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Dracula An International Perspective
This volume analyses the role of Bram Stoker’s Dracula and its sequels in the evolution of the Gothic. As well as the transformation of the Gothic location―from castles, cemeteries and churches to the modern urban gothic―this volume explores the evolution of the undead considering a range of media from the 19th century protagonist to sympathetic contemporary vampires of teen Gothic. Based on an interdisciplinary approach (literature, tourism, and film), the book argues that the development of the Dracula myth is the result of complex international influences and cultural interactions. Offering a multifarious perspective, this volume is a reference work that will be useful to both academic and general readers.
280 pages, Hardcover
First published December 1, 2017
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February 6, 2024
Over time, numerous writers have tackled the myth of Dracula from different perspectives, turning it from a mere local legend into a truly world phenomenon. Built on a real cornerstone – the historical personality of Vlad Țepeș, who ruled Wallachia in the second half of the 15th century, known for his violence directed against injustice – Dracula has metamorphosed into a palimpsest. Helped by various novels written by authors all over the world, Dracula has overstepped the boundaries of his small land and conquered the world, inspiring the archetype of bloody vampire from fantasy stories. The work famous novel which reflects Dracula’smulticultural and multinational dimension is the novel Dracula by Bram Stoker, who shaped the figure of Transylvanian vampire into an international recognized face. Marius Crișan starts his study, Dracula, An international perspective (Springer International Publishing, Palgrave macmillan, 2017), from Bram Stoker’s work; follows the red thread which connects all those who tackled the myth of Dracula; distinguishes between the types of Gothic in Latine area and Anglo-Saxon space, concluding with the transformation of Dracula from a great theme of universal literature into a recurring cinematografic element.
Marius Crișan opens his study with a lecture about the effect of Bram Stoker’s novel on the world. And the outcomes cannot be ignored. Dracula Broth Benefits to the entire Earth. Not only that he led a touristic increase firstly in Romania, Dracula’s native country, and then in the rest of nations which had simbolically adopted him, but he set up a new brunch in film industry. There are many adaptations of Dracula’s myth, the most recent, Castelvania. Both the novels and the screen adaptations present other sides of the vampire personality, focusing on a single fiture of his character which is exaggerated – from the monsters released from the darkest nightmares, thirsty of revenge, to the romantic version, the absolute conqueror; from the demonic pose, to the demiurge who created the entire world; from a simple state, to the master of human minds. For this reason, Dracula is a palimpsest. Over the image of Transylvanian voivode is pasted the figure of the English or Italian count and many dipictions of the vampire from the contemporany fantasy novels such as Twilight. In simple terms, Dracula became an artistic trend – the monster was transformed into something attractive, into an ideal of beauty and wisdom, holding almost all keys of the universe.
True or not stories are the most important tool of persuasion.for example, the Bram Stoker’s novel represents a gateway to a lesser-known world, to a magical land where Dracula was born from the fears of civiles, consequently those who read the novel visit the region to see with their own eyes the castle of the famous vampire. This is an excellent unintentionated strategy to attract foreign turists. Marius Crișan emphasizes that the others writings about Dracula, even if less famous, had the same effect in the nations they were published, insisting on Italy, Ireland and UK. Thus, the fiction altered the reality. We can easily see that Dracula is a figment of collective imagination, but things had taken a different turn. Based on stories, Castle Bran from Brașov came to be recognized as Dracula’s house and the phenomenon is not unique. In Europe but also in America more and more old castle become the home of the bloody count.
The next section of the book is dedicated the construction of the Gothic in different regions of Europe and the transition to the American horror. Gothic cannot be explained or defined because it is far too complex. The gothic perspective above Dracula is dark, because he had not positive traits. In this period Dracula is equivalent to a damned life, the terror and finaly to the death. Early film adaptations capture the dark side, devoid of sensitivity, without a hint of humanity of Dracula. In the modern world, the Gothic was metamorphosed into horror – on the American line – a hyperbolization the negative aspects to the point of paroxysm. The vampire’s violence is much more accentuated now, but in the same time, his voice is stronger. In the las twenty years, in novels and films, vampire has become the main voice of the narrative, and therefore, there have been changes in his psychological status. The sexual side was highlighted as a way of humanizing the once emotionless monster. Thus, the Gothic, classic elements are more and more minimalist, while the modernelements gain more and more ground, adapting to the requirements of the public.
Marius Crișan draws attention to the fact that image of Dracula is constantly changing. Authors and movie directors reshaped everytime a prototype that remain unique, but which perpetually generate new replicas, built in accordance with the cultural, social and religious specifics of each nation. Two depictions of vampire are never the same, but they share a common root.
Marius Crișan opens his study with a lecture about the effect of Bram Stoker’s novel on the world. And the outcomes cannot be ignored. Dracula Broth Benefits to the entire Earth. Not only that he led a touristic increase firstly in Romania, Dracula’s native country, and then in the rest of nations which had simbolically adopted him, but he set up a new brunch in film industry. There are many adaptations of Dracula’s myth, the most recent, Castelvania. Both the novels and the screen adaptations present other sides of the vampire personality, focusing on a single fiture of his character which is exaggerated – from the monsters released from the darkest nightmares, thirsty of revenge, to the romantic version, the absolute conqueror; from the demonic pose, to the demiurge who created the entire world; from a simple state, to the master of human minds. For this reason, Dracula is a palimpsest. Over the image of Transylvanian voivode is pasted the figure of the English or Italian count and many dipictions of the vampire from the contemporany fantasy novels such as Twilight. In simple terms, Dracula became an artistic trend – the monster was transformed into something attractive, into an ideal of beauty and wisdom, holding almost all keys of the universe.
True or not stories are the most important tool of persuasion.for example, the Bram Stoker’s novel represents a gateway to a lesser-known world, to a magical land where Dracula was born from the fears of civiles, consequently those who read the novel visit the region to see with their own eyes the castle of the famous vampire. This is an excellent unintentionated strategy to attract foreign turists. Marius Crișan emphasizes that the others writings about Dracula, even if less famous, had the same effect in the nations they were published, insisting on Italy, Ireland and UK. Thus, the fiction altered the reality. We can easily see that Dracula is a figment of collective imagination, but things had taken a different turn. Based on stories, Castle Bran from Brașov came to be recognized as Dracula’s house and the phenomenon is not unique. In Europe but also in America more and more old castle become the home of the bloody count.
The next section of the book is dedicated the construction of the Gothic in different regions of Europe and the transition to the American horror. Gothic cannot be explained or defined because it is far too complex. The gothic perspective above Dracula is dark, because he had not positive traits. In this period Dracula is equivalent to a damned life, the terror and finaly to the death. Early film adaptations capture the dark side, devoid of sensitivity, without a hint of humanity of Dracula. In the modern world, the Gothic was metamorphosed into horror – on the American line – a hyperbolization the negative aspects to the point of paroxysm. The vampire’s violence is much more accentuated now, but in the same time, his voice is stronger. In the las twenty years, in novels and films, vampire has become the main voice of the narrative, and therefore, there have been changes in his psychological status. The sexual side was highlighted as a way of humanizing the once emotionless monster. Thus, the Gothic, classic elements are more and more minimalist, while the modernelements gain more and more ground, adapting to the requirements of the public.
Marius Crișan draws attention to the fact that image of Dracula is constantly changing. Authors and movie directors reshaped everytime a prototype that remain unique, but which perpetually generate new replicas, built in accordance with the cultural, social and religious specifics of each nation. Two depictions of vampire are never the same, but they share a common root.
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