... , and more than brute: he is devil in callous, and the heart of him is not - (304). There is no opportunity for the audience to sympathise with Dracula and the reader is not torn between good and evil, they simply side with the mortal heroic beings. This highlights the old presentation of vampirism; the audience remains detached from the evil and thus is sheltered from unconscious fears or desires directly ... values in respect to emotions, and rebel "against a mechanistic or atomistic view of the world and relations, in favour of recovering an earlier organic model- (Kilgour, 11). The m...

• Word Count: 2816
• Approx Pages: 11
• Grade Level: Undergraduate

... his character Johnathon. Dracula is liberating and eye-catching in its transgressive context and ideas, yet it also horrified (and amused) its readers in the way that it challenged the boundaries of acceptability. These boundaries were those of anti-Christianity, sexual and erotic behaviour. Gothic fiction also addresses many social anxieties; about feminism and changes to domestic and social order including gender roles ... that you must let God into your heart, Dracula may not enter someones house unless they invite him. God is referred to in the bible as being the light, which symboli...

• Word Count: 1643
• Approx Pages: 7
• Grade Level: Undergraduate

... . In Dracula, Bram Stoker demonstrates, how as the daylight ends the horror begins. The nighttime serves as one of the most significant motifs that contribute to the structure of the novel. Readers tend to frightened about the darkness of the night as well as the oblivion that goes along with it. According to one of the protagonist's diary entry, it was explained that as the sunsets, the sentiment of horror dawns in; on "2nd August, might night-Woke ... love him even though tragically the love did not turn out like love. Moreover, through the metaphor of comparing Jean to an angel, Suski...

• Word Count: 4287
• Approx Pages: 17
• Has Bibliography
• Grade Level: Undergraduate