begin a story with the phrase “It was a dark and stormy night?” The answer, according to Foster, is that “weather is never just weather.” Types of weather often have significant symbolic meaning; rain, for example, invokes the Biblical story of Noah, and with it the fear of drowning and the promise of beginning anew. Rain is often depicted as having a cleansing or restorative effect on characters. Rainbows are another important weather symbol, with close ties to the Biblical story of Noah, in which God signals through a rainbow that He will never again flood the entire world. Fog, meanwhile, is used to symbolize mystery, ambiguity, and danger. Finally, snow is the type of weather with perhaps the greatest range of meanings. Depending on how it is used in a literary work, it could be joyful, cleansing, claustrophobic, or threatening.
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Chapter 10: Characters and Surrogate Death Characters that are close to the main character are likely to die. This is the problem of surrogacy, or the fact that characters close to the hero/main character are likely to be killed because the main character won’t be. Characters’ deaths are important plot devices. Although this might seem unjust, it is important to remember that “characters are not people.” Although they may be based on real, living humans, characters are not real or alive. They are simply figments of the author’s and readers’ imaginations. While writers etch out an impression of a given character, readers inevitably “shape, or rather reshape, characters in order to make sense of them.” This makes us sympathetic to characters and invested in their fate. It is necessary that it is this proximate person who dies, and not the character himself—otherwise there would be no opportunity for the character to grow.
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  • Spring '16
  • Kristin Vukmanic

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