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Essay / Comparison between Bram Stroker's Dracula and Twilight...
The legend of the vampire has emerged countless times in the human imagination over the past few centuries. The earliest available depiction of the mythical creature in prose fiction is found in John Polidori's "The Vampyre" (1810). It was only eight decades later that Bram Stoker popularized the existence of this character with the publication of "Dracula" in 1897. Vampire folklore has come a long way since then and is found more frequently than ever in the popular media today. . However, over time, the creature's depiction has taken alternative paths and today's vampires are noticeably different – socially and physically – from their predecessors. An effective way to trace this transformation is to compare arguably the most famous depiction of the modern-day vampire, Stephanie Meyer's "Twilight," with "Dracula," the basis from which much modern work is based. Examining this comparison closely, we see that a new, socially acceptable, sexually abstinent, and desirable creature is rapidly replacing the frightening, sexually voracious monster as depicted in the early vampire tales. The vampire had been described as the epitome of offensive and seductive behavior. in their first performances. She suffered from the persistent image of an inhuman and monstrous thing that feeds and thrives at the expense of others. As David Punter and Glennis Byron asserted: “Confounding all categories, the vampire is the ultimate embodiment of transgression” (The Gothic 268). The transgressive behavior of the vampire was first observed with Stoker's Dracula. Although this character seduces us in many ways, with his intelligence and immortality, the Count is above all...... middle of paper ...... the reflection of our monstrous appetites. Journal of Jungian Scholarly Studies. . Web. Peters, Sarah L. “Romantic Repellent: The Evolution of Bram Stoker's Dracula.” Henderson State University, March 2002. Web, April 14, 2014. Spencer, Kathleen L. “Purity and Danger: Dracula, The Urban. The Gothic and the Crisis of Late Victorian Degeneration. 59.1 (1992): 197-226